In recent years, Pia Rönicke has been investigating different botanical collections. Her interest in herbariums stands in relationship to methods of indexing, including both observation and representation. These plant collections show traces of geopolitical conditions not only within the practices of botany but also map out territorialization. Rönicke attempts to examine the consequences of botanical systemization. She has been researching the perspectives of various female activists, architects, and artists that takes its stance from what she calls the ‘blind spot.’ She is interested in the connection between workspace and filmic space, and how we conceive historical matters in relationship to our daily activities. Rönicke often works with archives of letters, notes, images, newspapers, microfilm and online databases, and the theme of collecting is often recurring in her practice. She works with film, prints, sculptures and objects, which together build larger narratives.

Pia Rönicke is an artist based in Copenhagen. Her work has been the subject of numerous international solo exhibitions including; Overgaden Institute of Contemporary art; Museo Tamayo, Mexico City; gb agency, Paris; Montehermoso, Vitoria-Gasteiz; Casco, Utrecth; Croy Nielsen, Berlin; Lunds Konsthall, Sweden; Tate Modern, London; Display Gallery, Prague; Trafo Gallery, Budapest; MAK, Los Angeles; Moderna Museet, Stockholm. Rönicke’s work has also been featured in many group exhibitions, including Apexart, New York; GIBCA, Göteborg; Henie Onstad Kunstsenter (HOK), Oslo; Contemporary Arts Center (CAC), Cincinnati; Tensta Konsthall, Stockholm; MAK, Wien; Elizabeth Dee gallery, New York; Wiels, Bruxelles; Gallery TPW, Toronto; CASM, Barcelona; Lisson Gallery, London; Quadrennial for Contemporary Art, Copenhagen; Sala Rekalde, Bilbao; Artists Space, New York; Dundee Contemporary Arts, Scotland; Centre d’Art Contemporain Genève; Kunsthal Charlottenborg, Copenhagen; ARGOS, Brussels; Palais de Tokyo, Paris; Stadtkunstverein, Berlin; Kunstverein München; ACCA, Melbourne; Utopia Station, Venice biennale; Busan Biennale, Korea; Manifesta 4, Frankfurter Kunstverein; Museum of Modern Art, Oxford.