On the Float -->

Hello to you all, how do you live?

Rabbit :
We live in small groups, have no fixed partnerships.
Build widely branching tunnel systems,
in which our young are born, naked and blind.
We still reproduce when imprisoned.

Hare :
I live solitary. Sleep in a shallow hollow.
My offspring are born with fur and open eyes.
I have never been domesticated.

Humans :
We don't quite know.
Until we have found out, we wage wars.

Lin May Saeed ( DE /IQ )
*1973 in Würzburg, DE
1995-2001 Kunstakademie Düsseldorf
2003 founding of exhibitionspace
Center, Berlin


2000 Scholarship Studienstiftung des Deutschen Volkes, DE
2006 Scholarship for Sculpture Gasmesserhaus, Zürich-Schlieren, CH
2011 Peter Mertes Stipendium des Bonner Kunstvereins

Teaching Positions:

Guest artist at Malerei Klasse
Prof. Gunter Reski
HfG Offenbach, DE
November 29-30, 2018

Guest artist peinture departement
Prof. Emmanuelle Castellan
ISDAT Art Academy Toulouse, FR
Nov 29-30, 2016

Lecture and Visiting Artist
at The Art Institute Chicago (SAIC)
Columbus Auditorium
Monday, October 1, 2015 at 4.30

Talk at HBK Braunschweig
Hochschule für Bildende Künste Braunschweig)
Johannes-Selenka-Platz 1
38118 Braunschweig
Schnittraum , 8.12.2010 at 7

Lehrauftrag Sculpture
Kunstakademie Düsseldorf 2008/09 - 2009/10



Biennial of Graphic Arts (group show) -->
Ljubljana, Slovenia
c: Slavs and Tatars
June 7-October 8, 2019

Good Space Communities - oder das Versprechen von Glück (group show) -->
Villa Merkel,Esslingen,DE
c: Andreas Baur
June 2nd - September 1, 2019

Lin May Saeed (solo show) -->
Jacky Strenz Galerie
Frankfurt am Main, DE
May 2019

Wildnis/Wilderness (group show) -->
Schirn Kunsthalle
Frankfurt am Main, DE
c: Esther Schlicht
November 1, 2018 - February 3, 2019


Lin May Saeed (solo show) -->
Studio Voltaire, London, UK
curated by Joe Scotland / Nicola Wright
opening Thu, June 28, 2018 - Sat, 25 August 2018

Class Reunion/Klassentreffen (group show) -->
Works from the Gaby and Wilhelm Schürmann Collection
museum moderner kunst stiftung ludwig wien
Saturday June 23, 2018 to Sunday, November 11, 2018

Metamorphosis (group show) -->
c: Chus Martínez, Museo Castello di Rivoli, Turino, IT
until September 2, 2018

Splendor Solis (group show) -->
The Approach
London, UK
June 27 - September 23, 2018

Predatory behavior (group show) -->
T293 Gallery
Rome, IT
22 June - 28 July, 2018

Neuer Norden Zürich (group show) -->
Public Art in Schwamendingen, Oerlikon, Seebach
Zurich, CH
c: Christoph Doswald
June 9th - September 2nd, 2018

IWBYD II (group show) -->
Animal Liberation in der aktuellen Kunst
Künstlerhaus Dortmund, DE
5. Mai bis 1. Juli 2018


La fin de Babylone (group show) -->
c: Chus Martínez, KölnSkulptur #9
Stiftung Skulpturenpark Köln
Cologne, DE

Lulu Exhibition Space (solo show) -->
c: Chris Sharp, Mexico City, MX

The Happy Fainting of Painting #II (group show) -->
Krobath Galerie, Vienna , AU
curated by Hans Jürgen Hafner & Gunter Reski
opening Thu, June 14, 2017 7.p.m. , 15/09. - 14/10.2017

Commercial Street exhibition space (group show) -->
283 Commercial street
Provincetown MA, USA
curated by Tyler Murphy
August 15- September 15, 2017


