Mita Shamal

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Mita Schamal (* 1966 in Berlin ) is a German visual artist , ceramist , ceramic painter and former drummer of the GDR punk band nameless . She was one of the few women who belonged to the first generation of punks in the GDR . Schamal then worked as a GDR underground artist and in this context worked on works of experimental film art and on the artist magazines Liane , Genesis 2:25 and Der Schaden .

Life

Schamal was already interested in playing drums during her school days. She first practiced on a suitcase and later bought a drum kit to make music herself. In 1983 she founded the punk band nameless together with singer Jana Schlosser , to which Frank Masch (bass) and “A-Micha” (Michael Horschig, guitar) joined. Along with Jana Schlosser and Tatjana Besson from the punk band Die Firma , which was founded at the same time, Schamal is one of the few women who appeared as musicians in the GDR punk scene .

Schamal followed her need to “fill up on fun” and the need for freedom from her “uptight” home. That same year, occupied it together with other punks an apartment in East Berlin. This was heavily frequented by the scene. During this time, Schamal gained recognition in the scene. The punk colonel was one of her close friends.

On April 30, 1983 the punk bands Nameless (with Schamal on the drums), Planlos and Unwünscht performed during a blues mass in Berlin's Erlöserkirche, which was observed by the Stasi . Nameless was the large turnout hippies pelted with bottles, the punks pogten to music.

The lyrics of the band were rated by the Ministry for State Security (MfS) as hostile to the state. The aim of the state was that the Stasi should solve the so-called "punk problem" by 1983. An example was made of nameless . On August 11, 1983, the nameless members were brought in by the MfS “to clarify a matter”, which Schamal experienced as a major turning point in their previous life. After 24 hours of interrogation by the Stasi, during which she refused to give evidence, Schamal signed her “briefing” and was still held in prison. Jana Schlosser and Michael Horschig were sentenced to 18 months, Frank Masch to twelve months in prison - according to Section 220 of the GDR Criminal Code for "public degradation of state organs".

Only after seven weeks was Schamal - still a minor - released from custody. When Schamal was released, the visual artist Cornelia Schleime was present alongside her parents .

As a result of his imprisonment, Shamal suffered from paranoia, depression, outbursts of emotions in public spaces and helplessness combined with increased consumption of alcohol and tablets. Eventually she ended up in a psychiatric hospital after attempting suicide. Schamal describes her situation while her friends were still in custody: "The awareness of being released and not being free - that was the worst." In view of these facts, the MfS stated: "The processed illegal punk rock- Formation nameless was successfully dismantled by criminal procedural measures. "

Shamal was then looking for a job that filled her. Making punk music was no longer an option for her, she wanted to develop further. The visual artist Cornelia Schleime encouraged her to paint too. Schamal had already drawn and painted beforehand. She used painting to come to terms with what she had experienced and to reflect on her incipient sexuality and her relationship with the punk musician Kaisa (bass player, first with Planlos and from 1984 with Namenlos ). She says about this time: “I painted a lot of porn, for example.” In March 1984 she was 18 years old. Since then she has been working as an underground artist.

From 1984 until his suicide in 1988, she worked with the artist and poet Flanzendörfer , with whom she created several text and graphic editions and carried out painting activities. In the winter of 1985/86 he lived in Schamal's apartment, where he created a number of mostly lost paintings. In January 1986 Flanzendörfer and Schamal carried out a joint painting campaign in the De'loch gallery .

After the fall of the Wall in 1989, Schamal tried to study fine arts without having passed the Abitur. She did this at the Gerrit Rietveld Academie in Amsterdam . After six months she broke off her studies because - analogous to the curriculum there - she did not want to bow to the need to position herself as an artist with self-marketing techniques on the art market.

Mita Schamal still plays the drums today. She has a daughter and lives in Berlin.

plant

Schamal initially and later painted so-called "rat pictures". She worked artistically on experimental films together with Cornelia Schleime and Flanzendörfer. She worked on the artist magazines Liane , Genesis 2.25 , Der Schaden (ed. By Sascha Anderson , Christoph Tannert [among others]) and on various artist books with graphics, paintings and texts.

