Maren Lübbke-Tidow works as a writer, editor, curator, and lecturer. She lives in Berlin. Her main interest lies in discussing contemporary photography and its modes of representation in the visual arts. From 2010 to 2014 she was editor-in-chief of the quarterly magazine Camera Austria International (Graz).
Maren Lübbke-Tidow (b. 1968 in Düsseldorf) is an art historian and political scientist living in Berlin. She works as a freelance writer, editor, curator, and lecturer. From 1995 to 1997 she worked at the Museum moderner Kunst Stiftung Ludwig, Vienna, as a curatorial and editorial assistant for the following exhibition projects and catalogues: “Franz West: Proforma” (1996) and “VALIE EXPORT: Split Reality” (1997). In 1996/97 she was furthermore engaged in establishing the archive of VALIE EXPORT. From 1997 to 2017 Maren was involved in the project Camera Austria (AT). From 2011 to 2014 she was responsible not only for the content of the bilingual quarterly magazine Camera Austria International in her role as editor-in-chief, but also for the exhibition program of Camera Austria as curator. Maren has realized various solo exhibitions with different artists, including Wolfgang Tillmans (2007), Annette Kelm (2008), Prinz Gholam / Aneta Grzeszykowska (2008), Artur Zmijewski (2009), Peggy Buth (2010), Tobias Zielony (2011), Selja Kameric / Tatiana Lecomte (2011), Michael Schmidt (2012), Stefanie Seufert / Stefan Panhans (2013), Erik van der Weijde (2014), Sven Johne (2015), Friedl Kubelka (2016), Ingeborg Strobl (2017), and Jochen Lempert (2018). Furthermore, she has co-curated (with Reinhard Braun) numerous group exhibitions, including “Unexpected Encounters” (2013), “Art Is Concrete: And So Is Truth?” (2012), “Communitas: Among Others” (2011/12), “Communitas: The Unrepresentable Community” (2011), “Milk Drop Coronet: 30 Exhibitions on the Virtuosity of Thingness” (2010/11), “Then the Work Takes Place: On the Conceptual in Contemporary Photography II” (2009), “Knowing You, Knowing Me: On Complicity with Images” (2006), “First the Artist Defines Meaning: On the Conceptual in Contemporary Photography I” (2006).Currently a survey exhibition about contemporary still life photography is on view at Kunst Haus Vienna (“Still Life. Obstinacy of Things”, until February 2019).Maren has published contributions in many exhibition catalogues and magazines, the most recent ones (selection) on f/12.02 Projektstipendium (with extensive texts on Ketuta Alexi-Meskhishvili, Gwenneth Boelens, Eiko Grimberg, Tatiana Lecomte, and Sara-Lena Maierhofer, DZ Bank, Frankfurt, 2018), on Still Life Photography (“Obstinacy of Things, Images, Photography”, Eikon International, Vienna, 2018), Francisca Gómez (“Häutungen, oder: Existenzen ausräumen”, Goldrausch Künstlerinnenprojekt, Berlin, 2018), Andrzej Steinbach (“Dissonances”, Camera Austria International, Graz, 2018), and Christopher Williams (“Normative Models”, Kunstbulletin, Zurich 218).Furthermore, she has published monographic essays in catalogues accompanying exhibitions like “Zofia Rydet: Sociological Record”, Museum of Modern Art, Warsaw (Warsaw: Museum of Modern Art, 2018), “Leaves” by Annette Kelm at Kestnergesellschaft Hannover (Cologne: Verlag der Buchhandlung Walther König, 2017), “Belegkontrolle / Document Control” by Peter Piller at Fotomuseum Winterthur (Cologne: Verlag der Buchhandlung Walther König, 2014) or “Jenny Jenny” by Tobias Zielony at Berlinische Galerie, Berlin (Leipzig: Spector Books, 2013).She is editor of the books “Obstinacy of Things. Still Life in Photographic Concepts of the Present” (2018, Spector Books Leipzig); “Friedl Kubelka: Atelier d’Expression” (Dakar) (2016, Edition Camera Austria, Graz) and “Erik van der Weijde, Gebilde” (2014, Edition Camera Austria, Graz).Currently she holds a lectureship at the School for Artistic Photography Vienna.