Barbara Heinisch
Barbara Heinisch (* 16 July 1944 in Rathenow ) is a transdisciplinary working German process - painter , with a very unique combination of painting and performance - often with artists (eg. Dance and music ) - which the figurative elements of expressionism connect with the traces of movement of the Informel .
Life
Barbara Heinisch only spent the first year of her life in Rathenow. After the Second World War , she moved to Berlin with her mother . After being a prisoner of war , her father worked again as a high school teacher, with several changes of location.
Heinisch only began her studies after her marriage in 1964 and the birth of two children (1965 and 1966) at the Düsseldorf Art Academy in 1969 with Joseph Beuys . She was particularly interested in his teaching on the expanded concept of art to social sculpture . In 1973 Heinisch continued her studies of painting at the Berlin University of the Arts with Ulrich Knispel and Hermann Bachmann , and in 1978 she became a master class student with Karl Horst Hödicke .
During this time she developed her own concept of performance and painting. The first actions towards artistic self-discovery began in 1975 with the breakthrough in painting, filmed by Rainer Fetting . The blind portrait followed. in 1976 and 1977 the first transdisciplinary process painting. In 1976 she was invited to the exhibition Mit-Neben-Gegen, a three-day action by Joseph Beuys and his students at the Frankfurter Kunstverein , with Anatol Herzfeld , Jörg Immendorff , Blinky Palermo , Imi Knoebel and Bernd Zimmer , among others . There Heinisch showed her Super 8 film from 1975 - first breakthrough.
In 1978 she took part in the European Performance Series at the Brooklyn Museum , New York with Marina Abramović , Ulay and Ben d'Armagnac , as well as in live performances - behavior workshop - festival - arnhem , Theater en Wij (performance with Diederick de Ziederick); with Marina Abramović, Hermann Nitsch , Carolee Schneemann , Katharina Sieverding , Gina Pane , Jürgen Klauke , Joseph Beuys and Johannes Stüttgen, among others .
In 1979 Barbara Heinisch was awarded the German Critics' Prize for Fine Arts in Berlin, among others together with Otto Sander for theater and Klaus Wagenbach for literature. That year she took part in the exhibition Painting in Berlin - 1970 to Today at the Berlinische Galerie in Berlin and in the house at the Redoute in Bonn with Johannes Grützke , Laszlo Lakner , Walter Stöhrer , Hann Trier , Heinz Trökes and Wolf Vostell .
In 1980 Barbara Heinisch showed process painting with the artist Egon Schrick - Ecce Homo at the Frankfurter Kunstverein. This year she was invited by the art historian Egidio Alvaro for an exhibition and a process painting action in his Paris gallery Diagonale, as well as by the artist Jean-Jacques Lebel to his performance festival Avis de passages in the ARC - Museum d'Art Moderne de la Ville de Paris . There she painted the portrait of Andreas Vitasek , which the Berlinische Galerie acquired that same year. In 1980 Heinisch also took part in Realism and Expressionism in Berlin Art , an exhibition at the Frederick S. Wight Art Gallery, University of California, Los Angeles, with Alexander Camaro , Walter Stöhrer, Fred Thieler , Otto Dix , George Grosz , Ernst , among others Ludwig Kirchner and Max Pechstein .
In 1981 she was invited to show 3 to 9 of the Radio Bremen TV for a Prozessmalaktion with a subsequent interview of Marianne Koch and Wolfgang Menge . In the same year, for the first time in Berlin and together with the Künstlerhaus Bethanien and the Berlin artist program of the DAAD , Heinisch participated artistically and organizationally at the Festival Performance Eins, among others with Emmett Williams , Nan Hoover , Dieter Appelt and Jochen Gerz . In 1982 she was responsible for the concept and organization of Performance Zwei at Künstlerhaus Bethanien , with Bruce McLean , Emmett Williams, Gina Pane , Peter Gilles , Jürgen Klauke , Mike Hentz and Marina Abramović , among others .
From 1982 to 1983 Barbara Heinisch received the PS1 scholarship for New York. Together with the musician Peter Kowald and the dancer David Wolf, she performed a process painting on January 12, 1983 in the Clock Tower, New York .
Copyright protection by VG Bild-Kunst has existed since 1983 (copyright number 281871).
Several guest professorships followed , initially at the University of Kassel (1983). The dean wrote:
“[...] The comparable positions in art history are clear and at the same time clearly different: Mathieu, the action painter, Ives Klein, who stamps with living bodies and Fontana with his problem of absolute space. More important to me are references to only cultural-historical phenomena: painting a picture on a body means painting the imprint of the body, means an increase in reality (magical reality?) Compared to the only "painted" body on conventional pictures, comparable to the Veronica sweat or the Turin shroud [...]. "
This was followed by teaching at the Oslo School of Art (1984) on the initiative of the artist Sissel Tolaas . At the beginning she showed a process painting with Sissel Tolaas, who moved a horse's skull behind the canvas. She was invited to other teaching positions at the Berlin University of the Arts (1985/86), the Frankfurt University of Music and Performing Arts (1994) and the Johannes Gutenberg University Mainz (1995).
In 1985 she was awarded an art fund work grant.
In 1986 she got from Carola Wedel commissioned a performance for the Literary Café of the SFB in Cafe Einstein in Berlin to show. For this she hired the actor Otto Sander and the dancer Evelyn Heregger.
From 1986 to 1997 Heinisch lived and worked in Düsseldorf.
In 1988, in a spectacular action in the Museum Folkwang, Essen, the painting Phoenix was created, whereby a “naked model burst the boundaries of painting”. In 1988 Barbara Heinisch also showed a process painting in the literary revue lyrics by Joachim Dennhardt , broadcast live by WDR from the historic Spiegelzelt in Düsseldorf . The painting Trias was created.
