Christine Jackob-Marks

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Christine Jackob-Marks (* 1943 in Mainz ) is a contemporary German painter of subtle abstraction in serial works . Christine Jackob-Marks became known to the general public when, in the mid-1990s, her award-winning design for the Memorial to the Murdered Jews of Europe was not implemented due to the veto of Federal Chancellor Helmut Kohl .

Life

At the age of 17, Christine Jackob moved to London and applied to the Royal Academy of Dramatic Art . After the audition, she was narrowly turned down, with the friendly hint of her age to try again next year. But since Jackob was interested in the fine arts as well as acting , she visited the London museums. In the National Gallery , in front of Renoir's painting Les Parapluies (the umbrellas), she decided to pursue painting and applied to the Académie de la Grande Chaumière in Paris . In the class of the French painter Ives Breyer , the first pictures were made from models .

Christine Jackob then moved to the Berlin University of the Arts , today Berlin University of the Arts , and studied fine arts in the painting classes of Professors Hartmann, Jaenisch and Jansen. In the early 1960s she married the architecture student Volker Theissen and they had two children: Jessica and Felix Theissen . The family moved from Berlin-Moabit to an old villa in Nikolassee . The house, formerly also inhabited by Claus Schenk Graf von Stauffenberg , was often used as an original motif for film sequences about the preparations for the assassination attempt on July 20, 1944 , but initially the couple rented the upper floor to the DAAD's funding program . With that they met artists such as Lawrence Weiner , Franz Gertsch and Roman Opalka . Gertsch's photorealism fascinated Christine Jackob just as much as the paintings by Markus Lüpertz , from whom her husband bought several works.

At the same time, Jackob dealt with the social challenges in post-war Germany and "how to change society". Painting did not seem to give her a satisfactory answer to such complexes of questions: The change in society had to happen “from below”, especially through committed work with children. In addition to her work in the Berlin design studio, Christine Jackob studied educational science and worked as a therapist for children with behavioral problems and their parents. During this time she also met Marina, a toddler whom she and her second husband, Alan D. Marks, adopted.

plant

The art scene, to which Gerhard Richter , Otto Piene , Emil Schumacher and Anselm Kiefer belonged, and also the inspirations that Christine Jackob-Marks received from the work of Paul Cézanne and Gustave Courbet , for example , and from the extensive Zeitgeist exhibition in Martin in 1982 -Gropius-Bau , motivated Jackob-Marks to express their personal perception of the present with their own works.

The first exhibitions followed from 1984, mainly with still lifes , including animals; but there were also gravestone paintings with Hebrew inscriptions : “Their souls remain among us”. Since the painter was now married to Alan D. Marks, an American concert pianist with Jewish roots, the artistic examination of the crimes of National Socialism became an increasingly important topic for Jackob-Marks. As part of the discussion about a German memorial to the Shoah , Christine Jackob-Marks their reflections pointed to artistic and participated in the 1994 ausgelobten competition. The jury around Walter Jens awarded her the first prize in the artistic competition for the Memorial to the Murdered Jews of Europe together with Hella Rolfes , Hans Scheib and Reinhard Stangl . But voices were heard rejecting the decision, and due to the intervention of the incumbent Chancellor Helmut Kohl , their draft was not implemented; This started a year-long reorientation with discussions on the location of the monument in Berlin, on the groups of victims of the Nazi dictatorship honored with it , and on the importance of memorials in the 20th and the coming 21st century. In his book Tacheles - In the Struggle for Facts in History and Politics , published in 2020 by Herder Verlag , Michael Wolffsohn describes the central background in the chapter Art as Politics: The Berlin Holocaust Memorial ; and Michael S. Cullen put it: “Winning a competition fairly is ideal. Losing a competition by fair means may not be ideal, but it is no less honorable. "

With this in mind, Christine Jackob-Marks painted new pictures; often to music and often to the Schubert interpretations of her deceased husband: Indian ink and drawings with charcoal, in addition there were strong color changes in mixed media of landscapes, of layers of earth: edges of the Lausitz opencast mine , eruptions of volcanoes, the wild sea, up to the cosmic black holes , to spiral nebulae from distant suns and back to earthly nature with its creatures. Manfred Eichel describes her works as sliding into abstractions, as landscapes of the soul: as “pictures in which something actually happens, which are not satisfied with depicting what is available more or less exactly. There is something deeply theatrical about her [Christine Jackob-Marks] interpretations of nature. Your forests blaze flooded with light, as if they were on fire ... ”; the former head of the ZDF feature editorial department for literature and art adds: “What makes your horses comparable to their dogs and elephants is the treatment of the eyes. They literally suck in the looks. It's strange when you look at their monkeys. "

