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DFG-Centre for Advanced Studies Imaginaria of Force

Photo: pixabay

Sabine Scho

Photo: Matthias Holtmann

Curriculum

Sabine Scho, born 1970 in Ochtrup (NRW), lives today in Berlin after longer stays in Münster (1990-1999), Hamburg (2000-2005) and São Paulo (2006-2014).

Almost all of her texts are located in between photography and image.

Two volumes of poetry and one of prose miniatures have been published by Kookbooks: Album and farben, both 2008, and Tiere in Architektur 2013.

The art magazine The Origin of Senses was created in 2015 as part of an artistic intervention for the Museum für Naturkunde Berlin with drawings by Andreas Töpfer; it has been accompanied by the exhibition of the same title.

Most recently, she was awarded the Deutscher Preis für Nature Writing in 2018 and the Deutsche Akademie Villa Massimo Scholarship 2019/2020.

In the winter term 2018/19 and summer term 2019, she taught Ungewisse Formate at the Deutsches Literaturinstitut Leipzig.

Books and exhibitions

Publications (selection)

  • Thomas Kling entdeckt Sabine Scho. Gedichte. Europa-Verlag, Hamburg/Wien 2001, ISBN 3-203-84304-8.
  • Album. Gedichte. Neu gestaltete Wiederauflage des im Europa-Verlag erschienenen Bandes bei kookbooks, Idstein 2008, ISBN 978-3-937445-29-8.
  • farben. Gedichte. kookbooks, Idstein 2008, ISBN 978-3-937445-34-2.
  • Frauen-Liebe und Leben. Variation zu Adelbert von Chamisso zusammen mit Ulf Stolterfoht, hochroth Verlag, Berlin 2010.
  • Tiere in Architektur. Texte und Fotos. kookbooks, Berlin 2013, ISBN 978-3-937445-58-8.
  • The Origin of Senses : an Intervention; [ein Modellprojekt des Museums für Naturkunde Berlin und der Kulturstiftung des Bundes ; erscheint zur Ausstellung im Museum für Naturkunde Berlin, 27.08. – 29.11.2015] / Sabine Scho; Andreas Töpfer. [Übers.: Ann Cotten]. Museum für Naturkunde, Berlin 2015, ISBN 978-3-9815029-7-8.

Research project: Lungerland is stretched out - the strength of letting go

Humans are always intervening in their environment, usually with long-term goals and plans and far too often without being aware of the consequences of their actions.

Can art and literature encourage us to practice taking a step back and letting go? What would that look like? Add nothing and take nothing away, can that be learned? How? Where? Ex negativo, on a whaler, as Hermann Melville himself experienced and wrote down on the whale value chain?

Nothing is given to you as a gift, except life. But what is a given life without given time? Does literature perhaps provide us with this time? Time to observe, time to think, time to let something be and be as it is? But how is it? And how to write about it? Weren't reading and writing themselves already considered pernicious, because in the meantime we let too much and create too little? These questions will be explored with the help of selected text examples and writing exercises.