In 1991 Heinisch received the order for the set and the costumes from Käthchen von Heilbronn and in 1992 for the equipment for Hamlet at the Stadttheater Gießen, directed by Johannes Kaetzler .
In the live broadcast ZDF - Matinée , Barbara Heinisch received a portrait in 1992 at the Schirn Kunsthalle Frankfurt . After the interview with the presenter Desirée Bethge, she painted a self-portrait. For the process painting she engaged the musician Annemarie Roelofs and the dancer Sayonara Pereira.
From 1993 leading of workshops lasting several days at various institutes, including the summer academy in the Gustav-Lübcke-Museum, Hamm (1995), Ev. Academy, Löwenstein, Heilbronn (1995–1997) and Ev. North Elbe Academy, Bad Segeberg (1997). Marion Stuckstätte wrote a portrait for Heinisch in 1997 for the Rheinische Post , Düsseldorf. In the same year, Barbara Heinisch met her second husband on a study trip. Since her marriage in 1999 she has had her studio in Bad Nauheim.
In 2004 Barbara Heinisch was included in the anthology basic course art with the DVD Art in Motion by Michael Klant in the chapter. Painting as an event (8 artists) included.
In 2010, based on the painting Easter II by Ludwig A. Pongratz in the chapter Education under From Leonardo to Lichtenstein : A Theory- History of Education in Pictures, their process painting was analyzed: “[…] The process of transgression is recorded here, as it were, in its materialized trace. There is no identifiable subject, but there is also no empty space. There is the place of the event in which subjectivity is updated in an unmistakable way. The subject tears up a difference in its movement ; it tears apart the surface of plane facticity . It is ahead of itself when it exceeds it - therefore it cannot be objectified. If you wanted to determine your location anyway, you would have to localize it yourself, following the movement of the image, with the respective viewer . We are meant and are taken into a transcendent movement. ”The painting Easter II has been honored in further contributions, especially in the theological area.
In 2011, Barbara Heinisch resumed her teaching activities by leading a workshop at the Frankfurt Citizens' Institute and continued in 2012. In 2015 she led a workshop in the Atelier Art & Therapy in Montabaur.
2016 - 2018 lecturer at the European Art Academy Trier.
plant
From the understanding of the expanded concept of art to social sculpture of Joseph Beuys and the critical analysis of the academic life drawing and portraiture developed Heinisch with the element of movement and the dialogue for comparison with its interactive process painting, that is, a painting as a living process . The movements of her counterpart behind the canvas are caught by her painting. Yvonne Friedrichs made this clear in the features section of the Rheinische Post : "[...] But by no means just as a pure motor , dynamic gesture , but as an energetic phenomenon , as a direct transmission of spiritual and sensual energies at the interface between the living body and the painted picture". The finished painting by Barbara Heinisch is of equal importance to the process of its creation.
From 1975 onwards, Heinisch dealt with the subject of self-portrait and developed her first action (first breakthrough as a self-portrait). How long do you want to stay with the first step? According to a quote from Joseph Beuys.
“[…] For this she created two pictures: a painting, the red of which stands in the room like a light, breathing body, and a second, red-splattered picture on paper, which she pulls over her head in one action. In this penetration, she vividly removes the three-step mentioned above in a monistic identification of the self and the image. What she will call 'painting as a living process', later 'process painting' is born. The narcissistic structure of the self-portrait in communication can be exploded . If the reference to the body was to be retained, then only nude painting remained . The model - now better 'co-actor' - should give its own charisma and liveliness, the immediate instead of the mediated [...]. "
Heinisch showed her first public action painting in 1977 in the Carsta Zellermayer Gallery, Berlin. To Heinz Ohff in Tagesspiegel : "[...] It has long been its own: Between Tachism and New Realism the desire to paint vigorously accentuating, the image of man as it were from the people themselves out peeling, it is among the most impressive and most original talents to me in the met recently. What about naturalism , plump figuration, sketchy style and - Lucio Fontana ! - Aggression too, in the rage of liberation and destruction in her work, is also shared with subsequent visitors [...] ”.
