Gisela Weimann

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Gisela Weimann (* 1943 in Bad Blankenburg ) is a German artist who lives in Berlin . Her work is shown internationally and includes exhibitions, sound installations and multimedia performances. She also writes artistic and art-historical texts that she has already published in magazines and her own book volumes. In her works, especially in the past, political and feminist topics were in the foreground.

In 2002 she received the Critics' Prize for Fine Art of the Association of German Critics eV In addition to her travels and work stays abroad, Gisela Weimann has carried out numerous collaborations with other artists. Her work is represented in the sculpture network .

life and work

Gisela Weimann, "Fall", aquatint etching, London 1972.
Gisela Weimann, "Portrait", reflecting tube in front of the lens, London 1971.

Numerous trips as well as study and teaching stays abroad shape the life of the artist.

After her basic artistic training at the art schools in Münster and Bremen and training as a foreign language correspondent , Gisela Weimann studied painting at the University of the Arts in Berlin from 1965 , where she completed her studies in 1971 as a master class student . Afterwards she received a scholarship from the DAAD and studied free graphics and experimental photography at the Royal College of Art in London until 1972 . From 1972 to 1976 she was a lecturer in free graphics at Medway College of Design Rochester, Kent, and Gloucestershire College of Art and Design Cheltenham . Then she lived from 1976 to 1978 as a freelance painter in Berlin. In 1978 she received Airlift and Fulbright scholarships to study at the San Francisco Art Institute , San Francisco / USA ( Bachelor of Art ), where she studied film and photography until 1979 . After completing her studies, she lived in Tepoztlán , Mexico until 1981 , where she had her own studio. Back in Berlin, she continued to work as a freelance artist. She and two other artists moved into the rooms of an abandoned branch of the Weddinger Stadtbücherei am Schillerpark . With this conversion to the first community studio in the district, an upgrading of Wedding , which is considered amusement, was to take place and at the same time cheaper studio space to be created. The artist group negotiated - although a tenant change was planned every two to three years - a permanent right of residence. Since the artists could not make a living from selling pictures, they practiced the professions they had learned at times: Weimann interpreted at international events. In 1982 she took a job at the Volkshochschule Berlin-Wedding, where she was head of the art and creativity department until 1987. She continued her involvement in decentralized cultural education from 1990 to 1993 with the project management of the Lebendiges Museum gallery at the Wedding Adult Education Center. From 1996 to 2004 she taught as a DAAD guest lecturer at the art faculties of the universities in Salamanca and Madrid / Spain, in Cluj / Romania and at the Universidad Autónoma Metropolitana in Mexico City.

In 1997 she received a residency grant from the Villa Aurora in Los Angeles and in 2009 residency grants from the Emily Harvey Foundation in Venice / Italy and the Kunstverein Frankfurt-Oder. In 2000, she received funding from the Kulturfonds Foundation and the Berlin Capital Cultural Fund for her European music theater project, Opera for 4 Buses . In 2002 she was awarded the German Critics' Prize for Fine Arts. In 2011, 2012 and 2013 she worked at the Center d'Art Contemporain d'Essaouira / Morocco and in 2014 at the Maison d'Art Contemporain in Asilah / Morocco.

Gisela Weimann uses numerous different media of expression in her work. Stefanie Endlich said in her laudation about Gisela Weimann:

“[...] The breadth and diversity of their artistic expression and working methods range from painting and graphics, photography and film, mail art, installations and environments to multimedia projects, actions, performances and art in public spaces. And it overcomes sector-specific boundaries through intercultural and interdisciplinary cooperation with artists from the theater, music and film sectors as well as with scientists from various disciplines [...] "

Exhibitions (selection)

  • 1977: First solo exhibition, European Academy Berlin
  • 1978: Women from a tenement in Wedding , first thematic solo exhibition, Happ Galerie Berlin
  • 1989: References I – VII , seven exhibitions by the artist group Sieben / 87 , Karo Galerie Berlin
  • 2001: Opera for 4 buses , Museum Island Festival Berlin
  • 2005: Transatlantic Impetus , Martin-Gropius-Bau , Berlin
  • 2008: Espacios Mediterraneos , Casa de las Conchas , Salamanca, Spain
  • 2008: Brass Ballet I / Aurora , “Body Navigation Festival”, St. Petersburg, Russia
  • 2010: La Notte Blu , Teatro Fondamenta Nuove, Venice, Italy and Galerie futura, Berlin
  • 2011: Memorias , Palacio de la Mosquera , Arenas de San Pedro, Spain
  • 2012: World in Flames , Casablanca Biennale, Morocco
  • 2013: beginning end here now , solo exhibition, Kunsthalle Brennabor , Brandenburg an der Havel
  • 2013/2014 The perfectness and the mistake , GAS-station Berlin
  • 2014: My shadow stays , solo exhibition, Haus der Kunst Brno, Czech Republic: In this work she refers to Peter Schlemihl's wondrous story about the shadow of Adelbert von Chamisso
  • 2014/15: Une mer deux rivages. MAC.A, Asilah , Morocco
  • 2015: Fragments of the Other. Performance with Andor Kömives in the Art Museum in Cluj-Napoca , Romania
  • 2016: Welcome to Futuristan . Multimedia exhibition of the galerie futura, Berlin
  • 2020: The Wall / CONJUGATIONS / About the crazy , GAS-station Berlin