Animal Lovers (group show) -->
curated by Anne Hölck, Mareike Maage, Friederike Schmitz, Hörner/Antlfinger
October 10 - November 27, 2016
Neue Gesellschaft für Bildende Kunst/ NGBK Berlin

Lin May Saeed (solo show)
Nicolas Krupp Galerie Basel, Switzerland
Opening: 02.09.2016, 6 pm (season's opening)
3 September - 29 October 2016

Trumpets (group show)
Bianca D´Allessandro Gallery Kopenhagen
June 3 - July 2, 2016

9th Berlin Biennale for Contemporary Art -->
Akademie der Künste Berlin
by invitation of Matthew Linde/Center for Style (group show)
June 4 - September 18, 2016

Comedy Club (group show)
by invitation of Burkhard Beschow, Anne Fellner and Jens Einhorn
Umspannwerk Richardstraße 20, Berlin-Neukölln
April / May 2016

X. Bienal de Nicaragua. (group show)
Fundación Ortiz Gurdian, NIC
by invitation of Sam Lipp and Miguel Bendana
February 11 - 15, 2016

Lin May Saeed (solo show)
Jacky Strenz Galerie, Frankfurt/Main
until April 4, 2016


Lecture and Visiting Artist
at The Art Institute Chicago (SAIC)
Columbus Auditorium
Monday, October 1, 2015 at 4.30

The Skyscraper / a horizontal view (solo show)
Julius Casear
C: Maddie Reyna
Opening Sunday October 11, 1-4 pm
Julius Caesar
3311 W. Carroll Ave.
Chicago, IL 60624, USA

Blocking (group show)
Martos Gallery, Los Angeles, USA
C: Jesse Stecklow

Animal Turn - die Hinwendung zum Tier (group show)
Städtische Galerie Waldkraiburg, DE
C: Elke Keiper


Corruption Feeds (group show)
Bergen Kunsthall, Norway
opening 31st october 2014
31/10 - 8/12 2014

Notes on animals (solo show) -->
Thomas Flor Galerie, Berlin


Interview WDR 5/ broadcasted 18.12.13 /german -->

Der Wolkenkratzer / Skyscraper -->
Jacky Strenz Galerie, Frankfurt/Main
Opening 15.11.2013, 19-21 h

Grane (solo show)
Jacky Strenz Galerie, Frankfurt/Main
7.9.- 26.10.2013

Blockupy -->
Bilder des Modells
"Der Wolkenkratzer"
with Melanie Bujok

Lin May Saeed - Stanislava Kovalcikova
dok 25a Projektraum
T. Langenkamp / A. Schön, Düsseldorf
until 15th April 2013

Available now:
Recipes from Iraq -->


The Worldly House
An archive inspired by Donna Haraway's
writings on multi-species co-evolution
compiled and presented by Tue Greenfort
at documenta 13 in Kassel
contribution to archive
9th June - 16th September 2012

Feierabend (group show)
with Matthias Dornfeld, Lutz Braun, HP Zimmer
reception Berlin / Christine Heidemann
28th April - 9th June 2012
Opening : Friday, 27th April, 6-9 pm

Kunstverein Bonn
9th March - 20th May 2012


Cafe Baltik Bar -->
opening show / Annette Hans
5th - 27th November 2011
S-Bahnhof Hamburg-Altona
Vitrine Gleis 1-2

abc / art berlin contemporary
Galerie Jacky Strenz
solo presentation 5th - 11th September

Dorothea (group show)
C: Matthias Dornfeld
Ancient & Modern gallery
London, GB

Impossible Vacation (group show)
C: Matthew Strauss
White Flags Projects
St. Louis, USA

GELD (group show )
reception gallery

Deli Vegan -->
Kunstverein Schwerte 0809
at Nachtfoyer / Kunsthalle Düsseldorf


Handlung und Tat (group show)
Galerie HBK Braunschweig / Schnittraum

Galerie Thomas Flor,

New Roads of Solidarity
International Anti-repression Congress in Hamburg 2010

organized by :
Wissenschaftlicher Hochschulzusammenschluss zur Erforschung
des Mensch - Natur - Verhältnisses /Uni Hamburg
8th-10th October 2010 Universität Hamburg

