Sigune Hamann’s work explores how time, perception, and attention shape the construction and experience of images through interventions and installations. Her research combines experimental approaches in photography, video, and sound with cross-disciplinary inquiry.
Most recently, in collaboration with neuroscientists at the Wu Tsai Institute at Yale (2025), Hamann explored embodied, multi-perspectival aspects of perception, testing and disrupting habits of seeing. This research informs works such as the video and sound installation Throwing like a girl (1980 till tomorrow), the multiple-exposure series Everything is almost present, and her ongoing eye-tracking studies.
Hamann creates environments that involve panoramic film strips, video loops, and image/sound fragments, examining collective and interpersonal experiences. Drawing on modernist strategies – from montage to other expanded image formats such as spatial environments – her projects often integrate fieldwork and archival research, as seen in What is Where? Hannah Höch’s House and Merzbau in Progress.
Born in Frankfurt am Main, Hamann studied at the University of the Arts Berlin and the Royal College of Art, London (MA, Distinction, DAAD Scholar). She has held residencies at Delfina Studio Trust, Künstlerhaus Schloss Balmoral, the V&A Museum, Tokyo Wonder Site, Experimental Psychology at Oxford University, and Yale University.
Her work has been exhibited internationally at venues including CCAM Yale, Kunstraum Düsseldorf, the Istanbul Biennale, Kunsthalle Mainz, the Wellcome Collection, and Transmediale Berlin. She curated Tate’s symposium Stillness and Movement and develops educational collaborations linking art, design and science.
Sigune Hamann is Reader in Art and Media Practice at the University of the Arts London.