A key figure of German political art movements in the 1990s, Alice Creischer centers on the process of inquiry to illuminate particular political histories of given contexts. Adopting prop-like devices and meticulously crafted and sewn objects, Creischer choreographs spaces that deconstruct given historical relations. Extending beyond artistic production, Creischer has also been prolific in her critical writings and curatorial projects.
In his works, Andreas Siekmann discusses the process of economisation and privatisation of public urban space. His drawings, models, videos, exhibition projects and works in public space criticise and ironically represent the dominating power relations and propose alternative and counter-approaches.
Creischer and Siekmann work both collaboratively and individually. They curated the exhibition project Violence is at the Margin of All Things at the Generali Foundation in Vienna (2002), and Ex-Argentina — Steps for the Flight from Labour to Doing (2004) at Museum Ludwig in Cologne. They participated at Documenta 12 in Kassel with the opera Auf einmal und gleichzeitig. Eine Machbarkeitsstudie zur Negation von Arbeit. In 2010 they curated, with Max Jorge Hinderer, The Potosí Principle which addressed the circulation of art and wealth during Spanish colonial rule, the relationship between trade structures and ways of thinking in Latin America and Europe and their social effects on both continents.