Christa Jeitner

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Christa Jeitner (2017)

Christa-Maria Jeitner (* 1935 in Berlin ) is a German artist who creates drawings, pictures, sculptures and installations primarily with textile materials. She lives and works in Blumberg near Berlin. She also worked as a textile restorer and lecturer.

Life

Christa Jeitner studied graphics, painting, textile design and art history at the West Berlin State University for Fine Arts from 1956 to 1961 . Since she was in the GDR when the Wall was built, she was unable to complete her studies in West Berlin.

She was not allowed to study at the East Berlin University of Fine and Applied Arts in Weißensee in 1953 due to a reference to her proximity to "church circles", but was able to start studying graphics there in 1954. After the reunification of Germany and her rehabilitation process, the Berlin-Weißensee School of Art awarded her a diploma in fine art / painting.

In the early 1960s, Jeitner's works were exhibited and bought by museums for the first time. Those with the XI. Plenary session of the Central Committee of the SED The restrictive cultural policy that began in 1965 severely restricted Jeitner's exhibition options in public spaces until 1973. An exception at this time were the exhibitions organized by the art service of the Protestant Church in Berlin, where Jeitner's works were present from 1968 onwards.

From 1965 she also worked as a textile restorer and for several decades was entrusted with the conservation, restoration and scientific work on the textile Brandenburg Cathedral treasure. An inventory catalog was created under their leadership.

From 1980 to 1993, Jeitner took on a teaching position in restoration technology at the Berlin University of Technology and Economics, majoring in restoration technology. In 1990/91 she worked as a guest lecturer at the Berlin University of the Arts . From 1969 until well into the 1970s she was active in Aktion Sühnezeichen .

Artistic creation

During her studies Christa Jeitner independently developed the seam drawing, which, so to speak, transferred the line of her drawings to the textile material.

During several trips to Poland in the 1960s, she made personal contacts with Polish artists in Zakopane , Wroclaw and Warsaw . In Poland, which is open to contemporary international art, she also got to know American textile art and took up its impulses. In exchange and discussion with contemporary Polish artists such as Magdalena Abakanowicz , Wojciech Sadley , Władysław Hasior and Tadeusz Brzozowski, Jeitner developed an independent textile language of images and forms that went from small to large format and from surface to room. Until the 1980s, the techniques used were application and knotting.

Her first assemblages were created at the beginning of the 1960s. So she integrated barbed wire into the first work ( Lager , 1964) of her cycle Auschwitz Relics and in the following works of this cycle other materials such as hair, rags and scorch marks. At the end of the 1960s, Jeitner broke away from the surface for the first time in large-format works in yarn knots such as Treblinka (1969) or Strom Leben (1976). This was followed by Jeitner's constructivist phase in the second half of the 1970s, in which she developed spatial works such as penetration (1978/79). Sculptural works from rope knots were created in the rigging cycle (1980–1986).

In the early 1980s, Jeitner drew on paper again and in 1982, during the demolition of the area in the old town center of Bernau near Berlin, created 55 pen drawings, which appeared as a portfolio with the title Notes on an inventory in the artist-approved edition of 100. In 1989, Jeitner edited the German-Polish edition of Jan Strzelecki's Testimonials as a bibliophile book with sheets based on seam drawings.

Re-rester: wire and denim. Solidified dump (2016)

In the cycle Light of Nothing , which comprises twelve works from 1987 to 1990, Jeitner dealt with philosophical topics and initially broke off her artistic work in 1990. With the applications That had been (I and II, 1993) she took stock of the social circumstances. A little later she created the three-part cycle Landscape on Landscape (1994–1995), which she added “posthumously” .

In 2006 Jeitner resumed her artistic work. While she considered and consciously used the peculiarities and shapes of the textile materials in her early works, with Fundstück Plane (2006), which is part of the creative complex Objects and Surfaces , she has now brought the peculiarities of the material to the fore. In the Workpieces series , objects and assemblages are created from found objects and installations.

Exhibitions

  • 2017/18: The event of a thread. Global stories in textiles , touring exhibition of the Institute for Foreign Relations
  • 2017: Eko Materia, International Painting and Textile Art Exhibition , National Museum, Gdansk
  • 2009: Opposite - zbliżenia. Wojciech Sadley - Christa Jeitner. Cztery dziecięciolecia - four decades, Muzeum Lubuskie Gorzów Wielkopolski and St. Mary's Church, Frankfurt / Oder
  • 1987: Textile Art, German Democratic Republic: Christa-Maria Jeitner , Kunstindustrimuseet, Oslo

Works

Publications

  • with Renate Kroos: The Brandenburg Hunger Cloth. Brandenburg an der Havel 2001, ISBN 3-936303-00-2 .
  • Medieval liturgical textiles in the Mark Brandenburg and their continued use after the introduction of the Reformation. In: The Art of the Middle Ages in the Mark Brandenburg Tradition - Transformation - Innovation. Lukas-Verlag, Berlin 2008, ISBN 978-3-86732-010-8 , pp. 456-470.
  • Opposite - zbliżenia. Wojciech Sadley - Christa Jeitner. Cztery dziecięciolecia - four decades (exhibition catalog). Bernau 2009, OCLC 918503523 .
  • The collection of church vestments and other vestments as well as introductions and catalog numbers 1-10 In: Medieval Art from Berlin and Brandenburg in the City Museum Berlin (The Getty Foundation ), Berlin 2011, pp. 30-25 and pp. 47–118.
  • End and progress. The seventh year after that. Christa Jeitner 2006–2012. Blumberg b. Berlin 2013 (CD-Rom).
  • with Peter Knüvener, Detlef Witt: The medieval works of art in the Johann Friedrich Danneil Museum in Salzwedel. Collection catalog, Hendrik Bäßler Verlag, Berlin 2015, ISBN 978-3-945880-06-7 .

literature

  • Hannelore Sachs: New ways in picture textiles. On the work of Christa-Maria Jeitner. In: Fine arts. 26, 1978, pp. 124-126.

Web links

Individual evidence

  1. ↑ In the files for her entrance examination there was the note: "Comes from church circles". Christa Jeitner: Vita and artistic career
  2. ↑ ifa, Christa Jeitner ( Memento from June 27, 2018 in the Internet Archive ) and Christa Jeitner's exhibition directory.
  3. ↑ Despite limited advertising opportunities, the art service exhibitions attracted tens of thousands of visitors. S. Dorothea Körner: Between all stools. On the history of the art service of the Evangelical Church in Berlin 1961–1989, Berlin 2005, p. 98f and p. 120.
  4. ↑ a b c Christa Jeitner: Vita and artistic career.
  5. ^ Hannelore Sachs: New ways in picture textiles. P. 124.
  6. ↑ a b Hannelore Sachs: New ways in picture textiles. P. 126.
  7. ↑ Detail photo on the touring exhibition of the Institute for Foreign Relations, ifa The event of a thread. Global narratives in textiles in the Kunsthaus Dresden, gallery for contemporary art
personal data
SURNAME Jeitner, Christa
ALTERNATIVE NAMES Jeitner, Christa-Maria
BRIEF DESCRIPTION German textile artist
DATE OF BIRTH 1935
PLACE OF BIRTH Berlin