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Dr. Anne Hemkendreis

 Dr. Anne Hemkendreis






Hebelstraße 25, Room 005
79104 Freiburg

Tel.: ++49 (0)761/203-676555




Studies of Art History and German Literature at the Ruhr University in Bochum and the Trinity College in Dublin until 2010. Scholarships from the Studienstiftung des deutschen Volkes. Doctorate at Leuphana University in Lüneburg with a thesis on the visualisation of privacy in the interior paintings of the Danish painter Vilhelm Hammershøi, awarded with the Young Researcher Prize of Leuphana University in Lüneburg (Fink 2015). Meanwhile, associate member of the research training group “The Interior: Art, Space and Performance" at the University of Bern (Switzerland). Postdoctoral fellowship, research assistant and lecturer at Leuphana University in Lüneburg (until 2018). Afterwards, work as an artist and further teaching activities at the University of the Arts in Berlin. Scholarships and fellowships from the Klassik Stiftung in Weimar and the Alfried Krupp Wissenschaftskolleg in Greifswald. Since 2020 research assistant at the SFB 948 "Heroes - Heroisations - Heroismen" (S4 "Aesthetics of Affection") at the Albrecht-Ludwigs-Universität in Freiburg. Research project on aesthetics of affection of snow and ice in art from the late 19th century to the present.



Main research interests

Aesthetics of affectation and the formation of imagination
Visualisation of privacy and interiority
Strategies of the invisible in art since 1900
Nostalgia in contemporary art
Media Ecology and Ecocriticism
Circus as an Aesthetic Model

Research project

Aesthetics of the Untouched: Snow- and Icescapes in Art since the 19th Century

Starting with the peak of the North Pole conquest around 1900, the project is dedicated to the development of snow- and icescapes as an independent genre of art. While untouched snowy surfaces visually respond to the topos of primarity as a firsttime perception, which originates from polar narratives, ice becomes a stage for the performative gestures of conquest and its related perceptual models. In Scandinavian Art around 1900, the representation of the heroic shifts to the level of perception, but now under the premise of questioning firstness. Thus, the viewer himself becomes the discoverer of a snow- and Icescape unfolding before him/her, which paradoxically at the same time point to the necessity of their previous perception and visualisation.

This paradox of image theory is taken up in a nostalgic trend of contemporary art -  which shows itself in the reference to documents, media and aesthetics of the late 19th century - and uses the sensual power of ice and snow as an artistic strategy to negotiate ecological, economic, scientific and aesthetic questions. According to the project's thesis, phantasms of primarity can be sensually experienced through ice and snow in art, while at the same time their disastrous potential is problematised.

Selected publications


Die monochromen Interieurbilder Vilhelm Hammershøis. Verweigerte Einblicke – Ausgestellte Innenwelten. Paderborn: Wilhelm Fink Verlag, 2015.


Anfängliches Sehen: Erfahrungen des Unberührten in Mariele Neudeckers Tankwork Cook and Peary (2013) (erscheint im Winter 2021)

Snowy Landscapes. Symbols of Nationality and Cultural Exchange between Germany, Scandinavia and the Baltic Regions? In: Visual and Material Culture across the Baltic Sea Regions 1772-1819, hg. Von Michelle Facos u.a. (erscheint im Winter 2021 bei Routledge).

Ausbalanciert. Der Traum vom Fliegen in den Zirkusbildern Edgas Degas und James Tissots. In: „Manegekünste. Zirkus als ästhetisches Modell, hg. von Margarete Fuchs. Transcript: Bielefeld 2020.

Balancierend Pfeife rauchen: Der Elefant in den Zirkusbildern Henri de Toulouse-Lautrecs. In: „Mit Pauken und Trompeten“. Elefant in Geschichte, Literatur und Kunst, hg. von Theresia Raum und Frank Jacob. Büchner: Marburg 2018, S. 215-242.

Inner and Outer Realms: Opaque Windows in Vilhelm Hammershøi’s Interior Paintings. In: Interiors and Interiority, hrsg. Von Ewa Lajer-Burcharth und Beate Söntgen. Berlin, Boston 2016, S. 297-311.

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