Committee 2023

The artist(s) will be chosen from a shortlist recommended by a diverse group of advisers (The Sussmann Foundation Committee) who have been selected based on their experience, knowledge, and their commitment to the principles of the Anni and Heinrich Sussmann Foundation. For 2019 we added the Award winners of 2015 and 2016, and 2017 to the committee. The Sussmann Foundation Committee 2019 is made up of the following persons:

The Sussmann Foundation Committee 2019 is made up of the following persons:

Marina Naprushkina (BLR, DEU)

Born in 1981 in Minsk (Belarus), living in Berlin, is an artist and activist. Deals with the relations between society, politics, and art – as well as highlighting human rights abuses through her artistic work and activities.

The emphasis of her practice lies on project work outside the white cube, In the public sphere, and has social and political relevance, examining the current regimes with the use of both artistic, social and political means as well as in disseminating her ideas to a broad public, engaging all social groups, from intellectuals to the working class. In her practice, Naprushkina engages in a critical analysis of today’s Belarus, attempting to affect change as well as encouraging civic participation and a broader democratic society.

In 2007, Naprushkina founded the Office for Anti Propaganda. Started as an archive of political propaganda, the “Office” drifted to become a political platform in cooperation with activists and cultural makers initiates and supports political campaigns, social projects, organizes protest actions, and publishes underground newspapers.

In 2015 Naprushkina was awarded with the Anni and Heinrich Sussmann Award of artistic work committed to the ideal of democracy and antifascism.



Minna Henriksson (FIN)

(b. 1976, Oulu, lives in Helsinki) is a visual artist who works with a disparate range of tools including text, drawing, linocut and photography. She studied art in Brighton, Helsinki and Malmö. Her work is often collaborative, and relates to the anti-racist, leftist and feminist struggles. In the recent years her work has often dealt with archives and histories. Her work is research based and engages with covert political processes that appear to be neutral or natural.

Among her recent works are an installation addressing the history of race science in Nordic countries, investigation into the swastika symbol in Finland and its uses and meanings historically and today, observations of the relation of occultism and racism through the work and legacy of Nicholas Roerich, and a series of lino prints about struggles by paper industrialists in Finland against leftist organising and for profiting from the South African apartheid regime. Since 2006, Henriksson has had an ongoing theoretical engagement on contemporary art and nationalism together with Sezgin Boynik focusing on the Balkan and Nordic regions.

Henriksson co-edited book Art Workers – Material Conditions and Labour Struggles in Contemporary Art Practice (Helsinki/Tallinn/Stockholm 2015) focusing on art workers’ labour conditions in Finland, Sweden and Estonia. Henriksson is active in Helsinki in leftist artists’ association Kiila.

Henriksson has exhibited her work broadly in international exhibitions, among others in the 3rd Actually, the Dead Are Not Dead, 3rd Bergen Assembly; Stasis – Taking the Stand, 7th Thessaloniki Biennial; Time Is Now, 2nd Wuzhen Contemporary Art Exhibition; Tunnel Vision, 8th Momentum – Nordic Biennial for Contemporary Art; The Lenin Museum in Tampere; History Unfolds in Swedish History Museum, and at the online platform of documenta studies in Kassel.

In 2017 Henriksson was awarded with the Anni and Heinrich Sussmann Award of artistic work committed to the ideal of democracy and antifascism.

Nat Muller (NLD, GBR)

An independent curator and writer. Her main interests are image politics and contemporary art in and from the Middle East. Recent exhibitions include Spectral Imprints for the Abraaj Group Art Prize in Dubai (2012); This is the time. This is the Record of the Time at Stedelijk Museum/American University of Beirut Gallery (2014/15); the A.M. Qattan 2016 Young Artist of the Year Award at Qalandiya International in Ramallah and The Mosaic Rooms in London; Neither on the Ground nor in the Sky at ifa Gallery Berlin (2019).

She has curated film programs for Rotterdam’s International Film Festival, Norwegian Short Film Festival, International Short Film Festival Oberhausen, and Video DUMBO New York. Her writing has been widely published, and she edited Sadik Kwaish Alfraji’s monograph (Schilt Publishing, 2015) and Nancy Atakan’s monograph Passing On (Kehrer Verlag, 2016). Her AHRC-funded Ph.D. project at Birmingham City University researches science fiction in contemporary visual practices from the Middle East. She curated the Danish Pavilion with Larissa Sansour for the 58th Venice Biennale.

Ivor Stodolsky  (FRA, DEU, FIN)

Co-Founding Director and Curator of Perpetuum Mobile and an internationally active curator, writer, and theorist. He received a joint honor in Philosophy and Mathematics at Bristol University and completed his MRes at the London Consortium (Birkbeck, Tate, BFI, ICA). His doctoral research at Helsinki University was centered on the Russian cultural underground of the 80s and 90s. During his time in academia, he was a CIMo and Ehrenrooth Fellow and worked for several years at the Alexander Institute. Prior to this, he worked in global media as Associate Editor of Project Syndicate, ‘The World’s Opinion Page.’ Earlier, he co-founded alternative art projects and spaces in London, Vienna, and St. Petersburg. Today, aside from curating and institution-building, Ivor is an editor and contributor to journals and publications and a speaker on art, politics, and philosophy.

