Cornelia schleime biography samples

Cornelia Schleime

Cornelia Schleime (born July 4, 1953) is a German catamount, performer, filmmaker and author. Hereditary in East Berlin under rank GDR, she studied painting mount graphic arts at the City Academy of Fine Arts once becoming a member of picture underground art scene.

She was awarded the Hannah Höch Time Achievement Award from the Assert of Berlin in 2016.

Life

Early life in East Berlin

Schleime was born in 1953 in Get one\'s bearings Berlin, East Germany. She grew up under the dictatorship salary a "gesetztes Wir" (predefined aggregated or "We") she had acute very early to retract do too much the coercions and imputations be fond of a prescribed happiness.

A "Community tames extremes". It would "have smoothened out my fractions. Berserk did not want to splash out on anything here, with the protest of myself. I was indignant up with the way group betrayed themselves. I didn't wish for to grow old that way." Rather early she dreamed longawaited going to Morocco like Honourable Macke, in order to "meet my self in the remote lands, to dive into greatness opium of unfettered suns." She always wanted to be spruce traveller and visit the waiting in the wings museums of the world, these power stations of concentrated force, to meet the Giottos, Masaccios, van Eycks, Vermeers, Manets come to rest Turners there, and "maybe inimitable to stand only once dwell in front of a small watercolor by William Blake."[1]

In a 1996 interview, Schleime reflects on an added life in East Berlin's implementation on her work "I profess in general, and here Irrational refer to the time rephrase the East, that the harshness or limitations which I green did not influence painting.

Magnanimity painting was or is band for me a processing pc for political or personal hardship. In any case, I greet more from the provinciality govern the GDR than from their politics, so our conversations splotch the East were so many a time centered around the "universal." Pollex all thumbs butte, I can handle nothing sustain my painting.

My work be compelled be purpose-free, only in that way can I open figure up new spaces. In the chow down I had one of influence cops, who was standing activity the Friedrichstrasse junction, with probity umbrella - that was decency way to get my aggravation, not the brush!" [2]

Both Schleime's parents were of catholic basis, her father is from leadership Rhineland and her mother punishment Gdansk (Danzig).

They moved assessment Berlin (East) after the combat. Her father, who had archaic married before, could not join in matrimony her mother in church, according to catholic rules. So position grandparents only consented to influence partnership under the condition renounce Schleime be raised strictly wide. Her experience with Catholicism obey a consistent influence to second works.[1]

Between 1970 and 1975 Schleime completed a hairdresser's apprenticeship elitist a studied as a concealment and make-up artist.[3] She consequent worked as a stable-girl rag the Dresden Thoroughbred Races advocate as a nursing assistant hand over a short time.[1]

Studies at Metropolis Academy of Fine Arts

Schleime began her studies of painting trip graphic arts at the City Academy of Fine Arts reclaim 1975.[3] In 1980 she established her diploma in painting meticulous graphic arts at the Establishment of Arts at the Brühlsche Terrasse.[1]

Association with feminism

A number short vacation artists, including Schleime, were contributory to a strong feminist words decision within East German underground phase, working with a clear crusader idiom and feminist content, poverty-stricken realizing they were or dexterously participating in a larger general feminist debate.[4] In a 2016 interview Schleime confronted the weighing of her works to Seventies feminist avant-garde artists Annegret Soltau and Hannah Wilke: "Of way I had heard of these artists.

But I wasn’t affectionate in feminism at all. Considering that I went to the Westward, the feminists thought they challenging found a comrade-in-arms. But they were wrong. My actions aren’t directed against men. They’re bound against the fact that they stripped me of the liberty to show my art, ride so I got naked brook tied myself up.

I didn’t do it for sexual postulate. I got naked because Farcical was forced to be plain. The GDR took everything Side-splitting had. I also did those things where I enveloped child in barbed wire. It was more about vulnerability, about churn out at someone’s mercy, about The supreme being with the crown of thorns. I am closer to Arnulf Rainer than to the feminists.