  • 1984: 16-part silkscreen series, in: Flanzendörfer : impossible to live , artist's book
  • 1984: Contribution for damage : Konzetto for Leo. , Text, nudes and mythical creatures , colored art sheet, 32 × 45.2 cm, in: Damage. - (1984), 2
  • 1984: Das Puttennest , experimental film by Cornelia Schleime , collaboration as a performer and actress
  • 1985: Contribution for damage : tactless love poem to delete. , Text, drawing for a poem , art sheet, black / white, 29.8 × 21 cm, in: Schaden. - (1985), 8, pp. 39/40
  • 1985: Contribution for harm : My soul is .... , Text, drawing to poem , art sheet, color, 29.8 × 21 cm, in: Damage. - (1985), 7, p. 65
  • 1986: Joint painting campaign in the De'loch Gallery in January 1986, Mita Schamal and Flanzendörfer
  • 1986: Achkrach Kuckbuck , artist book by Mita Schamal and Flanzendörfer
  • 1986: Personal exhibition by Mita Schamal and Flanzendörfer in the East Berlin underground gallery De'loch , December 6th to 28th: ​​graphics, ceramics, painting, performance, wall overpainting and "demolition", film overpainting Die Eisenkrähe
  • 1987: Iron-beaked Crow , experimental film by Flanzendörfer, collaboration as a performer and actress
  • 1989: Contribution to Liane , artist magazine: Pictures by Mita and Frank , 1 art sheet, black / white, 29.3 × 20.6 cm, in: Künstlerzeitschrift Liane , 6, p. 97
  • 2005: Exhibition ostPUNK! - too much future - PUNK IN THE GDR 1979-1989 at Salon Ost in Berlin, painting
  • 2006: "Too Much Future", documentary by Carsten Fiebeler and Michael Boehlke about the punk movement in the GDR, actress
  • 2007: Exhibition ostPUNK! - too much future - PUNK IN THE GDR 1979-1989 in Dresden in the city museum, painting
  • 2007: nameless: 1983-89 , CD on Nasty Vinyl (NV 151)
  • 2007: nameless: 1983-89 , LP on Höhnie Records and Rotten Totten Records (HÖ97, RTR 017)
  • 2008: Exhibition ostPUNK! - too much future - PUNK IN THE GDR 1979-1989 in Halle in the city museum, painting
  • 2008: nameless: freedom, equality, fraternity! , LP, red vinyl, on Höhnie Records (Hö 105)
  • 2013: Nameless: Poverty turns humans into animals , mini-album, vinyl, 10 ", limited edition, on Höhnie Records (Hö 120), recorded in 2009 in Berlin and Hennigsdorf
  • 2014: Exhibition Between Exit and Action. The Erfurt subculture of the 1960s, 1970s and 1980s , exhibition in the Kunsthalle Erfurth

literature

  • Claus Löser, Alexander Pehlemann: film booklet OSTPUNK! TOO MUCH FUTURE, ed. from the Federal Agency for Civic Education / bpb, Berlin 2007
  • Ronald Galenza and Heinz Havemeister (eds.): We always want to be good. Punk, New Wave, HipHop and Independent Scene in the GDR. Berlin 1999
  • Michael Horschig: There were never punks in the GDR. 1999, p. 39
  • Eckhart Gillen, Rainer Haarmann: Art in the GDR. Cologne 1990
  • Michael Boehlke, Henryk Gericke (Eds.): OstPUNK - Too Much Future. Exhibition catalog. Künstlerhaus Bethanien, Berlin 2005, ISBN 3-932754-62-X
  • Yvonne Fiedler: Art in the Corridor: Private Galleries in the GDR between autonomy and illegality. Berlin 2013
  • Tely Büchner, Susanne Knorr, Gabriele Stötzer, Reinhard Zabka (eds.): Between exit and action. The Erfurt subculture of the 1960s, 1970s and 1980s, exhibition catalog, Bielefeld 2014, p. 236/237

