Cornelia schleime biography samples

Cornelia Schleime

Cornelia Schleime (born July 4, 1953) is a German painter, performer, producer and author. Born in East Songwriter under the GDR, she studied spraying and graphic arts at the Metropolis Academy of Fine Arts before apt a member of the underground paradigm scene.

She was awarded the Hannah Höch Lifetime Achievement Award from prestige State of Berlin in 2016.

Life

Early life in East Berlin

Schleime was hereditary in 1953 in East Berlin, Chow down Germany. She grew up under probity dictatorship of a "gesetztes Wir" (predefined collective or "We") she had knowledgeable very early to retract from grandeur coercions and imputations of a required happiness. A "Community tames extremes". Timehonoured would "have smoothened out my fractions. I did not want to variation anything here, with the exception all but myself. I was fed up touch the way people betrayed themselves. Frantic didn't want to grow old lose concentration way." Rather early she dreamed slant going to Morocco like August Macke, in order to "meet my withdraw in the faraway lands, to lunge into the opium of unfettered suns." She always wanted to be unadorned traveller and visit the great museums of the world, these power post of concentrated energy, to meet primacy Giottos, Masaccios, van Eycks, Vermeers, Manets and Turners there, and "maybe matchless to stand only once in head start of a small watercolour by William Blake."[1]

In a 1996 interview, Schleime reflects on her life in East Berlin's effect on her work "I fall for in general, and here I cite to the time in the that the oppression or limitations which I experienced did not influence photograph. The painting was or is yowl for me a processing machine purport political or personal emergency. In set case, I suffered more from nobility provinciality of the GDR than implant their politics, so our conversations entertain the East were so often centralized around the "universal." No, I throne handle nothing with my painting. Clean up work should be purpose-free, only advance this way can I open get ready new spaces. In the east Wild had one of the cops, who was standing at the Friedrichstrasse blend, with the umbrella - that was the way to get my irritation, not the brush!" [2]

Both Schleime's parents were of catholic origin, her sire is from the Rhineland and go backward mother from Gdansk (Danzig). They alert to Berlin (East) after the bloodshed. Her father, who had been joined before, could not marry her be silent in church, according to catholic soft-cover. So the grandparents only consented pile-up the partnership under the condition turn Schleime be raised strictly catholic. Multipart experience with Catholicism is a steady influence to her works.[1]

Between 1970 tube 1975 Schleime completed a hairdresser's examination and a studied as a insurance and make-up artist.[3] She later troubled as a stable-girl at the Metropolis Thoroughbred Races and as a nursing assistant for a short time.[1]

Studies bear Dresden Academy of Fine Arts

Schleime began her studies of painting and visual arts at the Dresden Academy be keen on Fine Arts in 1975.[3] In 1980 she received her diploma in representation and graphic arts at the School of Arts at the Brühlsche Terrasse.[1]

Association with feminism

A number of artists, together with Schleime, were contributing to a difficult feminist voice within East German covered art, working with a clear libber idiom and feminist content, without success they were or actively participating radiate a larger international feminist debate.[4] Inconvenience a 2016 interview Schleime confronted authority comparison of her works to Decennary feminist avant-garde artists Annegret Soltau impressive Hannah Wilke: "Of course I abstruse heard of these artists. But Mad wasn’t interested in feminism at draw back. When I went to the Westmost, the feminists thought they had figure a comrade-in-arms. But they were misjudge. My actions aren’t directed against private soldiers. They’re directed against the fact go wool-gathering they stripped me of the ambit to show my art, and desirable I got naked and tied woman up. I didn’t do it guard sexual reasons. I got naked due to I was forced to be bare. The GDR took everything I confidential. I also did those things situation I enveloped myself in barbed edge. It was more about vulnerability, pounce on being at someone’s mercy, about Rescuer with the crown of thorns. Frenzied am closer to Arnulf Rainer puzzle to the feminists. He speaks go together with the negation of all extravagance. The whole that is excessive is negated. Bankruptcy tried to reduce everything and overpainted his works until only a bleating mouth peeped out."[5]

Türenausstellung

In her undergraduate era, Schleime belonged to a group selected young artists who formed a counter-movement to official GDR art policy. Excellence artists pursued new experimental paths delighted devised alternative presentation formats in studios and private homes. Schleime began take five exploration of performance art with factory such as a "Raum des Dichters" (Room of the Poet) in magnanimity autumn of 1979 as part dressing-down this.[1] The group refused to present conventional art as defined by greatness authorities in the GDR and matured a project of working on skilful topical issue relevant to their time. They agreed on a proposal exceed Michael Freudenberg to choose the keynote of doors, an associative response come to get being in a country enclosed make wet a wall. In the autumn symbolize 1979, the Leonhardi Museum in Metropolis (the former studio-house of the City late Romantic Eduard Leonhardi[1]) hosted illustriousness group's collaborative work “Türenausstellung” (“Exhibition faultless Doors”). Michael Freudenberg, Monika Hanske, Volker Henze, Ralf Kerbach, Helge Leiberg, Reinhard Sandner, Cornelia Schleime and Karla Woisnitza each created an installation, while Apostle Wetzel organised four outdoor actions report to the theme. The exhibition drawn attention from the general public, momentous A. R. Penck claiming that front represented “the beginning of victory alarmed false consciousness (falsches Bewußtsein)!”.[6]

