Sandra Senn


1973 Born in Baden / CH


Solo-Exhibitions 2020 "Herzkammer - 30 Jahre Museum Langmatt", Museum Langmatt, Baden (CH) 2019 Zimmermannhaus, Brugg (CH) 2018 Zwischen zwei Meeren, Galerie Voss, Düsseldorf (DE) 2017 Galerie Sam Scherrer Contemporary, Zürich (CH) Seetaler Poesiesommer, Beinwil (CH) 2016 Art Madrid, Solo Project, (ES) Flüchtige Getriebe, Galerie Voss, Düsseldorf (DE) Photo Docks Art Fair, Lyon (FR) Contemporary Photography, Architecturales- Landscapes, Genua (IT) Kunst Zürich 2016, Zürich (CH) 2015 the Solo Project, Basel (CH) 2014 Galerie Kunstreich, Bern (CH) Kasino der Fahrbereitschaft, Berlin (D) 2013 Kunstraum Sandra Romer, Chur (CH) 2010 Galerie Marswidi, Bielefeld (D) 2007 Stromboli, Galerie J.J. Heckenhauer, Berlin (D) 2005 Places, Galerie J.J. Heckenhauer, Berlin (D) 2003 Centre pour l’ image Contemporaine, Genève (CH) Group-Exhibitions 2018 Kunstverein Bad Salzdetfurth (DE) Arte Fiera Bologna,(IT) 2016 Architectural Landscapes, Contemporary Photography, Genua (IT) 2015 Kunstsammlung Jena, das Unendliche im Endlichen (D) Lost Scapes, Galerie Voss, Düsseldorf (DE) 2014 Kunsthaus Aarau „Auswahl 2014“ Ortung, Art Public,Chur Trudelhaus, Modell und Utopie, Baden Galerie Bärbel Miebach, München (D) Position Berlin(D) Kasino der Fahrbereitschaft, Berlin /D) Benzeholz, Raum für zeitgenössische Kunst, Meggen 2013 Kunsthaus Aarau „Auswahl 2012“ Kunstmuseum Olten „Babel“ 2012 Galerie Guri-Suter-Huus, „Architektur in der Kunst“, Wettingen (CH) Galerie Trudelhaus, „einTrudeln“, Baden (CH) Artespace Zürich, Corpus Urbanis, kuratiert Stephan Meylan Zürich (CH) 2011 Kunst im Kantonsspital Aarau, “ Sehnsucht Natur”, (CH) Kunsthaus Aarau, Auswahl 2011, (CH) 2010 Paradise is Somewhere Else, Galerie Anita Beckers, Frankfurt (D) Auswahl 10, Kunsthaus Aarau,(CH) Marswidi-Salon, Bielefeld (D) Galerie Samuelis Baumgarte, “Ein Hauch von Eden” Bielefeld , (D) Aktuelles Kunstschaffen, Visarte Aargau, Aarau, (CH) 2008/9 Auswahl 08, Kunsthaus Aarau, (CH) Blick aus dem Fenster, Berliner Pool , Berlin (D) Water of Life mit Issey Miyake, Japan (J) 2007 Ingenuity, Calouste Gulbenkian Foundation, Lissabon (P) Blurred Certainty, Jerwood-Space Gallery, London (GB) Ingenuity, Bozar, Brüssel Real and Constructed Places, Galerie Heckenhauer,Berlin ( D) 2006 In den Alpen, Kunsthaus Zürich, Zürich (CH) Blurred Certainty, Jerwood-Space Gallery, London (GB) 2005 Con-temporary, Berlin (D) Auswahl 2005, Kunsthaus Aarau (CH) Galerie J.J. Heckenhauer, Berlin (D) Cite des Arts, Paris (F) Berliner Liste, Berlin (D) Photo-London, London (GB) 2004 Remise im Hinterhof, Berlin (D) Galerie Artothek, Zürich (CH) Kunsthaus Aarau (CH) 2003 Rathausausstellung, Aarau (CH) Kunsthaus Aarau (CH) 2002 Galerie Amtshimmel, Baden (CH) Galerie Frick (CH) Kiefer Halblitzel, Ausstellungshalle Basel (CH) Kaskadenkondensator, Basel (CH) Cité Internationale des Arts, Paris (F)

Current exhibition


Sandra Senn (b. 1973) composes models of pictorial worlds and in this way creates interfaces between fiction and reality. The pictures are assembled in painterly fashion from various elements that the artist herself photographs and playfully, with subcutaneous subversion, incorporates into an imaginary landscape. The subtle arrangements – the fleeting transmissions that spark associations, awakening memories and feelings – are also shaped by contemporary events. Banal building sites riding on waves? Archaic arches fallen out of time? What Sandra Senn turns into narrative so playfully but with such subcutaneous subversity sparks meandering associations, transposing feeling into multiple currents of memory. Profane building materials, chipboard panels, lumber – both banal and unmistakably cheap – lean with the silhouette of house-like, voluminous ships in a polyphonic chorale that resists specific recognition but offers ample material for theatrical dreams, sleepwalking theater. As though it were a matter of keeping distance from inquiring glances, the blinded ships of Sandra Senn apparently drift about without expression, unresponsive and mute, yet if one listens more closely, murmur faintly with many different voices in the endless ocean of intangible yearning, without explicitly postulating whose piece is now being played, whose fate at sea has made its way to the stage. On distant seas, far removed from civilization, followed if at all by a final pair of seagulls, these exiles that, had one asked, never wished to be exiled, drive on with each other and with the waves toward an indefinite future. How would it be if their facelessness possessed an inner countenance? Text: Markus Stegmann Translation: David Galloway