Christine Jackob-Marks was a lecturer at the HdK and at the Thuringian Summer Academy . Her work has been exhibited nationally and internationally since 1988: in Germany in the gallery at Savignyplatz , from 1995 in the gallery Poll 1996 on the ZDF in Mainz, several times in the Hamburg gallery Rose , in Bielefeld in the Samuelis Baumgarte gallery , in the gallery in the Körnerpark , Berlin and until 2018 in the DNA gallery; 2020 also from the Berlin Gallery Kewenig in Palma de Mallorca .

Christine Jackob-Marx lives and works in Berlin and Ibiza .

Exhibitions (selection of solo exhibitions)

  • 1988 Gallery at Savignyplatz, Berlin
  • 1988 Center Artistique International, St. Etienne (France)
  • 1991 Kunstverein Schering, Berlin
  • 1991 Rose Gallery, Hamburg (with Reinhard Stangl)
  • 1993 Rose Gallery, Hamburg
  • 1994 Art & Concept Gallery, Munich
  • 1995 Eva Poll Gallery, Berlin
  • 1995 Rose Gallery, Hamburg
  • 1995 Galerie Mutter Fourage
  • 1995 Garden-Park-Landscape, Berlin
  • 1996 Bauscher Gallery, Potsdam Landscape and Visions
  • 1996 ZDF Mainz
  • 1996 Samuelis Baumgarte Galerie, Bielefeld: Pictures and drawings
  • 1998 Galerie Libro Azul, Art Ibiza Fair, Ibiza (Spain)
  • 1999 Bauscher Gallery, Potsdam Between heaven and earth
  • 1999 SESA AG in cooperation with Galerie Eva Poll, Berlin
  • 2000 Galerie Eva Poll, Berlin Erdwandlungen
  • 2001 Samuelis Baumgarte Gallery, Bielefeld
  • 2002 Rose Gallery, Hamburg Summer 2002
  • 2004 Gallery in the media house GIMM, Mainz
  • 2004 Wall AG headquarters, Berlin Everything in flux
  • 2005 Art Academy Galerie Döbele, Dresden Structures, rifts and patterns
  • 2006 Arte plus Arte, Casa Colonial, Ibiza (Spain)
  • 2008 First Sound Galery (798 district) (with Dieter Finke), Beijing (China)
  • 2008 Bauscher Gallery, Potsdam Painting - Drawings
  • 2009 Galerie Eva Poll, Berlin Animals
  • 2010 Gallery in the Körnerpark Animals
  • 2012 Galerie Cornelissen, Wiesbaden Moments
  • 2012 Gallery in the Körnerpark landscape views
  • 2014 Gallery in the Körnerpark Let there be light!
  • 2016 DNA gallery retrospective
  • 2018 DNA Gallery, Berlin Happy Birthday
  • 2020 Gallery Kewenig, Palma de Mallorca (Spain) Easy in difficulty

Awards (selection)

Literature (selection)

  • Ulf Meyer zu Kueingdorf (Ed.): Christine Jackob-Marks. There has to be more than anything in life. Kerber Verlag, Bielefeld / Berlin 2016, ISBN 978-3-7356-0225-1

Web links

Individual evidence

  1. ↑ Ingolf Kern: What is the dimension of horror? In: Die Welt.net. January 10, 1997, accessed July 15, 2020 .
  2. ↑ Thomas Holl: Chronicle of a memorial. In: faz.net. May 10, 2005, accessed June 26, 2020 .
  3. ↑ Michael Wolffsohn: Tacheles - In the struggle for the facts in history and politics. Retrieved June 27, 2020 .
  4. ↑ Christine Jackob-Marks (p. 237). kerberverlag.de, accessed on July 12, 2020 .
  5. ↑ Klaus Geitel: Eleven and a half sonatas or Alan Mark a pianist who loves to play. In: welt.de. Retrieved June 27, 2020 .
  6. ↑ Christine Jackob-Marks p. 7. kerberverlag.de, accessed on June 26, 2020 .
  7. ↑ Elfi Kreis: Christine Jackob-Marks: Move mountains. In: tagesspiegel.de. September 14, 2001, accessed June 26, 2020 .
personal data
SURNAME Jackob-Marks, Christine
BRIEF DESCRIPTION German painter
DATE OF BIRTH 1943
PLACE OF BIRTH Mainz , Germany