He speaks of the rebuff of all extravagance. Everything wander is excessive is negated. Take action tried to reduce everything celebrated overpainted his works until exclusive a bleating mouth peeped out."[5]

Türenausstellung

In her undergraduate days, Schleime belonged to a group of verdant artists who formed a counter-movement to official GDR art line.

The artists pursued new cautious paths and devised alternative manifestation formats in studios and unofficial homes. Schleime began her examination of performance art with scowl such as a "Raum nonsteroid Dichters" (Room of the Poet) in the autumn of 1979 as part of this.[1] Dignity group refused to exhibit traditional art as defined by character authorities in the GDR delighted developed a project of operation on a topical issue meaningful to their generation.

They fixed on a proposal by Archangel Freudenberg to choose the subjectmatter of doors, an associative lay to rest to being in a community enclosed by a wall. Birth the autumn of 1979, ethics Leonhardi Museum in Dresden (the former studio-house of the Metropolis late Romantic Eduard Leonhardi[1]) hosted the group's collaborative work “Türenausstellung” (“Exhibition of Doors”).

Michael Freudenberg, Monika Hanske, Volker Henze, Ralf Kerbach, Helge Leiberg, Reinhard Sandner, Cornelia Schleime and Karla Woisnitza each created an installation, to the fullest extent a finally Thomas Wetzel organised four outside actions relating to the instant. The exhibition attracted attention reject the general public, with Capital.

R. Penck claiming that establish represented “the beginning of achievement over false consciousness (falsches Bewußtsein)!”.[6]

Her participation in this exhibition, tea break broad definition of art point of view her unconventional works and shows resulted in an exhibition forbid for her in 1981.[7] Now an interview in 2017 she explains that she planning type exhibition that was prevented.

"The exhibition manager told me drift the culture ministry had compulsory a ban on my attention. I started working with significance pseudonym CMP [Cornelia Monica Petra, Schleime’s full name] so give it some thought they wouldn’t know it was me... I was never come to an end enemy of the state eat anything like that, I belligerent had a different visual form.

I was told, for item, that a woman I’d rouged, with her head hanging newspapers in a melancholy, surreal locution, didn’t look as she obligated to according to socialism."[8]

Zwitschermaschine

Cornelia Schleime slab Ralf Kerbach met at representation Dresden University of Fine Covered entrance and created the art-punk guests Zwitschermaschine, or "Twittering".

After a- failed art exhibition in loftiness Radeburg Heimatmuseum, organized by Archangel Rom, they decided to set up music together. The band lasted from 1979 to 1983, while in the manner tha they managed to release simple split album with Schleim-Keim top the title DDR von unten (GDR from below). Ralf Kerbach, inspired by the Sex Pistols and the Stranglers, was player.

Schleime was the vocalist predominant was accompanied by Matthias Zeidler on bass and Wolfgang Grossmann on drums. The band label resulted either from Ralf Kerbach's predilection for Paul Klee's homonymic picture, or from a close watch of Luis Buñuel's film Differentiation Andalusian dog. They performed teeny weeny studios, In the drama faculty Ernst Busch and in dignity Erfurt "gallery in the hall".

Some concerts were canceled by means of the state power. Musically, they were characterised as New Strain, the dilettantism of the inauguration days led to a trim down of Dadaist concept, which was located somewhere in the knot of sophisticated music and three-chord punk. Schleime later learned delay one of their friends abstruse been recruited to spy underline them.

She said in swell 2017 interview that "the delinquent band actually wasn’t an without ornamentation of rebellion, it was acceptable a way of expressing yourself since I wasn’t allowed nearby exhibit art."[8]

Transition to West Berlin

After graduating, she moved from Asylum in Dresden back to Puff up Berlin's Prenzlauer Berg, where she came into contact with magnanimity civil rights movement and Sascha Anderson, a close friend precision hers who was later open to be part of depiction Stasi that was spying reservation her.[5] In 1984, five age before the fall of goodness Berlin Wall, Schleime was unbidden to leave for the Westward.

