Cornelia Schleime

Cornelia Schleime, 2008

Cornelia Schleime (born July 4, 1953 in Berlin ) is a German painter, performer, filmmaker and author. She has received several important art awards in Germany since the early 1990s.

Life

In East Berlin was born in 1953, graduated from slimes from 1970 to 1975, a hairdresser and a teaching artist -Studies before then painting and drawing their studies after an episode as horse nurse in 1975 at the Dresden Academy of Fine Arts began. With her “Horizontebildern” ( ink on Japanese paper ) she defied the tradition of the Dresden school of painting. Cornelia Schleime was looking for forms of expression that were appropriate to her own attitude towards life. The constant process of painting and drawing was important for her. Painting began (and continues today) for her with “scratching, scratching and making signs - a process comparable to automatic writing from the unconscious without preconceived ideas, without a plan Concept".

Even before her diploma in 1980, acting in space and making cine films were added as a further form of artistic expression . In the miniature film Under White Tüchern (1983) Schleime expressed the situation of women in the GDR in a latently feminist way : female figures tied to doors or walls up to mummy-like wrapping symbolize immobility and imprisonment. The symbolism was easy to decipher at the time. Schleime's art had such political relevance.

On the occasion of the now legendary “Door Exhibition” in autumn 1979, Cornelia Schleime installed a “Poet's Room ” in the former studio house of the late romantic Eduard Leonhardi in Dresden . Participation in this exhibition and her physical actions resulted in an exhibition ban in 1981. She drew the conclusions from the association officials' concept of art, which was too narrow for her, and submitted an application to leave the country to West Berlin . Also in 1979 Cornelia Schleime founded the punk band " Zwitschermaschine ", in which she herself was the vocalist. Her closeness to the punk scene has also been expressed since 1983 in the mentoring function for the punk and budding underground artist Mita Schamal , who worked on Schleime's experimental film Das Puttennest (1984) as a performer and actress.

In September 1984 the artist moved from East to West Berlin. In connection with this departure from the GDR , almost the entire oeuvre that had been created so far disappeared . a. some films from that period. In retrospect, it was found that she was being closely monitored by the GDR State Security during these years (see work), including through reports from Sascha Anderson .

In the years that followed, there was a paradigm shift from the improvised and fleeting figurines in her watercolors and ink drawings to the examination of perceptions of perception and the conditions of perception . Her overpainting of postcards and art reproductions are an examination of the visual media and their reproducibility. With minimal interventions, she brought about far-reaching shifts in context and transformed mass-produced goods into unique items .

In the 1990s, Cornelia Schleime turned her attention to painting and developed a special technique in the use of shellac in combination with acrylic paints .

During this time the artist received a number of grants , some of which were linked to work stays ( New York - PS 1, Indonesia ). Since 2000 she has been a member of the Saxon Academy of the Arts in Dresden . In 2004 she received the Gabriele Münter Prize and the Fred Thieler Prize .

Cornelia Schleime lives and works in Berlin-Prenzlauer Berg and at Neuruppin in the Ostprignitz-Ruppin district .

In February 2008 she published a novel with Weit fort "which is actually a story" . Here the protagonist Clara is confronted with her own past (spied on by the Stasi) through an encounter with a man mediated through an internet dating site. The criticism easily recognized "that Sascha Anderson ... who raged among the unruly artists of the GDR with his denunciations ".

Cornelia Schleime, self-portrait as a pilot, 2001

In autumn 2010, In der Liebe und In der Kunst I know exactly what I don't want appeared. an extensive book which, in an intimate and documentary selection, brings together largely still unknown and surprising facets of the work from the beginning to the present day: including, for example, the "Stasi series", previously only published on the Internet, in which Schleime ironically and reflects on their spying files of the MfS photographic productions counteracted. The completely unknown lyrical fragments, poems, statements and private photos of the artist, travel and picture diaries, documentations of her films and productions complete the picture that one had of her as a painter up to now.

Works

Super 8 films (around 1980):
- The kidney bed ,
- oA
- Under the White Cloth (1983)
- When the pictures learned to walk
- The putti nest (1984), with Mita Schamal
Self-presentations (selection):
- Body painting action (Hüppstedt 1981)
- Mouth to nose (1982)
- My Chrysler (1989)
- Self-staging with braid (1993)
- The Stasis Series (1993) The series is one of the artist's most haunting works. After reading her Stasi files, she produced 14 photographic self-portrayals based on texts.
Painting : In addition to working on groups of works such as Der Zopf (1996–1997), Die Nonnen (1999–2002) or Die Päpste (2003), Cornelia Schleime repeatedly returns to making portraits. A large number of portraits of children were made in the late 1990s. a. A ship will come (1999, 145 × 480 cm)
Drawings : Her oeuvre includes a large number of drawings that she has made since her studies in Dresden
Roman : Weit fort , Hamburg 2008
Music (1979–1983):
- Black / white, end, fourth root from twittering machine, twittering machine in changing band project names