The special procedure for her process painting actions is summarized by Hanna Humeltenberg for her best-known work of art, Easter II, 1980 in the chapter Painting as an Event in Basic Course Art 4, Schroedel Verlag , 2004: “[…] A concise example of this innovative approach is the work ' Easter ', result of a performance with the singer Mark Eins in the Berlin Künstlerhaus Bethanien ... Left in the picture a crack: trace of a' stepping out 'from the work after the painting action. This 'injury' has ambivalent features, as the model unites with the image for a moment when stepping out, but at the same time frees itself from it […] ”. Quotations from the theological point of view:
"[...] Barbara Heinisch and her model staged Easter in the truest sense of the word: they put it in the limelight, in a dramatic action full of movement and action. The large crack across the canvas through which the model reappears after the action is a symbol of the resurrection. "
“[...] Whoever wants to celebrate Easter must not keep silent about the preceding death, because stopping always comes before beginning ... The artist Barbara Heinisch (* 1944) illustrated this basic trait of the Easter faith. She calls her picture provocatively "Easter", although the casual observer does not recognize Easter. She seems to have painted with violent, passionate movements, “Passion” in this sense of the word. A figure can be made out vaguely, reminiscent of the crucified: the leg presented, arms outstretched, head bowed. Red-brown tones mix with the blue base color, especially towards the middle: wounds, lashes, blood. A noticeable crack in the canvas is irritating. Has the picture been damaged? Or was it done on purpose to add an underlying symbolism? You can see a gaping wound. It can be interpreted as a breakthrough into another dimension, as an opening in the sense of a revelation that transcends borders. The new life, the hidden future opens up and becomes accessible. In the end - a new beginning. [...] "
“[…] Barbara Heinisch creates a concrete reference to the contents of the Judeo-Christian faith with her performance pictures Easter II and Tehillim IV and their titles drawn from the biblical-theological language reservoir. At the same time, however, she manages to keep the balance between concrete statements and an open interpretation. It arouses curiosity and encourages reconsidering familiar statements of the Judeo-Christian tradition [...] "
Returning from her PS1 scholarship in New York, Barbara Heinisch was given the opportunity on May 14, 1983 to present a process painting action on a 6 m wide canvas together with the actress Brigitta Stehr in the 1000 m² gallery Dibbert in Berlin. After around 1.5 hours, the painting Die Liebe II, filmed by Jochen Heyermann, was created. A film excerpt was used in 2004 for the DVD Art in Motion by Michael Klant (publisher) and published by Hatje Cantz . Your own path is illustrated by the following quotes:
“[…] Barbara Heinisch's painting actions ('Painting as a living process', since 1977), which react to the movements of a model behind the stretched canvas and thus influence the form and rhythm of the model, which was previously excluded from the creative process Granting a work of art is the opposite of Yves Klein's anthropometrics in the 1960s, in which he allowed naked models smeared with paint to be moved on and against the canvas exactly according to his instructions - constantly under his command [...]. "
“Barbara Heinisch is an artist who looked for her own path and found it. The uniqueness of her artistic design process has secured her a firm place in the modern art scene [...]. "
“[...] The artist does not imitate body movements, she rather encodes invisible, 'divine' movements of empathy with the discoveries of other people's currents of force, she 'mimes' the invisible that makes her visible, an asymmetrical dialogue arises with one completely different level of existence that we do not know, but from which life is lovingly granted [...]. "
The statements made by art historians in the Barbara Heinisch catalogs show that Heinisch has remained true to her artistic concept for over 40 years . Painting as an event from 2007 and in Barbara Heinisch. The origin of the painting from 2014 confirms:
"[...] Music, dance, the shadows of the moving model behind the canvas, their sense of proportion, their concentration and energy, and the flowing attention of the viewer, create a work of art of tense togetherness, emotionalize everyone involved: moving image - moving."
“[…] Standing in front of the finished painting by Barbara Heinisch, the viewer experiences a finished work of art, but each of its parts tells the story of its creation. Present as history and history as present. The presence of art. "
“[...] Because the apparently spontaneous, eruptive aspect of the act of painting, which accompanies and flanks, indeed is challenged by dance and often also by music, follows a fixed choreography. In the repetition of the processes, this turns into a liturgy in which every actor from the painter to the dancer to the audience is assigned a defined role. Like a priestess, the artist controls what is happening and is part of it herself. The ritual is not expressed in a spontaneous 'letting it happen', but in the conscious process and the event following a fixed choreography. Because every performance is preceded by a meticulous selection of the respective model and the music as a further part, as well as preparatory discussions and studies in the studio [...]. "
In the European Art Academy in Trier in 2017 originated in a multimedia performance entitled THE WALL is a work of art in which music (Symphony No. 4 Los Angeles from. Arvo Pärt ), Sculpture (Raymond Lohr), video mapping (Paul Schumacher), performing arts and transdisciplinary process painting were combined.
"With an exciting analog-digital performance, Barbara Heinisch gives the festival the artistic framework it deserves."
Exhibitions and process painting actions (selection)
- 1976 - Frankfurter Kunstverein , with, alongside, against - Joseph Beuys and his students
- 1977 - Berlin, Galerie Zellermayer, Barbara Heinisch - 1st solo exhibition / process painting action
- 1978 - Warsaw, Remont Gallery, Performance Festival
- 1978 - New York, Brooklyn Museum , European Performance Series
- 1978 - Arnhem, Theater aan de Rijn, Extract 2 - Performance Festival