Ich Tier !(Du Mensch)
exhibition project
by Cathérine Hug,
Isabel Reiss und
Dimitrina Sevova
Perla Mode / Dienstgebäude Zuerich

Jens Ullrich / Lin May Saeed
Galerie Jacky Strenz

Tiere lesen Text
reading on thursday,
29th December 2009 , 7:00 pm
on the occasion of
"twosome assembly" /
Jens Ullrich in
Kurfürstenstr.5 /5a
10785 Berlin

Der alte Mann und das Meer -->
with work by:
Elfriede Bodem
Salvador Dali
Matthias Dornfeld
Markus Ebner
Chris Lipomi
Lin May Saeed
Jens Ullrich
Johannes Weth
Kurfürstenstraße 174

Ankunft der Tiere
Galerie Jacky Strenz

Open Space /
Presentation Art Cologne
Galerie Jacky Strenz

Diesseits der Alpen : Hunger
Jenseits der Alpen : Durst

Atelier Klaus Winichner

Arm und Reich
Lin May Saeed / Alex Jasch im Glaspavillion
der Volksbühne am Rosa-Luxemburg-Platz

Antispe Kongress
UJZ-Korn, Hannover

Societate su i ma Logica
Kunstverein Schwerte
with Jochen Lempert and Jens Ullrich

This website is about the history of the coexistence of humans and
animals on this earth, from the time in which humans and animals
parted company. Regarding contemporary times, Jacques Derrida spoke
of an "unprecedented subjugation of animals". However, nor were
human-animal relations ever balanced at any earlier point in time.

Riding attempts with fatal outcome

Man on

>> Lion - duration appr. 2 seconds

>> Ostrich - throws man off at high speed. Man suffers a
few small abrasions; resulting in infection with the bird
flu virus > immune system collapses.

>> Stag - runs like lightning through the woods > man succeeds
in holding on to the antlers, sitting more or less upright
> stag runs under a branch, which hits man exactly in the head.
Variation: Stag lowers head at high speed, and then comes to a
sudden halt. Reciprocal penetration of man and antlers.

Since around the mid 70s, the idea of animal rights / animal liberation
has formulated a fundamental civilisation critique, the logic of which
calls into question the whole of cultural history. The logic of which
calls for a new interpretation of cultural history regarding the power
relationships of humans and animals. Under this aspect, the call of
"back to nature", familiar from environmental movements, is also
obsolete. There is no way back. The objective is to develop a world,
in which humans and animals can live peacefully with each other,
beyond historical experiences. The question is where our path is
leading to since we removed ourselves from animals. Even what is
probably our oldest story, the epic of Gilgamesh, is about the
discord between humans and nature.

Excerpt from the english translation of the 1st tablet of Gilgamesh Epic

< >

The goddess Aruru, she washed her hands,
took a pinch of clay, threw it down in the wild.
In the wild she created Enkidu, the hero,
offspring of silence, knit strong by Ninurta.

All his body is matted with hair,
he bears long tresses like those of a woman:
the hair of his head grows thickly as barley,
he knows not a people, not even a country.

Coated in hair like the god of the animals,
with the gazelles he grazes on grasses,
joining the throng with the game at the water-hole,
his heart delighting with the beasts in the water.

A hunter, a trapper-man,
did come upon him by the water-hole.
One day, a second and then a third,
he came upon him by the water-hole.
When the hunter saw him, his expression froze,
but he with his herds, he went back to his lair.

[ The hunter was ] troubled, subdued and silent,
his mood [ was despondent , ] his features gloomy.
In his heart there was sorrow,
his face resembled [ one come from ] afar.

