Hello, world. Welcome to my site.
My name is Anna-Sophie Springer and I am an exhibition maker, writer, editor, and publisher. Since 2011, I direct and manage the small press and publishing atelier K. Verlag in Berlin, advancing new forms of the book-as-exhibition. In my research-driven practice as an exhibition maker, I work internationally with artists, cultural and scientific archives and collections to produce postdisciplinary ecologies of attention and sensuality with a focus on difficult conversations about ecopolitical economies. With Etienne Turpin, I am principal co-investigator and co-curator of the international exhibition-led inquiry Reassembling the Natural, which opened its most recent iteration, ponds among ponds, at Shanghai’s Institute for Contemporary Arts in March 2021.
My projects are usually very collaborative. Earlier exhibitions include the series EX LIBRIS (exploring relationships between the book, the library, and the exhibition, DE/2013) and Ha Ha Road (a touring group exhibition on the subversive power of humor, UK/2011). 125,660 Specimens of Natural History (2015) investigated the role of the natural history exhibition in the contemporary context of transformed, postnatural ecologies; this exhibition was involved 13 emerging artists from Indonesia and was realized in cooperation with the Indonesian Institute of Science, the Schering Stiftung, and the art space Komunitas Salihara in Jakarta as an early episode of Reassembling the Natural. In 2016–18, funding from the German Federal Cultural Foundation enabled us to realize the three-part exhibition cycle Verschwindende Vermächtnisse: Die Welt als Wald [Disappearing Legacies: The Word as Forest], on view at the Zoological Museum, CeNak, University of Hamburg (9 November 2017 to 28 March 2018); the Tieranatomisches Theater (TA T), Humboldt-University Berlin (27 April to 26 August 2018); and, Natural History Collections, Martin-Luther-University Halle-Wittenberg in Halle/Saale (20 October to 14 December 2018). Critically revisiting the legacies of British specimens collector and co-discoverer of evolution, Alfred R. Wallace, in both Brazil and Indonesia, this extensive project gathered more than 14 international artists and their new commissions as well as a number of curatorial assemblages. Again, addressing similar concerns—though this time by focusing on histories of colonial transactions in the Western hemisphere—a follow-up exhibition entitled Naturecolony was planned to take place at The Blackwood Gallery, University of Toronto/Mississauga, in fall 2020. Sadly, the show was cancelled due to Covid-19; however, one position by Martina Pozzan emerged as a solo installation. Since 2015, a mobile & versatile space for discourse and curatorial reflections has been held open by co-editing the intercalations: paginated exhibition series, commissioned as part of “Das Anthropozän Projekt” at the Haus der Kulturen der Welt and realized by K. Verlag.
Although my practice is emphatically an ongoing process of undisciplined discipline, I did complete two M.A.s—one in Contemporary Art Theory from Goldsmiths, University of London (2007), and one in Curatorial Studies from the Academy of Visual Arts, Leipzig (2013). In 2014, I was invited as the Craig-Kade Visiting Scholar-in-Residence at Rutgers University, New Jersey. From 2016–19, I was a Visiting Lecturer at the Institut Kunst in Basel where I taught intensive seminars on ecology and feminism that lived from the active entwinement of theory and practice. Back in 2015, I also offered a remote-teaching seminar for the New Centre for Research & Practice. Over the years, I have given numerous seminars, workshops, and public lectures at art & design schools and museums & galleries worldwide.
In addition to other texts and the intercalations series, my scholarly work on libraries and books as curatorial constellations is published in books such as Art Writing in Crisis (B. Haylock & M. Patty, eds., Sternberg Press, 2021), Fantasies of the Library (A.-S. Springer & E. Turpin, eds., The MIT Press, 2016) and Publishing as Artistic Practice (A. Gilbert, ed., Sternberg Press, 2016). In 2020, I was ecstatic to be a recipient of a special prize by the Konrad-Wolff Stiftung for Independent Publishing and a recipient of a prestigious Deutscher Verlagspreis [German Publishing Prize], which is awarded annually to honor outstanding independent publishers by the Federal Ministry of Culture, for my work with K.
For open-access publications, as well as selected public talks and selected exhibitions, see the summaries on this site; for a complete Curriculum Vitae, a portfolio of previous artistic and curatorial work, or for individual publications, please contact me via email.