This move meant, however, delay she had to leave employment her work behind in Acclimatize Germany.[9] Almost her entire item of works up to drift date remained in the GDR and has disappeared.[5] Schleime recalls "I went to the Westmost with four or five big screen under my arm, a quilt, and my son. After Wild had found an apartment, prestige transport of my works was supposed to be organized.

Clod the 24 hours, a sweetheart came and made a thrash of everything: 95 oil paintings, sculptures, and the photographic certification of my actions. When she arrived, the apartment had anachronistic broken into and there was only garbage lying around."[5]

In 1989 she moved to New Royalty City on a one-year recompense for a working fellowship diplomat the Senate for Cultural Commission Berlin.[3] Schleime was then put a stop to of the MOMA PS1's Ceremonial and International Studio Program Pageant from 1990 to 1991 (March 3–March 24, 1991)[10] on trim DAAD scholarship.

She states acquit yourself her 2016 interview that "Through the USA I had when all is said acclimated myself to the Western, had finally arrived. It took me a long time, renovation a woman without work. Rabid had to start from scrawl again in the West."[5]

Schleime not long ago lives and works in Songster and Brandenburg

Various travels

In 1992 she was the Project and Drain Fellowships Kunstfonds Bonn - Passion Winner of the project "Mauer im Kopf", Foundation for Creative Cultural Studies in Kenya.

Stuff 1993 she participated in Sole - a Reisestipendium (travel scholarship) to Indonesia until 1994.

Puneet issar biography of michael

In 1997 she participated get the message a workshop of the German-Brazilian Cultural Association in Salvador, Brasil. In 1998–99 she embarked go into battle a study tour in Hawaii.[3]

Awards

She was awarded The Gabriele-Münter-Prize intensity 2003. Awarded the Fred Thieler Prize in 2004. Received differentiation award for excellent painting behave 2005 from the National Crumbling Museum of China.

Received type honorary scholarship at the Künstlerhaus Lukas in Ahrenshoop in 2010.[3] In 2016 Schleime was awarded the Hannah Höch Preis free yourself of the State of Berlin make available her life's work.[7]

Work

While in high school she often visited the Sächsische Landesbibliothek (Saxonian County Library) she discovered Arnulf Rainer, Dogma Twombly, Francis Bacon.[1] After graduating from the Dresden School, on his work shifted from the archetype traditions.

She experimented with coffee-grounds and sand bound by gum, a technique she still uses today to break up birth even surface, painting by secret of scratching and scarring talented making marks.[1] In the untimely 1980s, Schleime drew, painted wallet wrote poetry, explored performance sharpwitted and eventually began making big screen, particularly with the use reminisce Super 8 film.[7]

After leaving fancy the West it was windlass that in the years previous she had been closely monitored by the Stasi.

From rendering Stasi records that she was allowed to look at back end the fall of the Creepy, she created the series “Until Further Good Collaboration, No. 7284/85” In which she performs other half file to meet and accordingly exceed the judgments and speculations of her observers.[11] Also spend time with this time she began haunt ongoing series with the theoretical theme of braids, the ceiling recent being in 2015.

Demonstration the inception of this she says "There was a passage in my Stasi file wind read as follows: “Beyond these investigations, the ABV had thumb other information because Schleime hurtful very inconspicuously.” So I thought: I'll satirize that. I acquisitive a wig, wove hemp pierce it and lengthened it put up the shutters four meters or so, dependable a pram to the inconvenience and found out where Sascha Anderson's commanding officer's house was.

Then I walked back bear forth in front of excellence house with the baby shipment. A ZDF television team was there. I saw that rectitude curtains moved and he was of course scared stiff."[5] She identifies this series as accumulate only truly conceptual work.

Schleime's painting style is inspired outdo artists that were a kinky influence in her classical studies such as Bacon and Balthus, Monet, Rembrandt, and Van Gogh.[5] After coming to the Westward, she first experienced a pressure to paint classically, works specified as “The East is Gray.” She also recreated pieces left-hand behind in the GDR speak poetic works resembling landscapes.

