Monika Dillier

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Monika Dillier, exhibition view, Galerie STAMPA Basel, bringing together what doesn't belong together, 2019

Monika Dillier (born March 6, 1947 in Sarnen ) is a Swiss artist . She often works as an installation , as a painter and draftsman . In her artistic work she processes media images, collects material from different sources and rearranges them. Dillier is a co-initiator of feminist projects in the Basel area .

Career

Monika Dillier grew up in central Switzerland . After training as a drawing teacher at the Lucerne School of Applied Arts , she studied in 1969 at the Berlin University of Fine Arts , specializing in visual communication . The political-feminist awakening of that time had a strong influence on her artistic and art communication work. Back in Switzerland, Dillier organized the Women's Culture Week in the Basel City Theater in 1979 . In 1981 she took part in an exhibition in the Basel Frauenzimmer on the subject of women, bodies, and pornography. She became part of various artist initiatives. For example, in 1990 she was co-organizer of the international symposium arts, science and everything else . The video documentation of this symposium can be viewed in the Swiss social archive.

In 1998, Monika Dillier, Katharina Erich, Susanne Fankhauser, Lisa Fuchs, Pascale Grau, Muda Mathis , Barbara Naegelin , Andrea Saemann , Sus Zwick launched an appeal under the title First Manifesto of Great and Respected Women Artists and was first published in the book Alles wird gut! : Visions and experiments from the new Switzerland published. In 2019, an updated version of the manifesto was developed as a performance for the Swiss Performance Prize , performed and honored with the audience prize.

Dillier is a member of the artists' group Tisch Discussions , a group of artists and mediators that has been active since 2002. Beate Engel wrote about this collaboration in the Sikart Lexicon: “In this context, various campaigns such as Purity and Danger , 2007 and exhibition projects such as Die Glücksmaschine , 2008, in Basel; The Road to Nieu Bethesda , 2008, in Johannesburg with artists from Switzerland and South Africa. "

Dillier's international collaborations and exhibitions with artists in South Africa, China and Argentina are often triggered by studio grants and longer stays in Berlin , Beijing , Cape Town or Buenos Aires (see exhibition list). She lives and works in Basel, Athens and on the Greek island of Tinos . From 1987 to 2010 she was a lecturer at the F + F School for Art and Design in Zurich .

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«Dillier's phenomenological apprehension of reality is carried by the fascination that certain images exert on it. In the work itself, however, these subjective moments dissolve into metaphors that can be sensed by the senses for a world in which nature and technology, sexuality and aggression, politically explosive and everyday matters stand side by side. " The art scholar Beate Engel is referring to both the large-format, figurative oil paintings of the 1980s and the installation works and groups of drawings.

In 1995 Dillier began to collect found images in material books independently of the further production of artist books. The art scholar Isabel Zürcher writes in her article Thinking in Liquid in the publication Knabenmorgenblüthenträume : “Dillier's material books are not works of art, but they are a starting point, a backbone, an underground and a store of ideas for her work, also equipped with idols from film, music, literature and Stage."

Monika Dillier speaks of a "collection process" in which, she quotes Alexander Kluge here, "(...) unequal things are not made equal but are given the same right to be viewed." The catalog of works says about the titles of her drawings: "The titles of the various departments combine the feeling that the world is a wonderful place with the unalterable knowledge that there is no escape from the valley of tears."

Purchased works by Dillier can be found in: Basel Public Art Collection, Kupferstichkabinett; Basler Kunstverein; Collection of Art Credit Basel-Stadt; Bern, Swiss Confederation, Federal Office of Culture, Federal Art Collection; Kunsthaus Glarus; Art Collection of the Canton of Lucerne; Art Collection of the Canton of Nidwalden; Art Collection Canton Obwalden; Sarnen, Obwalden Cantonal Hospital; Art collection of the city of Zurich; Zurich, Mattenhof nursing home.

Solo exhibitions (selection)

  • 2019 Bringing together what doesn't belong together , Galerie Stampa Basel
  • 2017 Evas Apfel , Paradies women's practice, Binningen
  • 2015 Estudio Abierto, URRA, Buenos Aires
  • 2012 Eyelids Art Museum Olten
  • 2012 books and notebooks , Galerie Stampa Basel
  • 2010 han äs härzeli wie'näs veegeli, therefore liäba 'ni so ring , APROPOS Lucerne
  • 2007 Vertical wave-horizontal development , Trudelhaus Baden
  • 2006 Pictures instead of words, artist books and video installation, Basel University Library
  • 2003 Foyer Stadtkino, Kunsthalle Basel
  • 2002 Coldroom in Cape Town South Africa
  • 1999 welcome home: Strange food , cascade capacitor Basel
  • 1989 Beijing Art Academy

Group exhibitions and works (selection)