- 1978 - Aachen, Ludwig Forum for International Art , Performance Symposium
- 1979 - Amsterdam, Fundatie Kunsthuis (painting Dance III )
- 1980 - Paris, Galerie Diagonale (painting Birth and Incarnation )
- 1980 - Berlin, Künstlerhaus Bethanien (Painting Easter II )
- 1980 - Paris, ARC-Musée d'art moderne de la Ville de Paris (painting portrait Andreas Vitasek )
- 1980 - Los Angeles, Frederick S. Wight Art Gallery, Realism and Expressionism in Berlin Art
- 1980 - Brussels, Goethe Institute
- 1981 - Berlin, Akademie der Künste (Berlin) , image change
- 1981–1995 - Düsseldorf, Galerie Zimmer
- 1981 - Bremen, Radio Bremen , 3 to 9 (painting V. Frau )
- 1981 - Berlin, Künstlerhaus Bethanien
- 1981 - Frankfurt, Alte Oper , Phönix
- 1981 - Copenhagen, Gallery Canal
- 1982 - Munich, Galerie Thomas
- 1982 - Stockholm, Kulturhuset / Kunstverein Munich , feeling and hardness
- 1982 - New York, MoMA PS1 (painting The American Blue )
- 1983 - New York, Clocktower (painting The American Blue II )
- 1983 - Berlin, Galerie Dibbert (painting Die Liebe II )
- 1984 - Oslo, Art Academy (painting portrait Sissel Tolaas )
- 1985 - Kunstverein Braunschweig / Ulm, Museum / Mannheimer Kunstverein , retrospective traveling exhibition
- 1986 - Berlin, Neuer Berliner Kunstverein
- 1986 - Frankfurt, Schirn Kunsthalle Frankfurt, The painters and the theater in the 20th century. (Painting Dance the Orange II )
- 1987 - Chicago, Bischoff Gallery
- 1988 - Essen, Museum Folkwang (painting Phoenix 1988 )
- 1988 - Paris, Musée du Luxembourg , 29 Peintres Allemandes d'Aujourd'hui
- 1989 - Osnabrück Cultural History Museum , from an Osnabrück collection
- 1989 - Frankfurt, Künstlerhaus Mousonturm
- 1989 - Aachen, Suermondt-Ludwig-Museum (painting Energy Field IV )
- 1990 - Dortmund, Dortmund Art Association
- 1990 - Osnabrück Cultural History Museum
- 1990 - Cologne, Museum Ludwig / Galerie Koppelmann (painting Dance XII )
- 1990 - Heidelberger Kunstverein , blue - color of the distance
- 1992 - Frankfurt, Schirn Kunsthalle Frankfurt / ZDF-Matinée, live art
- 1994 - Linz, Open House of Culture , Other Bodies (3 paintings connections )
- 1996 - Cairo, International Art Biennial
- 2004 - Dortmund, DASA (painting upswing )
- 2005 - Gießen, Oberhessisches Museum (painting Tanz die Spirale VII )
- 2006 - Hamm, Gustav-Lübcke-Museum (painting Feuervogel III )
- 2007 - Giessen, Upper Hessian Museum
- 2007 - Art Station Kleinsassen (painting Phoenix IV )
- 2008 - Berlin, Berlinische Galerie , Berlin on the move
- 2008 - Lübeck, Kunsthalle St. Annen , Dr. Felix Gantführer
- 2009 - Krefeld, Galerie Meta Weber (painting Eva )
- 2010 - Mannheimer Kunstverein (painting Ariadne )
- 2010 - Bad Nauheim, drinking cure gallery (painting baptism of blood )
- 2011 - Osnabrück, Kunsthalle Dominikanerkirche (painting power struggle )
- 2012 - Offenbach, House of City History (painting inclusion )
- 2014 - Ratingen, Museum Ratingen
- 2016 - Trier, Jesuit Church
- 2016 - Trier, European Art Academy
- 2017 - Trier, European Art Academy ( multimedia performance THE WALL )
- 2017 - Trier, Museum am Dom
Working in collections (selection)
The paintings were painted with acrylic tempera.
| Illustration | title | Emergence | Repository |
|---|---|---|---|
|
Liberation of the flesh
185 × 85 cm |
|
Berlin
Collection Galerie Zellermayer |
|
Bounce
210 × 150 cm |
02/12/1979
Berlin studio |
Dusseldorf
Collection gallery room |
|
Assembly
223 × 152 cm |
06/19/1979
Berlin studio |
Dusseldorf |
|
Portrait of Andreas Vitasek
210 × 210 cm |
01/30/1980 | Berlin |
|
Birth and Incarnation
210 × 215 cm |
06/14/1980
Diagonale Gallery, Paris |
Darmstadt |
|
Liverpool-Paris-Berlin
210 × 310 cm |
01/20/1981
Berlin studio |
Osnabrück / Berlin
Piepenbrock collection |
|
Action with Evelyn
210 × 135 cm |
03/13/1981
TV studio Radio Bremen |
Berlin
Collection Galerie Zellermayer |
|
The return of the body
210 × 245 cm |
06/20/1981
Gallery Zimmer, Düsseldorf |
Hamm
Gustav Lübcke Museum |
|
The American Blue
220 × 360 cm |
|
Berlin
Gallery edition ARS VIVA |
|
Love II
200 × 600 cm |
05/14/1983
Dibbert Gallery, Berlin |
Maria Laach Abbey / Museum Kunstpalast
Brother Simeon Collection |
|
Totem and taboo
210 × 420 cm |
09/20/1983
Berlin studio |
Hamburg |
|
bolero
210 × 195 cm |
03/20/1984
Berlin studio |
Deutsche Bank Collection |
|
Portrait of Kjetil Skoijen
210 × 260 cm |
05/15/1984 | Dusseldorf
Collection Dr. Felix Gantführer |
|
Icarus III
230 × 200 cm |
02/28/1985
Berlin studio |
Dusseldorf
Collection of the WGZ Bank |
|
polarity
210 × 230 cm |
11/01/1985
Berlin studio |
Federal Art Collection |
|
Dance the orange
220 × 290 cm |
09/10/1985
From the Heydt Museum , Wuppertal |
Dusseldorf
Collection Dr. Felix Gantführer |
|
The rise and fall of Icarus IV
260 × 420 cm |
04/10/1985
Berlin studio |
Hamm
Gustav Lübcke Museum |
|
Eruptive
210 × 230 cm |
May 18, 1985
Berlin studio |
Mannheim |
|
Flamenco portrait TO
230 × 300 cm |
04/27/1985 | Deutsche Bank Collection |
|
Dance the Orange II
205 × 270 cm |
03/02/1986
Schirn Kunsthalle Frankfurt |
Deutsche Bank Collection |
|
Magical encounter
205 x 195 cm |
08/20/1986
Berlin studio |
Mannheim
Collection Dr. Carpenter |
|
Scenes
205 × 260 cm |
09/20/1986 | Deutsche Bank Collection |
|
Orient-Occident
210 × 205 cm |
09/25/1986
Berlin studio |
Dusseldorf
WGZ Bank collection |
|
Energy field II
208 × 153 cm |
03/02/1987
Düsseldorf studio |
Dusseldorf |
|
Triad
215 × 145 cm |
09/24/1988
TV-Live Lyrics, WDR Düsseldorf |
Dusseldorf
Private collection |
|
dance
205 × 220 cm |
12/11/1988
Pax-Christi-Church, Krefeld |
Dusseldorf |
|
Energy field IV
210 × 195 cm |
03/18/1989 | Aachen |
|
Body tree
210 × 195 cm |
02/02/1990 | Stuttgart |
|
Dance XIII
210 × 285 cm |
May 28, 1990
Museum Ludwig , Cologne |
eat
Heinz Moors Collection |
|
Dance XIV
210 × 295 cm |
06/16/1990
City hall Wehr / Baden |
Stadtwerke Düsseldorf |
|
Blue dance
210 × 195 cm |
07/07/1994
HfMDK , Frankfurt am Main |
Frankfurt am Main |
|
encounter
210 × 220 cm |
02.09.2000
City Gallery drinking cure Bad Nauheim |
Bad Nauheim art collection |
|
Upswing
180 × 140 cm |
01/28/2004
DASA, Dortmund |
Dortmund
THE A |
|
Ecstasy II
200 × 165 cm |
|
Bad Nauheim art collection |
|
Ariadne
195 × 165 cm |
|
Mannheim
Collection Dr. Carpenter |
|
Evolution III
210 × 165 cm |
|
Ratingen |
Working in collections on biblical topics (selection)
The paintings were painted with acrylic tempera.