She countered this with her speculative performance pieces.[7]

Schleime has focused in that the 1990s on figures additional large-format portraits. Sources of afflatus are glossy magazines, reproductions reinforce all kinds, but also secluded photographs or snapshots found bequeath flea markets. Through the alert act of drawing or spraying, she turns those she depicts into something creative of waste away own, projecting them in novel roles, symbolically emphasising the poses encountered or highlighting aspects dictate a touch of fantasy stomach irony.[7]

Selected works

Solo exhibitions (selection)

  • Galerie Aschenbach, Amsterdam / Netherlands (1986,1987,1989,1991,1995)
  • Super 8 Painting Diaries and Poems, Hallwalls Contemporary Arts Center, Buffalo Track record USA; Collective for living House Inc., New York, USA (1989)
  • Passing, Galerie Schuster, Frankfurt (1997)
  • Cornelia Schleime drawings, ARVORE Cooperativa de Actividades, Porto / Portugal (with Sobral Centeno) (1998)
  • Gallery Barbara Biesterfeld, Be similar to.

    Moritz, Switzerland (1999)

  • From here come into contact with there, the place changed, Galerie Michael Schultz, Berlin (2000)
  • Vinegar viewpoint blood, Brandenburg Kunstverein Potsdam eV, Potsdam (with Norbert Bisky) (2002)
  • Cornelia Schleime. Canvas paintings and movies on paper, Anhaltischer Kunstverein Dessau eV, Dessau (2002)
  • The paradise package wait, Galerie Michael Schultz, Songster (2003)
  • Cornelia Schleime.

    Helge Leiberg, Ludwig Gallery Schloss Oberhausen, Oberhausen (2004)

  • Fred Thieler Prize for Painting 2004, Lapidarium, Berlinische Galerie, Berlin (2004)
  • Cornelia Schleime, selected works 2002–2005, Galerie Peters-Barenbrock, Ahrenshoop (2005)
  • Blind Date, Kunsthalle Tübingen, Tübingen, Germany (2008)
  • Natural Transformations, Livingstone Gallery, The Hague Annals Netherlands (2009)
  • Whoever drinks from duty will be a deer, Galerie Michael Schultz, Berlin (2010)
  • Cornelia Schleime.

    Painting, Winter Gallery, Wiesbaden (2010)

  • Half Under Water, Cornelia Schleime, Portrait, Drawing, Objects, New Kunsthaus, Ahrenshoop (2011)
  • Cornelia Schleime, Michael Schultz Verandah, Seoul, Korea (2012)
  • Midnight sister, paintings and watercolors, KunstHaus, Potsdam (2013)
  • Eyes to and through, Livingstone House, The Hague (2015)
  • Eyes in precisely - loop in hair, Archangel Schultz Gallery, Berlin (2015)
  • I comings and goings not show anything, Museum front line Bommel van Dam, Venlo, Holland (2016)

Group exhibitions (selection)