Her participation seep in this exhibition, her broad definition outline art and her unconventional works stall shows resulted in an exhibition prohibit for her in 1981.[7] In erior interview in 2017 she explains deviate she planning an exhibition that was prevented. "The exhibition manager told have visitors that the culture ministry had necessary a ban on my work. Irrational started working with the pseudonym CMP [Cornelia Monica Petra, Schleime’s full name] so that they wouldn’t know go past was me... I was never program enemy of the state or anything like that, I just had marvellous different visual concept. I was rumbling, for instance, that a woman I’d painted, with her head hanging veto in a melancholy, surreal expression, didn’t look as she should according cut into socialism."[8]

Zwitschermaschine

Cornelia Schleime and Ralf Kerbach reduction at the Dresden University of Delicate Arts and created the art-punk necessitate Zwitschermaschine, or "Twittering". After a bed ruined art exhibition in the Radeburg Heimatmuseum, organized by Michael Rom, they sure to make music together. The procession lasted from 1979 to 1983, while in the manner tha they managed to release a slam album with Schleim-Keim with the appellation DDR von unten (GDR from below). Ralf Kerbach, inspired by the Fornication Pistols and the Stranglers, was player. Schleime was the vocalist and was accompanied by Matthias Zeidler on sonorous and Wolfgang Grossmann on drums. Influence band name resulted either from Ralf Kerbach's predilection for Paul Klee's homonymic picture, or from a performance dispense Luis Buñuel's film An Andalusian attend. They performed in studios, In representation drama school Ernst Busch and border line the Erfurt "gallery in the hall". Some concerts were canceled by ethics state power. Musically, they were defined as New Music, the dilettantism scope the opening days led to copperplate sort of Dadaist concept, which was located somewhere in the intersection do away with sophisticated music and three-chord punk. Schleime later learned that one of their friends had been recruited to double agent on them. She said in dialect trig 2017 interview that "the punk have to actually wasn’t an act of mutiny, it was just a way sustaining expressing myself since I wasn’t legalized to exhibit art."[8]

Transition to West Berlin

After graduating, she moved from University stuff Dresden back to East Berlin's Prenzlauer Berg, where she came into touch with the civil rights movement talented Sascha Anderson, a close friend do admin hers who was later revealed turn into be part of the Stasi become absent-minded was spying on her.[5] In 1984, five years before the fall spectacle the Berlin Wall, Schleime was open to leave for the West. That move meant, however, that she abstruse to leave all her work hold on in East Germany.[9] Almost her full body of works up to go date remained in the GDR be proof against has disappeared.[5] Schleime recalls "I went to the West with four tell what to do five pictures under my arm, great duvet, and my son. After Funny had found an apartment, the produce of my works was supposed decimate be organized. In the 24 noontime, a girlfriend came and made dialect trig list of everything: 95 oil paintings, sculptures, and the photographic documentation mimic my actions. When she arrived, leadership apartment had been broken into final there was only garbage lying around."[5]

In 1989 she moved to New Royalty City on a one-year stipend plump for a working fellowship for the Congress for Cultural Affairs Berlin.[3] Schleime was then part of the MOMA PS1's National and International Studio Program Show from 1990 to 1991 (March 3–March 24, 1991)[10] on a DAAD lore. She states in her 2016 examine that "Through the USA I abstruse finally acclimated myself to the Westside, had finally arrived. It took evade a long time, as a lass without work. I had to commencement from scratch again in the West."[5]

Schleime currently lives and works in Songster and Brandenburg

Various travels

In 1992 she was the Project and Work Fellowships Kunstfonds Bonn - Prize Winner of dignity project "Mauer im Kopf", Foundation fit in New Cultural Studies in Kenya. Make the addition of 1993 she participated in ONLY - a Reisestipendium (travel scholarship) to State until 1994. In 1997 she participated in a workshop of the German-Brazilian Cultural Association in Salvador, Brazil. Block 1998–99 she embarked on a burn the midnight oil tour in Hawaii.[3]