| Illustration | title | Emergence | Repository |
|---|---|---|---|
|
Eve
210 × 260 cm |
06/07/1985 | Wehr-Öflingen
Hanna and Paul Gräb Foundation |
|
Shadow Fight II
205 × 170 cm |
December 3rd, 1987 | Marburg
Collection Prof. Dr. Horst Schwebel |
_1988.jpg)
|
Pentecost (foyer) glass partition
255 × 750 cm |
1987/1988
Düsseldorf studio |
Worms
Martin Luther House |
_1988.jpg)
|
Pentecost (prayer room) glass partition
255 × 750 cm |
1987/1988
Düsseldorf studio |
Worms
Martin Luther House |
|
The birth of the angel
185 × 130 cm |
06/10/1996
Düsseldorf studio |
trier |
|
Dance of the Queen of Heaven
210 × 220 cm |
05/01/1998 | Hanover |
_2016.jpg)
|
Hosanna ... Hosanna!
200 × 150 cm |
|
trier |
|
Cain and Abel
200 × 170 cm |
|
trier
Museum at the cathedral |
literature
- Hanspeter Heidrich (Ed.): Change of picture. New painting from Germany. Frölich & Kaufmann, Berlin 1981, ISBN 3-88725-105-9 , p. 106 f.
- Anna Tüne (ed.): Body love language. About the female art of depicting eroticism. Elefanten Press, Berlin 1982, ISBN 3-88520-086-4 , p. 116 f.
- Peter H. Schiller (Ed.), Heinz Ohff: From crocodiles and other artists. Ars Viva Edition, Berlin 1982, ISBN 3-923466-27-7 , p. 99 f.
- Peter H. Schiller (Ed.): Barbara Heinisch. Influx. Concept NY Sept. 82 - Jan. 83. Ars Viva Edition, Berlin 1983.
- Ulrika Evers (ed.): German artists of the 20th century. Painting - sculpture - tapestry. Schultheis, Hamburg 1983, ISBN 3-920855-01-9 , p. 126 f.
- Künstlerhaus Bethanien (ed.): Performance - another dimension. Frölich & Kaufmann, Berlin 1983, ISBN 3-88725-056-7 , p. 79 f.
- Heinz Ohff : Intention and Effect of Art. In: Norbert Loacker (Ed.): Language, Art and Religion. (= Kindler's Encyclopedia - Man. Volume 6). Kindler, Zurich 1983, ISBN 3-463-26006-9 , p. 454 f.
- Art Association Braunschweig (Ed.): Barbara Heinisch. Kunstverein Braunschweig February 8 - March 17, 1985 / Museum Ulm March 22 - April 21, 1985 / Mannheimer Kunstverein April 27 - May 26, 1985 (catalog editor: Wilhelm Bojescul; Dieter Blume).
- Bernhard Kerber: Barbara Heinisch. In: Rolf-Gunter Dienst , Jürgen Fischer (Hrsg.): The work of art, Kunstszene Berlin 1985. ISSN 0023-561X , p. 64 f.
- Hanna Humeltenberg: Barbara Heinisch. Radical turn to life. In: Dieter Bechtloff (Hrsg.): Kunstforum international . 1985, p. 342 f. (Vol. 77/78, 9-10).
- Neuer Berliner Kunstverein eV (Ed.): Barbara Heinisch. New pictures and photo overpaintings. Neuer Berliner Kunstverein eV, March 8 - April 26, 1986 / Overbeck-Gesellschaft , Lübeck, May 16 - June 8, 1986.
- Sigrun Paas: And she saw that it was good: Eva's departure into the third millennium. In: Werner Hofmann (Ed.): Eva and the future. Prestel, Munich and Hamburger Kunsthalle , 1986, ISBN 3-7913-0754-1 , p. 36.
- Eberhard Roters , Heinz Ohff: Barbara Heinisch. In: Snapshot. Staatliche Kunsthalle Berlin (Ed.), April 25 to July 12, 1987. Lüderitz and Bauer, Berlin 1987, ISBN 3-87584-297-3 , pp. 251 f.
- Suermondt-Ludwig-Museum (Ed.): Barbara Heinisch. Dialogue painting. Photo documentation and overpainting. Suermondt Ludwig Museum, Aachen, March 18 - May 15, 1989.
