With her photographs, Katharina Sieverding questions the true essence of things, casts doubt on the visible as the limit of the existent, and attempts to discover what is actually hidden by bringing it to the surface. With her spectacular self-portraits and a great deal of self-confidence, she made the leap into a male-dominated ranks. By questioning the female identity as a whole, Sieverding expands the comprehensive search for it to cosmic dimensions. In her work, the artist explores the relationship between objectivity and subjectivity, which becomes the subject of critical reflection. Thereby Katharina Sieverding particularly appreciates the freedom of art, which allows her to pursue and indulge in creative inspiration without a detailed theoretical justification of her theses and ideas. 

Katharina Sieverding was born in Prague in 1944. Her art studies took her to Hamburg and Düsseldorf before attending the class of Joseph Beuys, who eventually made her his master student. After completing her studies in 1972, Katharina Sieverding undertook several trips that took her to China, the Soviet Union, and the United States, which were inspiration and influenced her work.  

As early as the mid-1970s, the artist turned to large-scale photography. The contexts in which Katharina Sieverding thinks are at least as large: no single image is conceivable without the totality of all images, so it is an almost unmanageable web of relationships in which the photographer moves in order to work out her often daring compositions. For this she enters into a permanent confrontation with what is happening worldwide under cultural and economic aspects. 

Her photographic approach led her to participate at three consecutive documenta-exhibitions: At documenta 5 in 1972, where she showed her work “Life death”, at documenta 6 in 1977, which is when photography was finally accepted as an art form and again in 1982 at documenta 7.  

Katharina Sieverding's work "DIE SONNE UM MITTERNACHT SCHAUEN SDO/NASA (Blue) (Venus Transit III, 6.6.2012)" is part of “100 days, 100 works – documenta artists (re-) discovered”-collection on misa.art, which releases one artwork by documenta-exhibited artists during this year's documenta fifteen. 

Portrait: Museum-Frieder-Burda
Katharina Sieverding, ENCODE XIV, 2006
Katharina Sieverding, TESTCUTS I, 1966–1972
Katharina Sieverding, Transformer Cyan Solarisation 5 A/B, 1973/74
Installation Shot: Katharina Sieverding Die Sonne um Mitternacht schauen – Museum Frieder Burda (c) Katharina Sieverding/VG Bild-Kunst, Bonn 2021