Saskia Senge

In Saskia Senge's ( b. 1985, Gifhorn, FRG) work, form and meaning go back to various formal and allegorical forms of existence determined by use, trade, memory and mass production. The tension between systems of representation and personal experience is at the centre of her work. Saskia Senge investigates how different kinds of meaning shift, how they can be transferred to or separated from objects, and how complexity can be made directly tangible for our senses. Her works often resemble an abstract syntax or code that acquires new meaning with each recombination of the available sculptural vocabulary. Saskia Senge recognises in each of these manifestations merely one possible variant among many. Thus, her sculptures represent idiosyncratic processes that fit into an already existing chain of material transformations and symbolically charged transformations.



Slices of Life
If you think about...
Cha Cha Cha
Engaged in certain types of abilities

Each part is a ‘slice of life’: a baseball cap emblazoned with the Amazon logo, a lighter, a Mega Mushroom from Mario’s kingdom, an energy drink in a can. It could be that this existence is estranged, deformed, perhaps even false. Though a world that is estranged, deformed, and likely false could of course yield no other kind of existence. These things are dismal and, simultaneously, our sole source of solace. They function as relics of a false everyday life, albeit the only everyday life available, gathered and lined up, like a diary entry. And yet they are still too bound to this reality, too present, to truly be relics. They cannot be separated from this present world. They and their world are one and the same. Once they start to separate, when they are ever so slightly ‘past’, it becomes easier to reflect on them.

Saskia Senge, 2015

turning a pair of socks
from outside to inside
this move is supported by reflections
which touch a field of:
gaps fragments findings
put into a materialized play
related on fleeting moments of walking between
hangzhou and datangzhen
threat detail functional recycled
being foreign
being stirred
searching observing
connecting with previous thoughts or images
these connections may in turn intersect with encounters
or they may lead to a „cinematographic“ cut in my reasoning


Chewing Gum | 2018 

Saskia Senge präsentiert | 2014



swo͝oSH, Galerie K', Bremen

im Interim, Galerie K ́, Bremen

ton not. not ton., Kunsthalle Münster
Weberknechte, Hinterconti, Hamburg
Saloon/Salon, Fleetstreet, Hamburg
Facing the Desert, Künstlerhaus Sootbörn, Hamburg
Abbruch aller Moderne, Galerie K ́, Bremen
EXPOSING BOXES, Hafencity, Hamburg

SHROOM! Shop, MMS Artspace, Bremen
SHROOM!, Fleetstreet, Hamburg
Slices of Life, Sammlung Falckenberg
Eat that story, Red Zone Gallery, Los Angeles, USA

Saloon/Salon, Frappant, Hamburg
im Interim, Galerie K ́, Bremen
SHROOM!, HALLO: Festspiele 2019, Hamburg

Nominees (Hamburger Arbeitsstipendium für bildende Kunst), Kunsthaus Hamburg
Sensible Moments, Frappant, Hamburg
#Aktion 244, 2025 e.V., Hamburg
ja! ok.- / soft and low, Mom Art Space, Hamburg
Glas Herz Fenster, Il Caminetto, Hamburg
Universales Universum, Der Mixer, Frankfurt
Finger Food Satt in The Colour of the Narrative, Frappant, Hamburg

Kombi 5, Gruppenausstellung, Kunstquartier Bethanien, Berlin
Mit Pflanzen kartographieren, HfBK, Hamburg

Essen Wie Ein Park, Mensa, HfbK Hamburg

This Is The Subject We Have, Frappant Hamburg
Perspektive Datangzhen (Gruppenausstellung), Zheijang Museum, Hangzhou, China

real DEAL, Gaga Miki Show, Pudel Club Hamburg

Stillgelegte Euphorie, WW the smallest gallery, Graz, Österreich
Saskia Senge: Präsentiert Nr.3, im Rahmen von Kollektiv Klunker, Bundeskunsthalle Bonn

Projects (selection)

HALLO: Festspiele 2019, Kuration BUILDING mit Julia Jost, Kraftwerk Bille
Hamburg SHROOM! ongoing project of Marvin Moises Almaraz Dosal, Saskia Senge, Gesa Troch
Saloon/Salon ongoing project of Sarah Draht, Mona Herman, Gesa Troch, Nina Zeljkovic