The hunter opened [ his mouth ] to speak, saying [ to his father :]
'My father , there was a man came [ by the water-hole. ]
Mightiest in the land, strength [he possesses ,]
[his strength] is as mighty [as a rock] from the sky.

'Over the hills he [ roams all day,]
[ always] with the herd [ he grazes on grasses, ]
always his tracks [ are found ] by the water-hole,
I am afraid and i dare not approach him.

'[ He fills in the ] pits that i [myself] dig,
[ he pulls up] the snares that i lay.
[ He sets free from my grasp ] all the beasts of the field,
[ he stops ] me doing the work of the wild.

[ His father opened his mouth to ] speak, saying to the hunter:
' [My son , in the city of ] Uruk [ go,seek out ] Gilgamesh!
....................... in his presence,
his strength is as mighty ' [ as a rock from the sky.]

' [ Take the road, ] set your face [ toward Uruk, ]
[ do not rely on] the strength of a man !
[ Go my son, and ] fetch [ Shamhat the harlot, ]
[ her allure is a match ] for even the mighty !

' [ When the herd comes ] down [to] the water-hole,
[ she should strip off ] her [ raiment to reveal ] her charms.
[ He will ] see her and will approach her,
his herd will spurn him , [ though he grew up ] amongst it '

[ Paying heed ] to the advice of his father,
the hunter went off, [ set out on the journey.]
He took the road, set [ his face] toward Uruk,
before Gilgamesh the king [ he spoke these words:]

' There was a man [came by the water-hole,]
mightiest in the land, strength [ he possesses ,]
[ his strenghth] is as mighty as a rock from the sky.

'Over the hills he roams all [ day, ]
always with the herd [ he grazes on grasse, ]
always his tracks [ are found ] by the water-[ hole, ]
I am afraid and i dare not approach [ him .]

' He fills in the pits that i [ myself ] dig,
he pulls up the snares [ that i lay .]
He sets free from my grasp all the beasts of the field,
he stopps me doing the work of the wild.'

Said Gilgamesh to him, to the hunter:
' Go, hunter , take with you Shamhat the harlot!

'When the herd comes down to the water-hole,
she should strip off her raiment to reveal her charms.
He will see her , and will approach her,
his herd will spurn him , though he grew up amongst it. '

Off went the hunter, taking Shamhat the harlot,
they set out on the road, they started the journey.
On the third day they came to their destination,
hunter and harlot sat down there to wait.

One day and a second they waited by the water-hole,
then the herd came down to drink the water.
The game arrived, their hearts delighting in water,
and Enkidu also, born in the uplands.

With the gazelles he grazed on grasses,
joining the throng with the game at the water-hole,
his heart delighting with the beasts in the water:
then Shamhat saw him, the child of nature,
the savage man from the midst of the wild.

'This is he, Shamhat ! Uncradle your bosom,
bare your sex, let him take in your charms!
Do not recoil, but take in his scent:
he will see you, and will approach you.

'Spread your clothing so he may lie on you,
do for the man the work of a woman!
Let his passion caress and embrace you,
his herd will spurn him, though he grew up amongst it. '

Shamhat unfastened the cloth of her loins,
she bared her sex and he took in her charms.
She did not recoil, she took in his scent:
she spread her clothing and he lay upon her.

She did for the man the work of a woman,
his passion caressed and embraced her.
For six days and seven nights
Enkidu was erect, as he coupled with Shamhat.

When with her delights he was fully sated,
he turned his gaze to his herd.
The gazelles saw Enkidu, they started to run,
the beasts of the field shied away from his presence.

Enkidu had defiled his body so pure,
his legs stood still, though his herd was in motion.
Enkidu was weakened could not run as before,
but now he had reason, and wide understanding.

He came back and sat on the feet of the harlot,
watching the harlot, observing her features.
Then to the harlot´s words he listened intently,
[ as Shamhat ] talked to him, to Enkidu:

'You are handsome, Enkidu, you are just like a god!
Why with the beasts do you wander the wild ?
Come, i will take you to Uruk-the-Sheepfold,
to the sacred temple, home of Anu and Ishtar,

'where Gilgamesh is perfect in strength,
like a wild bull lording it over the menfolk. '
So she spoke to him and her word found favour,
he knew by instinct, he should seek a friend.