- Ansgar Schmidt: Barbara Heinisch: Dance - dialog painting action with Robert Solomon, Pax-Christi-Church. Krefeld 1988, In: Hans Gercke (Ed.): Blue - color of the distance. Heidelberger Kunstverein eV, March 2 - May 13, 1990. Das Wunderhorn, Heidelberg 1988, ISBN 3-88423-063-8 , p. 382 f.
- Elisabeth Jappe (Ed.): Performance - Ritual - Process. Handbook of Action Art in Europe. Prestel, Munich / New York 1993, ISBN 3-7913-1300-2 , p. 177.
- Konrad Adenauer Foundation (Ed.): Barbara Heinisch. Images of the other. The example, Darmstadt 1993, ISBN 3-923974-21-3 .
- Horst Schwebel (Ed.): The Bible in Art. The 20th century. German Bible Society, Stuttgart 1994, ISBN 3-438-04462-5 , p. 51.
- Sigrid Schade : Barbara Heinisch / Joanna Jones - painting. In: Sigrid Schade (Ed.): Other bodies. Offenes Kulturhaus, Linz, September 22 - October 30, 1994, Passagen, Wien & Offenes Kulturhaus des Landes OÖ , 1994, ISBN 3-85165-122-7 , pp. 89 f.
- Jörn Merkert : Self-discovery in the artistic act - About the action painting by Barbara Heinisch. In: Jörn Merkert - Magic and the chattering of teeth, texts and speeches on female artists 1973–1999. Association of Berlin Women Artists 1867 (ed.). Ruksaldruck, Berlin 1999, ISBN 3-926460-66-0 , p. 181 f.
- Michael Klant (Ed.): Artists at work - seen by photographers. Cantz, Ostfildern-Ruit 1995, ISBN 3-89322-693-1 , p. 174 f.
- Josef Walch , Michael Klant (Ed.): Basic Art Course 4. Action, Kinetics, New Media. Schroedel, Braunschweig 2004, ISBN 3-507-10013-4 , p. 27 f.
- Michael Klant (ed.): Art in motion. DVD. Cantz, Ostfildern 2004, ISBN 3-7757-1433-2 .
- Susanne Hummel: Painting action after Barbara Heinisch. In: Susanne Hummel (Ed.): Creative exchange of ideas - art. Secondary level 1. Olzog, Munich 2006.
- From Leonardo to Lichtenstein A theoretical history of education in pictures. In: Ludwig A. Pongratz (Hrsg.): Dead ends of education. Thinking pedagogy differently. Schöningh, Paderborn 2010, ISBN 978-3-506-76906-0 , p. 117 f.
- Kunsthalle Dominikanerkirche , Michael Bolmer (Hrsg.): KunstKbodylich - KörperKünstlich Volume 3 Bodies. Rasch, Bramsche 2011, ISBN 978-3-89946-162-6 p. 54 f.
- Museum Ratingen , Alexandra König (ed.): Barbara Heinisch - The origin of painting. Pagina, Goch 2014, ISBN 978-3-944146-34-8
Web links
- Literature by and about Barbara Heinisch in the catalog of the German National Library
- Presentation of Barbara Heinisch's artistic career in the Hesse media library
- Heinisch.tel
- Barbara-Heinisch.de
- Barbara-Heinisch.com
- Barbara Heinisch in: Malerei-als-Ereignis.de
You Tube Videos
- Playlist process painting - process painting by Barbara Heinisch
- Playlist Painting as an event by Bernhard Spiess
Individual evidence
- ↑ Bernhard Spiess: Transdisciplinary process painting. In: Painting as an Event, 2015
- ↑ Michael Klant, Josef Walch (Ed.): Basic Art Course 4. Action, Kinetics, New Media . Schroedel, Braunschweig 2004, ISBN 3-507-10013-4 , p. 28 f. ( PDF file ).
- ↑ Certificate: Appointment as a master class student in Berlin 1978 ( PDF file ).
- ↑ Master of painterly realism. Art 2018 , daily calendar, Harenberg Verlag, Dortmund. Sheet from February 21, 2018
- ↑ First breakthrough. Berlin 1975 ( You Tube ).
- ↑ First blind portrait. Berlin 1976 ( You Tube ).
- ↑ First transdisciplinary process painting. Berlin 1977 ( You Tube ).
- ^ Frankfurter Kunstverein: Beuys in Frankfurt. In: Frankfurter Rundschau . and anvil for Mrs. Mao's knife. In: Frankfurter Stadtanzeiger. From November 4 and 6, 1976 ( PDF file ).
- ^ Letter to Georg Bussmann , Frankfurt 1976 ( PDF file )
- ↑ Invitation: European Performance Artists , Brooklyn Museum, April 28, 1978 ( PDF file )
- ^ European Performance Series, New York 1978.
- ↑ live performances - behavior workshop - festival - arnhem , Arnhem 1978 ( PDF file )
- ↑ Critics' Awards 1979. In: Der Tagesspiegel. March 21, 1980 ( PDF file ).
- ↑ Certificate: The Critics' Prize for Fine Art, Berlin 1979 ( PDF file )
- ^ Painting in Berlin - 1970 to today , Berlinische Galerie. In: House on the Redoute . Bonn 1979 ( PDF file )
- ^ Egon Schrick: Thoughts on the Frankfurt action with Barbara Heinisch. In: Catalog Painting as a Living Process. 1981 ( PDF file ).
- ↑ Diagonale / espace critique. LATITUDES n ° 4 - décembre 1998, p. 26 f. ( PDF file )
- ↑ Performance Festival: Avis de passages, Paris 1980 ( PDF file )
- ↑ Realism and Expressionism in Berlin Art. Frederick S. Wight Art Gallery, University of California, Los Angeles 1980, ( PDF file ).