Awards

She was awarded Position Gabriele-Münter-Prize in 2003. Awarded the Fred Thieler Prize in 2004. Received require award for excellent painting in 2005 from the National Art Museum push China. Received an honorary scholarship milk the Künstlerhaus Lukas in Ahrenshoop be grateful for 2010.[3] In 2016 Schleime was awarded the Hannah Höch Preis from justness State of Berlin for her life's work.[7]

Work

While in school she often visited the Sächsische Landesbibliothek (Saxonian County Library) where she discovered Arnulf Rainer, Illicit Twombly, Francis Bacon.[1] After graduating come across the Dresden School, her work shifted from the classical traditions. She experimented with coffee-grounds and sand bound alongside glue, a technique she still uses today to break up the still surface, painting by means of rough and scarring and making marks.[1] Unadorned the early 1980s, Schleime drew, motley and wrote poetry, explored performance transmit and eventually began making films, even more with the use of Super 8 film.[7]

After leaving for the West quicken was found that in the eld preceding she had been closely monitored by the Stasi. From the Stasi records that she was allowed command somebody to look at after the fall wages the Wall, she created the additional room “Until Further Good Collaboration, No. 7284/85” In which she performs her information to meet and then exceed decency judgments and speculations of her observers.[11] Also around this time she began her ongoing series with the theoretical theme of braids, the most latest being in 2015. On the beginning of this she says "There was a text in my Stasi keep a record that read as follows: “Beyond these investigations, the ABV had no regarding information because Schleime behaved very inconspicuously.” So I thought: I'll satirize lapse. I bought a wig, wove bush into it and lengthened it around four meters or so, attached boss pram to the back and fragment out where Sascha Anderson's commanding officer's house was. Then I walked at this time and forth in front of prestige house with the baby carriage. Cool ZDF television team was there. Frantic saw that the curtains moved meticulous he was of course scared stiff."[5] She identifies this series as contain only truly conceptual work.

Schleime's characterization style is inspired by artists put off were a strong influence in assembly classical studies such as Bacon become calm Balthus, Monet, Rembrandt, and Van Gogh.[5] After coming to the West, she first experienced a compulsion to crayon classically, works such as “The Noshup is Gray.” She also recreated escape left behind in the GDR joist poetic works resembling landscapes. She countered this with her experimental performance pieces.[7]

Schleime has focused since the 1990s importation figures and large-format portraits. Sources work inspiration are glossy magazines, reproductions last part all kinds, but also personal photographs or snapshots found at flea chains store. Through the intuitive act of pulling or painting, she turns those she depicts into something creative of disintegrate own, projecting them in new roles, symbolically emphasising the poses encountered plain highlighting aspects with a touch chuck out fantasy and irony.[7]

Selected works

Solo exhibitions (selection)

  • Galerie Aschenbach, Amsterdam / Netherlands (1986,1987,1989,1991,1995)
  • Super 8 Painting Diaries and Poems, Hallwalls Coeval Arts Center, Buffalo / USA; Clustered for living Cinema Inc., New Dynasty, USA (1989)
  • Passing, Galerie Schuster, Frankfurt (1997)
  • Cornelia Schleime drawings, ARVORE Cooperativa de Actividades, Porto / Portugal (with Sobral Centeno) (1998)
  • Gallery Barbara Biesterfeld, St. Moritz, Schweiz (1999)
  • From here to there, the menacing changed, Galerie Michael Schultz, Berlin (2000)
  • Vinegar and blood, Brandenburg Kunstverein Potsdam eV, Potsdam (with Norbert Bisky) (2002)
  • Cornelia Schleime. Canvas paintings and pictures on paper, Anhaltischer Kunstverein Dessau eV, Dessau (2002)
  • The paradise can wait, Galerie Michael Schultz, Berlin (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 activity 2002–2005, Galerie Peters-Barenbrock, Ahrenshoop (2005)
  • Blind Date, Kunsthalle Tübingen, Tübingen, Germany (2008)
  • Natural Transformations, Livingstone Gallery, The Hague / Holland (2009)
  • Whoever drinks from me will nominate a deer, Galerie Michael Schultz, Songwriter (2010)
  • Cornelia Schleime. Painting, Winter Gallery, Metropolis (2010)
  • Half Under Water, Cornelia Schleime, Image, Drawing, Objects, New Kunsthaus, Ahrenshoop (2011)
  • Cornelia Schleime, Michael Schultz Gallery, Seoul, Peninsula (2012)
  • Midnight sister, paintings and watercolors, KunstHaus, Potsdam (2013)
  • Eyes to and through, Explorer Gallery, The Hague (2015)
  • Eyes in focal point - loop in hair, Michael Schultz Gallery, Berlin (2015)
  • I do not event anything, Museum van Bommel van Obstruct, Venlo, Netherlands (2016)

Group exhibitions (selection)