The Epic of Gilgamesh
Pp. 5-8, Line 101 ff.
Introduction and new translation by Andrew George
Penguin Classics,Revised edition, 2003

On the 'Soma' exhibition
by Carsten Höller
at Hamburger Bahnhof, Berlin
(5th November 2010 - 6th February 2011)

Animals have a right to life, freedom and integrity.
There is no justification for keeping animals
imprisoned. Not for animal experimentation, and
not for food in either intensive or so-called species
- appropriate farming. Only freedom can be species -
appropriate. The 'Soma' exhibition by Carsten Höller
shows a pointless animal experiment in the museum
Hamburger Bahnhof, Berlin. Berlin is already the
capital of animal experiments. In no other city in
Germany are so many experiments performed on animals.
The assumption that art operates in a moral and
social vacuum, is snobbish. There is no justification
for structural violence against animals through L'art
pour l'art
, especially not through art which boarders
on science. The animal is the unreachable.
Animals must be liberated.

Human Animal - Derrida, Agamben, Coetee and the unexpected
return of the creature
By Ullrich Raulff

All his life, the author dreamt of an animals' revolt. As if
he came from the realms of an "inverted world", he conceived
an overthrow of the archaic order, which had placed humankind
as lord over the life and death of animals. And yet he knew
that the day of justified rage would not come: "It hurts me
that it will never come to an uprising of the animals against
us, the patient animals, the sheep, all creatures that are at
our mercy and can not escape." Still, Canetti imagined with
relish how a rebellion arising from a slaughterhouse cascaded
over a city; how men, woman, children and the elderly were
trampled to death; metro carriages flattened by raging oxen
and people mauled by sheep with blood lust. Till this day no
such overthrow has occurred. Even if, in the hay day of BSE,
it looked as though this were the substitute for the revolt of
tormented nature, her long march, as it were, through the
institutions of food - the uprising of the animals remains to!
be seen. In the meantime, something else is happening: a
return of animals in human thought, an intellectual revolt in
the name of animals.

Ambitious art journals, such as frame produce special issues
("The Dog Issue"), a popular magazine like Brigitte has had
prominent authors write about animals. In the year 2000 the
City Gallery of Karlsruhe showed the exhibition "Challenge:
Animal. From Beuys to Kabakov", 2001 "The Animal in Me" could
be viewed at Baden-Baden, in a few weeks the Dresden Hygiene
museum will open an exhibition on the subject of "Human and
The picture is similar in literature and philosophy: following
the German translation of J.M.Coetzee's "The Lives of
Animals'" (2000) came Hans Blumberg's "Lions", Hans
Wollschläger's "Animals Watch You" and Elias Canetti's essays
"On Animals". It is known that Jaques Derrida has long been
working on a book about the difference between humans and
animals; the German translation of Giorgio Agamben's most
recent essay, "L´aperto. L´uomo et l´animale" has been
announced for next year. One of this autumn's most important
new releases was the book by the Leipzig anthropologist
Michael Tomasello about the learning behaviour of chimpanzee
and human children.

Stale. That is how the techno futurism suddenly seemed, which
yesterday tried to persuade us that humanity's future lay in
the company of cyborgs and replicates. The future of humanity?
Does not live here anymore. More recently humanism has
discovered a new field - in the carriers of livestock
transporters, behind the bars of zoology research stations, at
the exits of paradise. But was does that mean: new field? In
truth it is one of the oldest. Whenever "western man" has
searched for an answer to the Sphinx, he has turned to brother
animal: Who are you, and who am I? From Aristotle through
Descartes to Heidegger, the way to the human seemed to be via
the division from the animal. The zoon politikon, the animale
rationale, the animal that can laugh, do politics, exterminate
its own, and reflect upon itself, assert its specific
difference. On the other hand, whenever the humanism of the
West hits choppy waters, the figure of the animal emerges on
the horizon as enticement, threat or promise. Was it
coincidence that Friedrich Nietzsche, overcome by sympathy,
broke down, embracing an abused animal? If humanism's first
word is separation from the animal, its last is brotherly
identification. And perhaps it is this ability to empathise -
as the innermost core of the humane - which is now in question
and places the animal before us anew as the final puzzle and