- ↑ Painting as a living process. In: 3 after 9 . Radio Bremen TV 1981 ( MP4 file )
- ^ Künstlerhaus Bethanien (ed.): Performance - Another Dimension. Frölich & Kaufmann, Berlin 1983, ISBN 3-88725-056-7 ( PDF file , excerpts).
- ^ Certificate for PS1 Studies. The Senator for Science and Cultural Affairs, Berlin September 28, 1981 ( PDF file ).
- ^ Heinz Ohff : Encounter with New York In: Der Tagesspiegel. May 26, 1983 ( PDF file ).
- ^ Letter from Georg Bussmann, Kassel University. June 16, 1983 ( PDF file ).
- ↑ Guest Teaching Program 1984/1985, Statens Kunstakademi Oslo. November 21, 1983 ( PDF file ).
- ↑ Women Body Art, University of Music and Performing Arts Frankfurt am Main. 5th January 1994.
- ↑ teaching -Körpermasken, Johannes Gutenberg University Mainz. March 9, 1995.
- ^ Stiftung Kunstfonds: Scholarship holders and funded projects. Bonn 1985.
- ↑ Performance. In: Café Einstein process painting for Walt Whitman poems Berlin September 23, 1986.
- ↑ Phoenix 1988. In: Museum Folkwang. January 15, 1988 ( You Tube ).
- ^ WDR - Lyrics 1988. In: historical mirror tent, Düsseldorf. September 24, 1988 ( WEBM ).
- ^ Käthchen von Heilbronn. Program No. 1, Stadttheater Gießen, 1991/92 ( PDF file ).
- ↑ Hamlet. Program No. 2, Stadttheater Gießen, 1992/93 ( PDF file ).
- ↑ Barbara Heinisch self-portrait. In: ZDF -Matinée. Schirn, Frankfurt 1992 ( WEBM ).
- ^ Portrait of Barbara Heinisch. In: ZDF matinee. Schirn, Frankfurt 1992 ( ZDF Live-Kunst ).
- ↑ Gisbert Sander: The enthusiasm of the participants also inspired Barbara Heinisch In: Westfälischer Anzeiger. July 25, 1995, taken over by the Kunstverein Hamm 2nd Summer Academy Hamm,
- ↑ Christiane Dätsch: Art that leaves loners no chance In: Heilbronner Voice. May 25, 1997, ( PDF file )
- ↑ Workshop: PAIR-BILDungen with the artist Barbara Heinisch from July 4th to 10th, 1997. ( PDF file ).
- ↑ Marion Stuck site: Portrait. The act of painting in vibrations. In: Rheinische Post. June 19, 1997 ( PDF file ).
- ↑ Michael Klant (Ed.): Art in Movement Hatje Cantz , 2004, ISBN 3-7757-1433-2 ( PDF file , reading samples from films on contemporary art ).
- ^ The artists in the basic art course. Under: Painting as an Event, 2004.
- ↑ Ludwig A. Pongratz (ed.): Dead ends of education. From Leonardo to Lichtenstein. Verlag Ferdinand Schöningh , 2010, ISBN 978-3-506-76906-0 , p. 117 f. ( PDF file , excerpt).
- ^ Easter II: Documentation of the contributions, from 1980 to 2010.
- ↑ Workshop: Slide Show - Blind Portraits from February 25 to 26, 2012.
- ↑ Workshop: The Living Canvas - Painting as an Encounter The Living Canvas from October 3rd to 4th, 2015.
- ↑ European Art Academy : Barbara Heinisch | Lecturer for painting, action art , Trier 2018 ( PDF file ).
- ↑ Yvonne Friedrichs: A Flaming Dance. Barbara Heinisch in the gallery room. In: Rheinische Post. September 27, 1989, accessed January 5, 2012 .
- ^ Rolf-Gunter Dienst (ed.), Jürgen Fischer (ed.): Barbara Heinisch. In: das kunstwerk - Kunstszene Berlin '85. ISSN 0023-561X , p. 64 f. ( PDF file ).
- ↑ Heinz Ohff: Painted on the body. In: Der Tagesspiegel. November 29, 1977 ( PDF file ).
- ↑ Michael Klant (Ed.): Dialogue painting - Barbara Heinisch: Easter II (1980). Basic Art Course 4. Schroedel, 2004, ISBN 3-507-10013-4 , p. 38 ( PDF file ).
- ↑ Horst Schwebel: Image meditation for Easter. In: Prospectus Selected Collection of Modern Art. GEP Galerie, Frankfurt 1989 ( PDF file ).
- ↑ Georg Bätzing : Who does the future belong to? In: PAULINUS. 8 April 2007.
- ↑ Engelbert Felten: The crack in the fine arts. Bible and Liturgy, Österreichisches Katholisches Bibelwerk (Ed.), 2008, ISSN 0006-064X , p. 36 f. ( PDF file ).
- ↑ Die Liebe II. In: Galerie Dibbert. May 14, 1983 ( You Tube ).
- ↑ Werner Hofmann (Ed.): Eva and the future. And she saw that it was good: Eva's departure into the third millennium. Prestel, 1986, ISBN 3-7913-0754-1 , p. 36 ( PDF file ).
- ^ Gerd Langguth , Konrad-Adenauer-Stiftung (ed.): Barbara Heinisch. Images of the other. The example, 1993, ISBN 3-923974-21-3 ( PDF file , foreword).
- ^ Rainer Volp, Konrad Adenauer Foundation (ed.): Barbara Heinisch. Images of the other. The example, 1993, ISBN 3-923974-21-3 , p. 10 f. ( PDF file ).
