- History of postwar art and exhibition practice (Europe; US)
- Canonization and historicization
- Documenta studies
- "Premises of a History of Exhibiting" GAM.14., 2018.
- "Lebender Pop. Bild und Performance im Kapitalistischen Realismus," OwnReality (31), 2017. URL: Lebender Pop. Bild und Performance im Kapitalistischen Realismus (Stand 02.04.2019)
- "Autorappresentazione come 'autospossessamento'? Epigonalità e singolarità ne L'Eroe da camera di Vettor Pisani a Documenta 5, 1972", in Vettor Pisani. Eroica/Antieroica: una monografia, ed. Laura Cherubini, et al., Milan, Electa, 2016, pp. 104–113.
- "Kapitalisierungen des Marginalen", kritische berichte, 3, ed. by L. Barbisan and S. Marguin, 2015.
- "Modes of Making Art History. Looking back at documenta 5 and documenta 6", in Rewriting or Reaffirming the Canon? Critical Readings of Exhibition History, Stedelijk Studies Issue #2, 2015. URL: Modes of Making Art History. Looking back at documenta 5 and documenta 6 (Stand 02.04.2019)
Bremer is a Minerva Fast
Track Fellow at the Bibliotheca Hertziana – Max Planck Institute for Art
History in Rome. Her current research explores the historiographical potential
of the exhibition medium. After studying Art History in Milan, Tours and
Berlin, she obtained her Ph.D. at Freie Universität Berlin in 2017, with a
thesis on the documenta editions of
the 1970s. From 2016
to 2017 she was a Fellow at the Center for Italian Modern Art in New York. From
2011 to 2015 she contributed as a Research associate to the ERC-project
OwnReality at the German Forum for Art History in Paris. In 2013, she worked on
the Harald Szeemann Papers at the Getty Research Institute in Los Angeles as a
Library Grantee. Her research interests lie in postwar art and exhibition
practice, in exhibition history and theory, with a focus on authorship,
canonization, and historiography. Among her forthcoming publications is the book
Individuelle Mythologien. Kunst jenseits
der Kritik, which will be published in 2019 with Edition Metzel/Verlag
Silke Schreiber, Munich.