For the philosophical anthropology of the twentieth century,
there was never a doubt that the difference between human and
animal had to be more than a minor evolutionary advancement, a
comparative intelligence or a superior technical competence.
But wherein did this singular quality lie? In his most recent
essay, "L'aperto", the Italian philosopher, Giorgo Agamben,
traces Martin Heidegger's train of thought, upon which he had
embarked in the winter semester or 1929/30 in one of his most
important lectures. For Heidegger, the animal was poor in
world (weltarm), the human, world-forming (weltbildend). The
animal, says Heidegger, alluding to Uexküll, lives imprisoned
in its disinhibinting ring (Enthemmungsring) - a cycle of
needs and environmental excitations, in which it is captivated
(benommen). The animal's environment may be "open", but it is
not evident, as it is to the unveiling world of existence

Most original in this thought, as despotic as it is nit
picking, is its terminology. As far as contents are concerned,
Helmuth Plessner, who wrote about "Animal and Human" (sic!)
only a few years later, was clearer. Plessner uses the human
"mind" (as opposed to "intelligence", which animals also have)
as the supreme criteria: the basic principle governing the
animal is security in its environment. In the human, the
closeness of the vital circle opens - the other as the other.
This is also a telling difference between the two thinkers:
for Plessner it is love, which opens up a world for humans
beyond eating and sleeping - for Heidegger it is boredom. In
boredom, the Dasein (existence) notices its "captivation", and
through this, overcomes it. But whether one defines the
difference between animals and humans according to
idealistically (spirit/mind) or existentialist-ontologically
(Dasein), the number of people who regard all this focus on
terminology a! s false and suspect the predator, man, behind
it is growing. In the novel "The Lives of Animals",
J.M.Coetzee has one of his narrators voice the suspicion that
"all this discussion of consciousness and whether animals have
it is just a smokescreen. At bottom we protect our own kind.
Thumbs up to human babies, thumbs down to veal calves."

The distinctions of philosophy as a license to kill? Only the
comparison made in the same novel by the main figure, a wilful
old writer, is considered to be truly obscene. She compares
industrial slaughter, the mass murder of animals, with the
Nazi murder of Jews. She can, she says, no longer comprehend
how all the nice people around her can continue to eat corpses
and exhibit fragments of corpses: 'It is as if I were to visit
friends, and to make some polite remark about the lamp in
their living room, and they were to say, "Yes, it's nice,
isn't it? Polish-Jewish skin it's made of, we find that's the
best, the skins of young Polish-Jewish virgins. '"