Publications (selection)

  • Workshop visits to artists in Berlin-Wedding , Volumes I and II, edited by Ursula Diehl and Gisela Weimann, FAB Verlag, Berlin 1988 and 1989, ISBN 3-9801875-9-4 and ISBN 3-927551-03-1 .
  • Change of works I , GEDOK, 1989, ISBN 3-927551-10-4
  • A paradox draws circles - The Living Museum becomes an institution , Galerie Lebendiges Museum, Berlin 1990.
  • From Asia to Europe , self-published, 1995
  • Reflexionen / Reflections dt./engl., VDG Weimar, 2002, ISBN 3-897393-02-6
  • Cow School: Guidelines for Classes in : n.paradoxa international feminist art journal, Vol. 15, Jan. 2005, pp. 13-17
  • Jerzy Olek "Ujezdzanie muzyki" (Riding the Music) in: Rita Baum, No. 10, 2006, pp. 220-221, ISSN 1429-852X
  • Divided time: questions and answers , VDG Weimar, 2007, ISBN 3-897395-66-5
  • La Notte Blu in: n.paradoxa international feminist art journal, Vol. 24, July 2009, pp. 45–48,
  • Ave Maria - The Annunciation to Mary in modern works of art in: Change of Perspectives, Diözesan-Museum Bamberg 2013, pages 170–171, ISBN 978-3-931432-32-4
  • Culture and Cosmos in: Culture and Cosmos, Vol. 16, 2012, pp. 429-437, ISSN 1368-6534

reception

In 2016, the feminist art magazine n.paradoxa - international feminist art magazin published a detailed interview with Gisela Weimann by the art scholar Sarah Frost about the sound and silence of her work.

Stefanie Endlich said in her laudation: "Gisela Weimann's special way of working is characterized by a field of tension between her individual artistic signature on the one hand and a comprehensive network with far-reaching interactions that has emerged through her initiatives on the other."

The art scholar Brigitte Hammer wrote in the project book References Sieben / 87 : “Gisela Weimann's artistic work develops in interconnected thematic cycles, the elements of which are based on the awareness of the finiteness of life, the experience of the limitation of human existence and the longing for perfection and Wholeness to be determined. Whether she designs themed meals with artist colleagues and other people or paints a self-portrait every day in 1988, her actions are always determined by the search for something lasting in change, after supplementation through exchange, are a permanent attempt to integrate and connect art and life. "

Web links

Individual evidence

  1. ↑ Gisela Weimann - biography . giselaweimann.de. Retrieved March 24, 2016.
  2. ↑ Gisela Weimann . sculpture-network.org. Retrieved March 24, 2016.
  3. ↑ a b District Office Wedding of Berlin. Volkshochschule (ed.): Because of signs. Artist at the VHS Wedding . Berlin May 1984, Gisela Weimann, p. [10 f.] .
  4. ↑ LH: An artist group has settled in Wedding. Studio apartments in the former city library. - There is usually not enough space for the sculptors . In: Der Tagesspiegel . March 11, 1984, Berlin part.
  5. ^ LH: Weddings mayor wants to continue promoting the artist house. Reservations by district councilors. - Uncertainty about rental agreements . In: Der Tagesspiegel . December 24, 1985, Berlin part.
  6. ↑ Scholarship holders details . villa-aurora.org. Retrieved March 24, 2016.
  7. ↑ Opera for 4 buses . Retrieved April 11, 2016.
  8. ↑ Gisela Weimann - My shadow remains (PDF) dum-umeni.cz. Archived from the original on January 27, 2016. Retrieved March 24, 2016.
  9. ↑ Record in WorldCat
  10. ↑ SOUND? NOISE! VOICE! . In: n.paradoxa: international feminist art journal . January 37, 2016. Retrieved March 24, 2016.
  11. ↑ Gisela Weimann . Vimeo. Retrieved March 24, 2016.
  12. ↑ References. Seven / 87 . 7 artists, 7 art mediators, 7 exhibitions, 7 × 7 works of art. Gisela Weimann, Brigitte Hammer, Regina Roskoden, Heidi Schafer-Hölters, Ann Noel, Uta Brandes, Silvia Breitwieser, Thomas Wulffen, Elke Nord, Renate Grisebach, Hans-Jörg Tauchert, Jürgen Raap, Rosemary Jarman, Claudia Henne. FAB Verlag, Berlin 1989, ISBN 3-927551-08-2 , Every day shards, p. 13 ff .
personal data
SURNAME Weimann, Gisela
BRIEF DESCRIPTION German visual artist
DATE OF BIRTH 1943
PLACE OF BIRTH Bad Blankenburg