  • 2020 Monika Dillier, Fabienne Immoos , exhibition, oT room for contemporary art Lucerne, Switzerland
  • 2019 shift the manifesto, with Manifesto Reflex Collective, Performance Prize Switzerland, Aarau
  • 2019 If there is a paradise then it comes in Brocken , Predigerkirche Basel with Urs Cavelti , Lorenza Diaz , Monika Dillier, Kilian Rüthemann , Studer / van den Berg , Beat Zoderer
  • 2018 Doce en Diciembre , contribution to the performance event, PROA 21, Argentina , Buenos Aires
  • 2019 Bringing together what doesn't belong together , Stampa, Basel
  • 2017 annual exhibition in Central Switzerland , Lucerne Art Museum
  • 2017 Artist's Books IV, Stampa Galerie Basel
  • 2017 In the center , Museum Bruder Klaus, Sachseln
  • 2017 Bundling lines , Olten Art Museum
  • 2016 Bosquejar, esbozar, projectar tomo 2 , Buenos Aires, drawing exhibition
  • 2015 Galeria Del Infinito Arte, Buenos Aires
  • 2013 Lichterlei , Museum Bruder Klaus, Sachseln
  • 2012 Drawing, drawing, toujours toujours , La Kunsthalle Mulhouse
  • 2007 Watercolor , Anton Meier Gallery, Geneva
  • 2007 Top of central Switzerland, Kunstmuseum Luzern
  • 2005 Galerie Helga Broll presents Chris Regn masterpieces Hamburg, HfbK
  • In 2004 I joined dorff, together with Andrea Saemann, Galerie Hofmatt, Sarnen
  • 2003 Thealit intervention. Viruses, models, trick. , Society for Current Art, Bremen

Awards

  • 2019 Swiss Performance Prize / Audience Prize: Manifesto Reflex Collective, with Monika Dillier, Iris Ganz, Sibylle Hauert, Lysann König, Fränzi Madörin, Muda Mathis, Dorothea Mildenberger, Sarah Elena Müller, Barbara Naegelin, Chris Regn, Andrea Saemann, Dorothea Schürch, Sus Zwick
  • 2004 Contribution to the Kunstkredit Basel-Stadt
  • 1999 Art Prize from the Basler Zeitung
  • 1988/89/90 work grants art credit Basel Stadt
  • 1985 Art Prize: Federal grant

Publications

  • Monika Dillier: Boy’s morning blossom dreams. Ed .: Isabel Zürcher, Vexer Verlag, St. Gallen 2012, ISBN 978-3-909090-48-8 .
  • Monika Dillier: 177 times great longing and great fear. Vexer Verlag, St. Gallen 1997, ISBN 3-909090-25-7 .
  • Monika Dillier: Galerie Art Magazine , 1995. (With a text by Birgit Kempker ).
  • Silvia Bächli, Monika Dillier, Anna B. Wiesendanger , Galerie Hans Knoll, Vienna 1988.
  • Monika Dillier: 23 facsimile drawings. Vexer Verlag, St. Gallen 1987.
  • Monika Dillier: Four cardinal points and the golden horizon , Public Art, Artlog.net

literature

  • Katharina Steffen (Ed.): Everything will be fine !: Visions and experiments from Switzerland. Suhrkamp Verlag, Frankfurt am Main 1998, ISBN 3-518-39407-X .
  • The ‹Lady Goddesses on the Equator›: Advancing aesthetic and political issues. «Monika Dillier and Lisa strengkle in conversation with Sabine Gebhardt Fink and Muda Mathis», in: Sabine Gebhardt Fink, Muda Mathis, Margarit von Büren (eds.): Floating Gaps. Performance Chronik Basel (1968–1986) , Diaphanes, Zurich 2011, ISBN 978-3-03734-172-8 , pp. 35–45.
  • Johanna Encrantz: Condensing sight and tendons into art. In: Art Bulletin. No. 3, 2005, pp. 36-37.
  • Romano Cuonz : Adventure 'Art Diaspora' - Monika Dillier and Andrea Saemann in the 'Hofmatte'. In: Obwaldner Kantonsblatt. March 12, 2004.
  • Alice Henkes: Monika Dillier and Verena Thürkauf , article in Kunstbulletin , 7/2012
  • Isabel Zürcher: Monika Dillier - appropriation in watercolor , art bulletin 4/2019

Web links

Individual evidence

  1. ↑ Monika Dillier. Retrieved February 13, 2020 .
  2. ↑ Super User: Monika Dillier. Retrieved March 21, 2018 (UK English).
  3. ↑ Cornelia Klinger, Monika Dillier, Marianne Schuller (eds.): As you like it - arts, science & everything else . Kore Verlag, Freiburg 1991, ISBN 978-3-926023-29-2 .
  4. ^ First manifesto by great and respected women artists on the website xcult.org, accessed on April 18, 2018
  5. ↑ Katharina Steffen (Ed.): Everything will be fine! Visions and experiments from Switzerland . Suhrkamp, ​​Frankfurt am Main 1998, ISBN 3-518-39407-X .
  6. ↑ a b Ephemeral, but lively and current. Retrieved October 15, 2019 (Swiss Standard German).
  7. ↑ a b c Beate Engel: Dillier, Monika - SIKART Lexicon on art in Switzerland. SIK ISEA Swiss Institute for Art Research, 2012, accessed on March 22, 2018 .
  8. ↑ a b Monika Dillier: Boy morning blossom dreams . Ed .: Isabel Zürcher. Vexer Verlag, St.Gallen 2012, ISBN 978-3-909090-48-8 , pp. 214 .
  9. ↑ Yumpu.com: ulrike-bergermann-hfbk-hamburg-772005-galerie-helga-broll. Retrieved February 13, 2020 .
  10. ↑ Performance Prize Switzerland. Retrieved September 28, 2019 (German).
  11. ↑ Four cardinal points and the golden horizon. Retrieved February 13, 2020 .
  12. ↑ Condensing sight and longing into art. Retrieved June 9, 2020 .
  13. ↑ Monika Dillier and Verena Thürkauf. Retrieved February 13, 2020 .
  14. ↑ Monika Dillier - appropriation in watercolor. Retrieved February 13, 2020 .
personal data
SURNAME Dillier, Monika
BRIEF DESCRIPTION Swiss artist
DATE OF BIRTH March 6, 1947
PLACE OF BIRTH Sarnen