Susanne Pfeffer

  • Brothers Sick, Pareidolia (Vaccinate Now), 2021, dye-sublimation print on aluminum, 24 × 16". Image description: The black-and-white graphic features a silhouette of a person in profile holding a syringe in one hand. The silhouette has been mirrored both vertically and horizontally so that the figure appears in each corner of the graphic. Written above the figures in varying font sizes from top to bottom are “Stop Rationing Care,” “Stop Medical Apartheid,” “Vaccinate Now,” “Global Inoculation Against Viral Fascism,” “End Eugenics,” and at the bottom of the image “End Vaccine Hoarding.”
    print December 2021

    TOP TEN

    Susanne Pfeffer is the director of the Museum MMK für Moderne Kunst in Frankfurt. She recently curated the group exhibition “Crip Time” (with Anna Sailer).

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    BROTHERS SICK (EZRA & NOAH BENUS), PAREIDOLIA (VACCINATE NOW) (PRATT MANHATTAN GALLERY)

    vaccinate now, real-life brothers Ezra and Noah Benus write on one of their posters. In light of their other demands—STOP RATIONING CARE and STOP MEDICAL APARTHEID—it becomes clear how their political poster art critiques the unequal distribution of vaccines as a “eugenic apparatus” barring all bodies from receiving the same protection and care.

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    MARYLÈNE

  • print December 2019

    Susanne Pfeffer

    Susanne Pfeffer is the Director of the Museum Mmk Für Moderne Kunst in Frankfurt, where she organized the current exhibition “Museum” as well as a recent survey of the artist Cady Noland. For the German Pavilion at the 2017 Venice Biennale, she curated Anne Imhof’s Faust, which was awarded the Golden Lion.

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    FRIDAYS FOR FUTURE

    When a global movement initiated by schoolchildren succeeds in mobilizing so many vociferous detractors who have never been involved in anything but their own careers and who have no plans to involve themselves in anything in the near future, it’s a sign that something

  • print December 2014

    Susanne Pfeffer

    After reading a brilliant two-part inquiry into the “labor of the inhuman” by the philosopher Reza Negarestani this past year—and on the heels of Jean-François Lyotard’s landmark L’inhumain: Causeries sur le temps (The Inhuman: Reflections on Time) from 1988—I became deeply intrigued by thinking that looks beyond the human. Contrary to what its name might imply, posthumanism does not in fact dispense with the body. Instead, as Rosi Braidotti shows us in her book The Posthuman (Polity Press, 2013; the German edition was published this year), the body is reimagined as a fraught arena,