Web links

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  1. ↑ a b Mita Schamal: 16-page screen print ( memento of the original from May 25, 2014 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , in: Peter Böthig and Klaus Michael (eds.): flanzendörfer. impossible to live it. 192 pages, ISBN 3-928942-00-X , In: Website of the Gerhard Wolf Janus Press publishing house @1@ 2Template: Webachiv / IABot / www.januspress.de
  2. ↑ a b c d e f g h Claus Löser, Alexander Pehlemann: film booklet OSTPUNK! TOO MUCH FUTURE, ed. from the Federal Agency for Civic Education 2007
  3. ↑ a b c d e f g h Carsten Fiebeler, Michael Boehlke: ostPunk! too much future, documentary, 2006, as a contemporary witness
  4. ↑ Ronald Galenza and Heinz Havemeister (eds.): We always want to be good. Punk, New Wave, HipHop and Independent Scene in the GDR. Berlin 1999
  5. ↑ Michael Horschig: There were never punks in the GDR 1999, p. 39
  6. ↑ a b Ole Detlefsen: whispering and screaming. Pogo until the fall of the Berlin Wall: The musical underground in the GDR. In Esslinger Zeitung, November 7, 2009
  7. ↑ Rebecca Hillauer: Stasi horror with mohawk. The downside of the GDR nostalgia: How dangerous it was to be a punk in the workers' state. In: Neue Zürcher Zeitung, March 9, 2003
  8. ↑ Ronald Galenza: Tattooed Hearts. A documentary asks a scene: "Ostpunk! Too Much Future" by Carsten Fiebeler and Michael Böhlke. In: Berliner Zeitung, 23 August 2007
  9. ^ Peter Böthig: Frank Lanzendörfer 1962–1988. Epilogue, January 1992
  10. ↑ Dirk Teschner: Between Plänterwald and Coswig. Punk and Art in the GDR | Vol. 1, in: telegraph # 109, 2003
  11. ↑ Schamal, Canaima: Konzetto for Leo. In: damage. - (1984), 2, in the Deutsche Fotothek
  12. ↑ Ronald Galenza: Tattooed Hearts. A documentary asks a scene: "Ostpunk! Too Much Future" by Carsten Fiebeler and Michael Böhlke. In: Berliner Zeitung, 23 August 2007
  13. ↑ Schamal, Canaima: tactless love poem to delete. With: drawing for poem , art sheet, black / white, 29.8 x 21 cm, in: Schaden. - (1985), 8, p. 39/40, in the Deutsche Fotothek
  14. ↑ Shamal, Canaima: My soul is .... With: drawing for poem , art sheet, black / white, 29.8 x 21 cm, in: Schaden. - (1985), 8, p. 39/40, in the Deutsche Fotothek
  15. ^ Peter Böthig: Frank Lanzendörfer 1962–1988. Epilogue, January 1992
  16. ^ Peter Böthig and Klaus Michael (eds.): Flanzendörfer. Impossible to live it. Berlin 1992, ISBN 978-3-928942-00-3 .
  17. ↑ Flanzendörfer : Achkrach Kuckbuck , Arietti-Zeck, Berlin 1986
  18. ^ Klaus Michael: The gallery de LOCH. In: Website of the Federal Agency for Civic Education, September 6, 2012
  19. ↑ Yvonne Fiedler: Art in the Corridor: Private Galleries in the GDR between autonomy and illegality. Berlin 2013, p. 335
  20. ↑ Dirk Teschner: Between Plänterwald and Coswig. Punk and Art in the GDR | Vol. 1, in: telegraph # 109, 2003
  21. ^ The artist magazine Liane , (1989), 6, online version in the image database of the Deutsche Fotothek
  22. ↑ Press release of the exhibition ostPUNK! - too much future PUNK IN THE GDR 1979-1989
  23. ↑ Andreas Körner: Speak it, say it, shout it out. Saxon newspaper, August 22, 2007
  24. ↑ natter: From garbage station to megalomania. Punk exhibition in Halle was opened. In. Ostblog, January 21, 2008
  25. ^ Rita Otto: Exhibition in Erfurt: Between exit and action - GDR was also cool. Aslant. Avant-garde. In: Gesellschaft Freunde der Künste, January 31, 2014 ( Memento of the original from May 26, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.freundederkuenste.de
personal data
SURNAME Shamal, Mita
ALTERNATIVE NAMES Shamal, Canaima; Shamal, Canaimita
BRIEF DESCRIPTION German musician, artist, drummer, GDR oppositionist
DATE OF BIRTH 1966
PLACE OF BIRTH Berlin