- ↑ Friedhelm Häring , Oberhessisches Museum (ed.): Moving picture-moving. Giessen 2007, ISBN 978-3-00-020901-7 .
- ^ Gerhard Charles Rump , Oberhessisches Museum (ed.): Color, light and photography. Giessen 2007, ISBN 978-3-00-020901-7 .
- ↑ Alexandra König, Museum Ratingen (ed.): Barbara Heinisch - The origin of painting. Ratingen 2014, ISBN 978-3-944146-34-8 .
- ↑ THE WALL | Music-Sculpture-Video Mapping-Performing Arts-Process Painting. In: EKA Trier , 2017 ( THE WALL ).
- ↑ Rolf Lorig: Multimedia Performance THE WALL In: trier-reporter. 21 July 2017.
- ^ New York: European Performance Series, ( Memento from February 5, 2015 in the Internet Archive ) 10-14. May 1978 ( You Tube ).
- ^ Arnhem: Performance Festival. September 22–15 October 1978.
- ↑ La femme peintre et son modèle. In: Liberation. June 13, 1980 ( PDF file ).
- ↑ Le peintre et son modèle. In: 4 millions 4th of February 20, 1980 ( PDF file ).
- ^ Yvonne Friedrichs: Pictures tear. In: Rheinische Post. April 16, 1981 ( PDF file ).
- ↑ Andreas Kaps: The step into the picture. In: Der Tagesspiegel. May 19, 1981 ( PDF file ).
- ↑ One phoenix too many. In: Frankfurter Allgemeine Zeitung. September 17, 1981 ( PDF file ).
- ^ Henrik Bach: Art pa lagenet. In: Politiken. March 21, 1981 ( PDF file ).
- ↑ Hanna Humeltenberg: Radical turn to life. In: Kunstforum International. Volume 77/78, 9-10 / 85 ( PDF file ).
- ^ Heinz Ohff : Portraits from dance and gesture. In: Der Tagesspiegel. March 19, 1986 ( PDF file ).
- ^ Art performance. With Peter Kowald . In the film by Anne Linsel for WDR against the strich, Frankfurt 1986.
- ↑ Sven Thielmann: Naked model breaks the boundaries of painting. In: Westdeutsche Allgemeine Zeitung. January 20, 1988 ( PDF file ).
- ^ Helmut Fricke: Painting and Action - Exhibition Barbara Heinisch in the Mousonturm. In: Frankfurter Allgemeine Zeitung. July 28, 1989 ( PDF file ).
- ↑ Konrad Schmidt: Barbara Heinisch: Paintings that were created in dialogue with dance. In: Ruhr news. March 9, 1990 ( PDF file ).
- ↑ Nudes with a dancer - Düsseldorf artist exhibits her work in Cologne. In: Kölner Express. October 13, 1990 ( PDF file , foreword).
- ^ Richard Künzel: About the dialogue with the Egyptian avant-garde. Goethe-Institut - Intern, 1/97 ( PDF file ).
- ↑ Brush dances across canvas to “Bolero”. In: Gießener Anzeiger. October 22, 2005 ( PDF file ).
- ↑ Firebird III. In: Gustav-Lübcke-Museum. May 19, 2006 ( You Tube ).
- ^ Friedhelm Häring : Barbara-Heinisch - Painting as an Event. Oberhessisches Museum, May 4th – 3rd June 2007.
- ^ Marianne Blum: Barbara Heinisch - Painting as an Event. Art station Kleinsassen, January 21st – 8th March 2007.
- ↑ Mirja Dörr, Marion Zipfel: Mannheim, Kunstverein, Barbara Heinisch. In: The world. May 8, 2010 ( WEBM ).
- ^ First exhibition in the renovated drinking cure facility In: Wetterauer Zeitung. From May 4, 2010 ( You Tube ).
- ↑ Artificial-Body Artificial 3, Bodies Kunsthalle Dominikanerkirche, June 18-18. September 2011 ( Mediathek Hessen ).
- ↑ Inclusion. In: House of City History . from April 21, 2012 ( Media Library Hessen ).
- ↑ Alexandra König: Barbara Heinisch - The origin of painting. Museum Ratingen, 23 May-19. October 2014.
- ↑ The origin of painting. In: Museum Ratingen. August 22, 2014 ( slide show ).
- ↑ Eva-Maria Reuther: In the encounter from I to you In: Trierischer Volksfreund . March 25, 2016 ( PDF file ).
- ↑ Encounter in the picture. In: Kunsthalle Trier. on March 24, 2016 ( Mediathek Hessen ).
- ^ Federal Art Collection: Painting Polarity. Bonn 1985.
- ^ State Parliament of North Rhine-Westphalia: Painting dance. Düsseldorf 1988.
- ↑ Art Body - Body Art - Volume 3 Bodies. Rasch Verlag, Bramsche 2011.
- ↑ Barbara Heinisch - The origin of painting. Pagina Verlag, Goch 2014.
- ^ Video articles about Barbara Heinisch from 1975 to 2017. In: LPR-Hessen ( Mediathek Hessen ).
- ↑ Barbara Heinisch - process painting. Playlist with 32 videos from 1975–2017, YouTube 2018.
- ^ Bernhard Spiess - Painting as an Event. Playlist with 9 videos of the artists under Painting as an event , YouTube 2018.
| personal data | |
|---|---|
| SURNAME | Heinisch, Barbara |
| BRIEF DESCRIPTION | German painter, performance artist and action artist |
| DATE OF BIRTH | July 16, 1944 |
| PLACE OF BIRTH | Rathenow |