Exhibitions (selection)

1996: Cornelia Schleime Solo , Galerie Schuster , Paris
1999: Cornelia Schleime , first complete presentation of the Stasi series, KAP - Kunstverein auf dem Prenzlauer Berg , Berlin
2003: Art in the GDR , Neue Nationalgalerie , Berlin
2004: Berlin – Moscow / Moscow – Berlin 1950–2000 , Tretjakov Gallery, Moscow
2005: IBCA 2005 , IBCA Biennale Prague
2006: Life as a Legend: Marilyn Monroe , Kunsthaus Hamburg

2007: GERMAN PAINTING , Marlborough Gallery, London
2008 Cornelia Schleime: Blind Date , Galerie Michael Schultz , Berlin and Kunsthalle Tübingen
2009: Art and the public , Neuer Berliner Kunstverein
2009: STANDPUNKTE II 1986-2006 , Museum Junge Kunst, Frankfurt (Oder)
2010: Art of Two Germanys / Cold War Cultures , German Historical Museum , Berlin
2016: I'm not showing everything, Museum van Bommel van Dam , Venlo

Museums and public collections (selection)

Walter Art Museum
Kupferstichkabinett of the Dresden State Art Collection
Museum Meermanno Westreianum The Hague
Frissiras Museum, Athens
Kupferstichkabinett Berlin
Hessian State Museum Darmstadt
Collection Berlinische Galerie Berlin, Martin-Gropius-Bau
German Bundestag , Berlin
Getty Museum Los Angeles

Prizes and awards

2004: Fred Thieler Prize
2004: Gabriele Münter Prize , Berlin
2005: Award of excellent painting, National Art Museum of China, Beijing
2016: Hannah Höch Prize

literature

Deep views, art of the 80s from the Federal Republic of Germany, the GDR, Austria and Switzerland pp. 303 f., 475, DuMont Verlag, Cologne 1984, ISBN 3-7701-1740-9 .
Christof Kerber (Ed.): Cornelia Schleime - In love and in art I know exactly what I don't want . Kerber-Verlag, Bielefeld 2010
Christiane Bühling-Schultz / Martin Hellmold (eds.): Cornelia Schleime. Love Affairs. Blind date . Published on the occasion of the Love Affairs exhibition, Michael Schultz Gallery, Berlin, April 26th - May 27th, 2008; Blind Date, Kunsthalle Tübingen , June 7th - September 7th, 2008. Prestel-Verlag, Munich, Berlin, London, New York 2008, ISBN 9783791340654
Counter-images, cinematic subversion in the GDR 1976–89 . K. Fritsche, C. Löser (Eds.), Januss Press, Berlin
Art in the GDR . New National Gallery Berlin, 2003
Rituals . Academy of the Arts Berlin, 2003
Cornelia Schleime - Paradise can wait . Exhibition catalog, Galerie Michael Schultz (Ed.), Berlin 2003
Instructions for emergencies . City Gallery Sonneberg, 2001
Cornelia Schleime - From here to there . Galerie Michael Schultz (Ed.), Berlin, 2000
Cornelia Schleime - A ship will come ... Mannheimer Kunstverein (ed.), Mannheim, 2000
R. Galenza, H. Havemeister (ed.): We always want to be good ..., punk, new wave, hip-hop, independence scene in the GDR 1980–90 . Berlin 1999
Anke Scharnhorst: Schleime, Cornelia . In: Who was who in the GDR? 5th edition. Volume 2. Ch. Links, Berlin 2010, ISBN 978-3-86153-561-4 .
Cornelia Schleime . Schwind Gallery, Frankfurt / M. 1999
Paul Kaiser, Claudia Petzold (Ed.): Bohème and dictatorship in the GDR . German Historical Museum, Berlin
Cornelia Schleime - A somewhat awkward way of losing your heart . Galerie Michael Schultz (Ed.), Berlin 1997
Cornelia Schleime: Works from 1985–1996 , exhibition catalog. Galerie Michael Schultz (Ed.), Berlin 1996
Katrin Bettina Müller: The love of nuns . In: taz of March 10, 2004. (Portrait on the occasion of the presentation of the Gabriele Münter Prize and the Fred Thieler Prize)
Cornelia Schleime TONGUE SLEEP . With contributions by Wolfgang Büscher, Christiane Bühling-Schultz, Jovis-Verlag, Berlin 2012, ISBN 978-3-86859-179-8