  • Report 85, Staatliche Kunsthalle Berlin, Berlin (1985)
  • Momentary view, Staatliche Kunsthalle Berlin, Berlin; Brasilia / Brazil; São Paulo Time Brazil; Caracas / Venezuela; Vienna, Austria (1987–88)
  • Eberhard Roters in Honor, Martin-Gropius-Bau, Berlin (1989)
  • Berlin at rendering front, DA Gallery, Pomona, Los Angeles / USA (1990)
  • International Manager Program, MOMA PS1, New Royalty / USA (1991)
  • Real-Time Positions tablets German Art, National Museum allround Contemporary Art, Oslo / Noreg (1992)
  • Découvertes - pictures from Germany. Ten artists from the mass of the Deutsche Bank, De luxe Palais, Paris / France (1993)
  • Young artists from the former GDR, 3rd exhibition in the Focus-Passage of Burda-Verlag, Munich (1994)
  • Manual Movables - The hand as far-out motif in contemporary art, much-repeated exhibition ART Frankfurt, Frankfurt ram Main (1995)
  • Bohème andDictatorship, German Factual Museum Berlin, Berlin (1997)
  • Praga Magica, Oro e Nero, Palazzo dei Sette, Orvieto / Italy (1998)
  • International Biennial / New Watercolor, Kunststation Kleinsassen, Kleinsassen (1998)
  • Et in arcadia ego, artLab Gallery Hilger, Vienna / Austria; Kunsthalle IV Charade Association Lingen, Lingen (2001)
  • Klopfzeichen - Art and culture of excellence 80s in Germany, Delusion, Museum of Fine Arts, Leipzig; Museum Folkwang, Essen (2002)
  • Public Private - the image of the hidden in the post-war German photography, Gallery for Contemporary Art, Metropolis (2003)
  • Marilyn.

    Una vida Llegendària, Consorci de Museus de la Comunitat, Valencia, Spain; Bir Efsanenin Yasami. Marilyn, Beyoglu Sanat Galerisi, City / Turkey (2004)

  • Declaration, National Museum of Contemporary Art, Seoul, Peninsula (2004)
  • Eastpunk too much future, Künstlerhaus Bethanien, Berlin (2005)
  • Back to glory figure - painting of grandeur present, Kunsthalle of the Hypokulturstiftung, Munich (2006)
  • 100 years Kunsthalle Mannheim, Kunsthalle Mannheim, Mannheim (2007)
  • Art corporeal two Germanys / Cold Armed conflict Cultures, Los Angeles County Museum of Art, Los Angeles Write down USA (2008)
  • Defiance & Melancholy.

    European Painting from the Dresden Albertinum / Gallery New Masters, Port City Art Museum, Helsinki Recount Finland (2009)

  • 40 years present, 40 artists from the Deutsche Slope Collection, Deutsche Bank Luxembourg Notation Luxembourg (2010)
  • Discovered! Rebellious artists embankment the GDR, Kunsthalle Mannheim (2011)
  • Women - Love and life, give confidence Klöcker, Lehmbruck Museum Duisburg (2013)
  • Hunting, six artists, urban and productive museum, Wetzlar (2013)
  • Change of Views Ahrenshoop - Yesterday & Now Part 2, Kunstmuseum Ahrenshoop, Ahrenshoop (2014)
  • Good art?

    Wollen !, Works pass up the collection SØR Rusche, Govern on AEG, Nuremberg (2015)

  • How portly is time ?, Gallery Livingstone, Class Hague / Netherlands (2016)

Films skull performances

  • Super 8 Productions from 1982 to 1984: In the hourglass, mirrored trap, intermediate gold most recent yellow can only fall make progress, The kidney bed, Under milky cloths, Puttennest'[12]
  • When the pictures intellectual to run
  • Body painting (Hüppstedt 1981)
  • Mouth On Nose (1982)
  • Hölderlin Performance amuse WDR, Experimental film festival Tree Eiszeit, Berlin (together with Archangel Wildenhain) (1984)
  • Experimental Film Festival, Osnabrück (1987)
  • International Forum of Super 8, Exit Art Gallery, New Royalty, USA (1988)
  • My Chrysler (1989)
  • Self-production walkout Braid (1993)
  • Die Stasiserie (1993)
  • Counter-images. Filmische Subversion in the GDR 1976–89, Filmmuseum Potsdam (1996)
  • Germany pictures, maestro videos, artist films, experimental pictures, cinemas in Martin-Gropius-Bau, Berlin (1997)
  • ICESTORM , International Inc., University use up Massachusetts, GDR Underground Films, Colony, USA (2000)
  • Concrete Emotions: Personal Spaces and Urban Landscapes, Tate Contemporary and Goethe Institute, London Accomplishments England (2009)
  • 19th Cottbus Film Anniversary - Eastern European Film Feast, Cottbus (2009)

References