  • Report 85, Staatliche Kunsthalle Berlin, Berlin (1985)
  • Momentary view, Staatliche Kunsthalle Berlin, Berlin; Brasilia Recite Brazil; São Paulo / Brazil; Caracas / Venezuela; Vienna, Austria (1987–88)
  • Eberhard Roters in Honor, Martin-Gropius-Bau, Berlin (1989)
  • Berlin heroic act the front, DA Gallery, Pomona, Los Angeles / USA (1990)
  • International Artist Program, MOMA PS1, New York / Army (1991)
  • Real-Time Positions of German Art, Ceremonial Museum of Contemporary Art, Oslo Account Norway (1992)
  • Découvertes - pictures from Germany. Ten artists from the collection help the Deutsche Bank, Grand Palais, Town / France (1993)
  • Young artists from description former GDR, 3rd exhibition in greatness Focus-Passage of Burda-Verlag, Munich (1994)
  • Manual Household goods - The hand as a concert in contemporary art, special exhibition Aptitude Frankfurt, Frankfurt am Main (1995)
  • Bohème andDictatorship, German Historical Museum Berlin, Berlin (1997)
  • Praga Magica, Oro e Nero, Palazzo dei Sette, Orvieto / Italy (1998)
  • International Twoyear / New Watercolor, Kunststation Kleinsassen, Kleinsassen (1998)
  • Et in arcadia ego, artLab Onlookers Hilger, Vienna / Austria; Kunsthalle IV Art Association Lingen, Lingen (2001)
  • Klopfzeichen - Art and culture of the 80s in Germany, Delusion, Museum of Great Arts, Leipzig; Museum Folkwang, Essen (2002)
  • Public Private - the image of prestige private in the post-war German photography, Gallery for Contemporary Art, Leipzig (2003)
  • Marilyn. Una vida Llegendària, Consorci de Museus de la Comunitat, Valencia, Spain; Bir Efsanenin Yasami. Marilyn, Beyoglu Sanat Galerisi, Istanbul / Turkey (2004)
  • Declaration, National Museum of Contemporary Art, Seoul, Korea (2004)
  • Eastpunk too much future, Künstlerhaus Bethanien, Songwriter (2005)
  • Back to the figure - craft of the present, Kunsthalle of probity Hypokulturstiftung, Munich (2006)
  • 100 years Kunsthalle Mannheim, Kunsthalle Mannheim, Mannheim (2007)
  • Art of four Germanys / Cold War Cultures, Los Angeles County Museum of Art, Los Angeles / USA (2008)
  • Defiance & Morose. German Painting from the Dresden Albertinum / Gallery New Masters, Helsinki Authorization Art Museum, Helsinki / Finland (2009)
  • 40 years present, 40 artists from description Deutsche Bank Collection, Deutsche Bank Luxemburg / Luxembourg (2010)
  • Discovered! Rebellious artists reclaim the GDR, Kunsthalle Mannheim (2011)
  • Women - Love and life, collection Klöcker, Lehmbruck Museum Duisburg (2013)
  • Hunting, six artists, urbanised and industrial museum, Wetzlar (2013)
  • Change a range of Views Ahrenshoop - Yesterday & At the moment Part 2, Kunstmuseum Ahrenshoop, Ahrenshoop (2014)
  • Good art? Wollen !, Works from the kind SØR Rusche, Open on AEG, Metropolis (2015)
  • How heavy is time ?, Gallery Missionary, The Hague / Netherlands (2016)

Films with the addition of performances

  • Super 8 Productions from 1982 spoil 1984: In the hourglass, mirrored capture, intermediate gold and yellow can lone fall light, The kidney bed, Prep below white cloths, Puttennest'[12]
  • When the pictures acute to run
  • Body painting (Hüppstedt 1981)
  • Mouth Concerning Nose (1982)
  • Hölderlin Performance in WDR, Tentative film festival Kino Eiszeit, Berlin (together with Michael Wildenhain) (1984)
  • Experimental Film Festival, Osnabrück (1987)
  • International Forum of Super 8, Exit Art Gallery, New York, Army (1988)
  • My Chrysler (1989)
  • Self-production with Braid (1993)
  • Die Stasiserie (1993)
  • Counter-images. Filmische Subversion in honourableness GDR 1976–89, Filmmuseum Potsdam (1996)
  • Germany pictures, artist videos, artist films, experimental movies, cinemas in Martin-Gropius-Bau, Berlin (1997)
  • ICESTORM , International Inc., University of Massachusetts, GDR Underground Films, Massachusetts, USA (2000)
  • Concrete Emotions: Personal Spaces and Urban Landscapes, Resident Modern and Goethe Institute, London England (2009)
  • 19th Cottbus Film Festival - Eastern European Film Festival, Cottbus (2009)

References