Ivor has curated exhibitions and events at international biennials including the Arts Assembly (Manifesta, Murcia 2009), the Perpetual Pavilion (Venice Biennale 2009), the Street Art Assembly (Ekaterinburg Biennale 2012), Re-Aligned+Media Impact (Moscow Biennale 2013), the School of the Displaced (Kiev Biennial, 2015) and the AR Pavilion (Athens Biennale, 2017), along with participation as a speaker at others, including Dak’Art (Senegal, 2016). Museum shows include “The Raw, The Cooked and the Packaged – The Archive of Perestroika Art” at Kiasma – Museum of Contemporary Art Helsinki(2007), “Re-Aligned Art from Russian, Ukraine and Belarus” at Tromsø Kunstforening (2013) and the series “Outside Insiders– Pluriculturalism in Contemporary Art and Culture” at Moderna Museet Malmö (2013-2014). In public space, Ivor has curated events such as “Re-Public – Russian Art in the Streets” (Kiasma, Urb Festival 2013), and the 10-day “To the Square 2” (Checkpoint Helsinki/Helsinki Festival, 2014) and “Safe European Home” (Hungaricum, Berlin, 2014). He has also contributed to galleries and art-spaces such as Another Vacant Space (2009), Momentum (Kunstquartier Bethanien, Berlin 2014), and Forum Box (Helsinki 2014). He has taught and held workshops at academies, including CAFA (Beijing 2011), Aalto University (Helsinki 2011), and the Beaux-Arts (Paris 2012).

Eve Sussman (USA, GBR)

Works with film, video, installation, and directs performances. Her film work attempts to re-invent and question the form, often incorporating aspects of chance operations. Sussman’s whiteonwhite:algorithmicnoir is a film which edits live as you watch and never repeats the same way twice. Last year, 89 seconds at Alcázar, a signature piece based on “Las Meninas,” was ‘atomized’ –– broken into 2304 pieces and made available on the blockchain through, allowing hundreds of people to share the artwork. Most recently, Eve has been directing a dance piece, Madison Color Theory, that has no locked choreography; the instructions channeled live to the performers. Together with Simon Lee, Sussman co-founded the Wallabout Oyster Theatre, a micro-theatre run out of their studios in Brooklyn. They have been developing new channeled performance works, including …and all the reporters laughed and took pictures.., and What Lies Behind, a performance/installation culled from dialogues of famous liars. Their video project, No food No money No jewels, was commissioned by the Experimental Media and Performing Art Center–EMPAC. Sussman and Lee are also acting as producers for Jack & Leigh Ruby, two reformed criminals, who are now making films and performances based on their previous career as confidence artists.

Sussman’s work has been shown in institutions and film festivals internationally, including exhibitions at the Reina Sofia in Madrid, The Museum of Modern Art in New York, The Whitney Museum in New York, The Louisiana Museum in Denmark, The National Gallery in London, Leeum Museum in Seoul, Korea, and Musée d’art Contemporain de Montréal.

Film Festivals include Sundance, Toronto International Film Festival, Berlinale, and the Moscow International Film Festival. Her live-editing algorithmic movie whiteonwhite:algorithmicnoir is in the collection of the Smithsonian American Art Museum in Washington DC.


Heba Y. Amin (EGY, DEU)

Heba Y. Amin grounds her work in extensive research that looks at the convergence of politics, technology, and architecture. Techno-utopian ideas, as manifest in characteristic machines of colonial soft power, are at the heart of Amin’s work. Starting from the idea that landscape is an expression of dominant political power, Heba Y. Amin looks for tactics of subversion and other techniques to undermine consolidated systems and flip historical narratives through critical spatial practice.

Amin teaches at Bard College Berlin, is a doctorate fellow in art history at Freie Universität, and a current Field of Vision fellow in NYC. She is the co-founder of the Black Athena Collective, the curator of visual art for the MIZNA journal (US), and co-curator for the biennial residency program DEFAULT with Ramdom Association (11). She has had recent exhibitions at the 10th Berlin Biennale, 15th Istanbul Biennale. Künstlerhaus Bethanien Berlin, Kalmar Art Museum Sweden, La Villette Paris, FACT Liverpool, Kunsthalle Wien. The Museum of Modern Art in Warsaw, the Kunstverein in Hamburg, Camera Austria, Berlin Berlinale 9th Forum Expanded Exhibition, and the IV Moscow International Biennale for Young Art. Amin also has an extensive repertoire in public speaking and was a recent resident artist at the Künstlerhaus Bethanien residency program in Berlin. Furthermore, Amin is also one of the artists behind the subversive graffiti action on the set of the television series “Homeland” which received worldwide media attention.


Lior Zalmanson (ISR)

Lior Zalmanson is a writer, new media artist, curator, and researcher. He is currently an assistant professor at Tel Aviv University. His works focus on digital culture, online behavior, and the information society. In 2011, Lior founded the Print Screen Festival, Israel’s digital arts festival, which explores themes of digital culture in the audio-visual arts. Acting as the artistic director of Print Screen, Lior has curated dozens of new media exhibitions and performances. In regards to his own art practice, Lior’s first play, Yingale, won the Haifa Fringe festival in 2009 and was produced in both Israel and Serbia. His latest works in film, theatre, and new media were showcased at the Tribeca Film Festival, The Jewish Museum in New York, the Israel Museum in Jerusalem, and the 14 Street Y. In 2016, Lior joined to Metropolitan Museum Media Lab to curate “Intentionally Unfinished” symposium on the notion of unfinished-ness in the digital arts. Lior was also a Fulbright visiting scholar and lecturer to NYU, researching online engagement, participation, and maker-led practices of creative experimentation. His research and writings were published in Wired UK, Art & Science, and Sloan MIT Review, and have received the prestigious Dan David Prize Scholarship.