A cynical point, a brutal punch line. How a historical
argument can be developed from this, may be seen in the
recently published book by the historian, Charles Patterson,
going by the title of "Eternal Treblinka. Our Treatment of
Animals and the Holocaust". Patterson relocates the birth of
the Holocaust to the slaughterhouses of Chicago. In his worst
chapter, ("Killing Centers in America and Germany"), he cuts,
as in a film, the most brutal slaughterhouse images against
the most awful scenes from the murder of the Jews. He
(knowingly) risks a new animal form of historical revisionism.
This time it isn't the Bolsheviks who started it all, as with
Ernst Nolte, but the Americans, who mechanised killing with
their slaughterhouses, thereby providing the Nazis with a role
model for their extermination machines. One has to ask whether
the author is not using the murder of the Jews primarily to
scandalise the crimes against animals - with a sure grasp at
historical ! superlative. After all he can cite a prominent
referee: the Nobel Prize winner, Isaac Bashevis Singer. All of
Singer's characters thought like Herman Broder, the hero of
the story "Enemies", who felt zoos to be another type of
concentration camp and could not rid himself of the idea that
"in their behaviour toward creatures, all men were Nazis". It
was also Singer, the author who loved animals, who coined the
phrase, "for the animals, it is an eternal Treblinka". It
seems as though this comparison today sets the point of origin
for humanism discourse. Yet not all authors are prepared to
stay at this point. Giogio Agamben, for example, like Adorno
before him, sees the dangers that lie in accepting the
Holocaust as the final word in history. He writes in
"L'aperto" that one would completely misconceive the
+totalitarian experiences of the twentieth century if one only
considered them under consideration of nationalism and
imperialism. Today another, more extreme political exercise is
at stake: the fact of the biological or "naked" life of
peoples. Seen in this way, nationalism was not the terminus,
rather one course for the bio-political experiments of the
twenty first century or, in Agamben's words, "for the integral
management/cultivation of biological life, and that means the
animality of humans."

Jacques Derrida also sees (in L'Animal que donc je suis") an
unprecedented subjugation of the animal" as the mark of a
worsening history of "coexistence": "All the world knows what
an unbearable picture of terror a realistic painting could
create out of the industrial, chemical, hormonal, gene-
technical violence that the animal has had to take from humans
for the past two centuries." For Derrida, the question is not
whether this was genocide or not. Certainly, he says, there is
an animal genocide: ("The number of species that are
disappearing at the hands of humans takes one's breath away.")
But how is it possible, Derrida asks, that humans keep the
suffering that they cause to those they see as animals so
completely covered and hidden: "For that, which has bee
happening for two centuries is a new type of examination, a
test of sympathy."

From Aristotles to Heidegger, talk about animals had always
circled around have and can, around the possession of sense
and the ability to use techniques. Jeremy Bentham first asked
the deciding and acceptable question: Can they suffer? In this
question, according to Derrida, is the most radical way of
thinking about the finality and mortality that humans share
with animals. In the worsening relationship to animals over
the past two hundred years, the watermark of a war has become
visible; a war that has raged over sympathy. Without a doubt,
this war is ageless, but it has arrived at a critical phase
and we with it."

No one knows what the outcome of this critical phase will be.
The management of the naked, animalistic lives of humans - and
animal populations? The undeclared war at the core of
civilisation, which calls itself human, continues. The
animals' revolt remains postponed. Nor is a revolt of humans
for their animalistic nature in sight.

Ulrich Raulff (Süddeutsche Zeitung, 26.10.2002
and Texte zur Kunst, p.136-139, issue no.50,2003)

One could go so far as to call humanity the species that
failed in its being and remaining an animal. (...) Cultural
historians have recognised that with becoming sedentary, the
relations between man and animal also came to a new aspect.
With the taming of humans by houses, a new epoch of the pet
began. Their binding to the human's houses is not just about
taming, but also training and breeding.

Man and his pets - the story of this incredible cohabitation
has not yet been adequately depicted; much less have
philosophers to this day wanted to believe what they should be
doing right in the middle of this story (...)

Peter Sloterdijk, "Regeln für den Menschenpark", p.48 ff.,
Suhrkamp Verlag, 1999

---> Industrialization
essays by
Thomas Macho
Melanie Bujok
Moshe Zuckermann


"Lin May Saeed at Studio Voltaire 2018 -->
Gilda Williams, ARTFORUM (Nov 2018 issue and online)

Biene - Lin May Saeed 2018 - Studio Voltaire -->
Cleo Roberts, Art Asia Pacific Magazine, online

Lin May Saeed at Contemporary Art Daily -->
August18, 2018

That Summer Feeling: Eight Unmissable London Shows -->
Elephant Magazine - online
by Louise Benson
July 28, 2018

Lin May Saeed at Studio Voltaire, London -->
by Karim Crippa, Exhibitionary
July 2018

Lin May Saeed - Bees -->
by Julie Anderson, The Story Bazar
June 30, 2018

"Lin May Saeed´s Slow Burn"
by Chris Sharp in Mousse Magazine April/May 2018, #63
download pdf of print version -->
link to text at Mousse online -->

"Lin May Saeed at LULU Mexico City 2017" -->
Owen Duffy , FRIEZE (Jan 2018 and online)
Nov 25, 2017

"Lin May Saeed at LULU Mexico City 2017" -->
Contemporary Art Daily 11/2017
November 13th, 2017

"Lin May Saeed at LULU Mexico City 2017" -->
Magali Arriola, FRIEZE online
Oct 24, 2017

"The World Without Us" -->
by Alex Jovanovich, Artforum
August 11, 2017

"Lin May Saeed at Nicolas Krupp" -->
Aoife Rosenmeyer, "Art in America"
Dec 12, 2016

"Lin May Saeed at Nicolas Krupp 2016" -->
Contemporary Art Daily 11/2016
November 2nd, 2016

"Lin May Saeed at Jacky Strenz 2016" -->
Contemporary Art Daily 04/2016
April 4th, 2016

"Contributors picks at Art Space" -->
by Forrest Nash
Nov. 23, 2015

"Lin May Saeed at Julius Caesar Chicago 2015" -->
Contemporary Art Daily 11/2015
November 20th, 2015

"Lin May Saeed at Thomas Flor 2014" -->
Contemporary Art Daily 11/2014
November 13th, 2014

"Lin May Saeed at Jacky Strenz 2013/14" -->
Contemporary Art Daily 01/2014
January 8th, 2014

Radio Portrait on Lin May -->
WDR5, 10.41 min (german language)
December 18th 2013

"Auf Wagner Pfeifen" -->
Christoph Schütte, FAZ
Rhein-Main Kultur, 19.10.2013

"Lin May at Jacky Strenz" -->
Contemporary Art Daily 10/2013
October 14th, 2013

"Lin May at Bonner Kunstverein 2012" -->
Contemporary Art Daily 05/2012

"Die Kunst und das liebe Geld" -->
Kito Nedo
Berliner Zeitung, 25.1.2011

"Altarbilder unserer Zeit" -->
Swantje Karich, FAZ
Kunstmarkt, 27.2.2010

"Lin May at Thomas Flor 2010" -->
Contemporary Art Daily 12/2010
December 20th, 2010

"Lin May and Jens Ulrich at Jacky Strenz 2010" -->
Contemporary Art Daily 02/2010
February 23rd, 2010

"Lin May at Jacky Strenz" -->
Contemporary Art Daily 07/2009
July 28th, 2009

"Frau mit Hund"
Christoph Schütte, FAZ
Rhein-Main Kultur, 10.6.2009

"Beziehungen zwischen Mensch und Tier" -->
Fenja Braster, Interview mit Lin May Saeed, 25.3.2006
Terz, Autonome Stadtzeitung Düsseldorf

"Malerischer Herbst"
Ulrike von Götz, 4.9.2005
Welt am Sonntag

"Materielle Rätsel der Gegenwart"
Wiebke Hüster, FAZ
Kunstmarkt, 26.3.2005


"Recipes from Iraq"
Vegane Rezepte aus dem Irak
mit Texten von Abbas Khider, Melanie Bujok und Lin May Saeed
Publikation für Peter Mertens Stipendium 2011
erhältlich über Bonner Kunstverein

"Ein Neger mit Gazelle" Lin May Saeed
Edited by. Uta Grosenick, 2004, Revolver Frankfurt /Main

"The Epic of Gilgamesh"
1999 /2003. Retranslated by Andrew R.George,
Penguin Books Ltd., London

"Das steinerne Herz der Unendlichkeit erweichen",
2007, Hrsg. Susann Witt-Stahl, Alibri Verlag, Aschaffenburg

"Dem blutigen Zweck der Herrschaft ist die Kreatur nur Material"
2007 , Hrsg. TAN, Hamburg



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