Siglinde Kallnbach

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Siglinde Kallnbach (born June 14, 1956 in Tann (Rhön) , Hesse ) is a German, internationally active artist . Her work includes performance , installation , multimedia , photography and action art .

education

From 1976 to 1983 she studied at the Kunsthochschule Kassel under Harry Kramer Sculpture, Karl Oskar Blase Graphics, Heiner Georgsdorf Art Education and Georg Bussmann Art Studies. In 1977 she went to Auckland , New Zealand, for a year , and spent an academic year there. In 1983 she completed her studies in fine arts a. a. with the exam performance L (e) ine and obtained her state examination in art education and English studies . In 1983, Kallnbach received a scholarship from the Evangelisches Studienwerk Villigst . Since then, Kallnbach has been working as a freelance artist. In 1985 she was awarded the Robert Bosch Foundation Prize . Study trips, exhibitions and projects took her to Oceania and Southeast Asia . Kallnbach had lectureships at Musashi University in Tokyo , WAKO University in Machida near Tokyo, FH Bochum and the Bad Reichenhall Art Academy . Extensive trips to Australia , Oceania and Southeast Asia led Kallbach to investigate traditional rites, in which she was initiated. In Sri Lanka she was introduced to the art of fire dance and in Japan to the mysteries of the Yamabushi monks. In 2002 she completed an apprenticeship as a multimedia designer.

She lives and works in Cologne .

Performances, actions and installations

In her performances and actions, Siglinde Kallnbach has been grappling with sociopolitical issues such as discrimination , racism , war and injustice since the late 1970s . With performances, actions and installations she deals with different types of violence and with the ritual-mythological meanings of elements such as fire . Kallnbach addresses the degradation of women in different cultures on the basis of witch hunts in Europe and the brutal Japanese porn - Mangas . Her own body also repeatedly serves to illustrate the demonstration of violence. Like Marina Abramović or Gina Pane, she accepts injuries. Mediated by their trips are also transcultural aspects such. B. thematize elementary human needs and rituals , which are compared across cultures and offer the opportunity for dialogue and exchange. The use of one's own body as an instrument of bodily knowledge is of central importance - Kallnbach realizes the effects of social conditions and grievances in herself to this day, whereby in her early works she often went into physical borderline situations.

Kallnbach incorporates cross-media photographs, various objects and materials into her performances and installations in order to convey complex cultural meanings in symbolic actions. These cannot be restricted to a hermetically sealed individual mythology , but transfer one's own existential experience into a larger social context . An important aspect of her artistic work is also the active involvement of others. In the second part of the Kleinsassen trilogy in 1985, for example, she was able to combine 360 ​​participations from 39 countries around the world in her exhibition.

Wish track wishing track

In her " Wunschspur-Wishingtrack" project from 1999–2001, she collected over 4,000 wishes for the future worldwide, which she transformed into a 461-meter-long abstract track and rolled out on New Year's Eve 2000 and 2001 in a supply tunnel under the Rhine in Cologne.

a performance life

The campaign, which was originally planned for five years, is being extended again and again because of the great popularity. Siglinde Kallnbach's artistic work is closely related to everyday life and life. Since she first developed cancer in 2000, she has also addressed the disease and its consequences in her art, placing individual suffering in a larger social context. The performance calls for solidarity with people with cancer. With her interactive and perpetual project a performancelife (since 2001) to express empathy with cancer patients, Kallnbach creates room for maneuver to release creative energy in order to feed it back to sick people, relatives and medical staff as a transformative force. The performance is documented photographically.

Kallnbach was given the stage name Die Feuerliebende in Japan as early as the mid-1980s for her emphatic commitment to social issues .

Solo performances and solo exhibitions (selection)

  • 1978 first performances in New Zealand and Australia
  • 1983 Friedrichstrasse Gallery ( Affinition ), Kassel
  • 1984–86 process art trilogy ( fire gate and others), Kleinsassen / Hessen
  • 1987 Judicium Ignis - 500 years of Hexenhammer , exhibition at the Werner Kausch University Gallery and women's procession, Kassel
  • 1987 Frankfurt a. M., Carmelite Refectory
  • 1988 Waseda University, Tokyo 1990 Goethe Inst
  • 1990 When will Mr. Saito buy van Gogh's ear? , Performance, installation and documentation, Heineken Village Gallery, Tokyo
  • 1990 Goethe Institute, Tokyo
  • 1992 performance for the last witch (afterwards mostly exhibition with performance), Lemgo
  • 1992 Egg of the Phoenix , three performances, Theater im Fridericianum, Kassel
  • 1993 Fremdfreude II , performance and installation, shop window gallery Kassel
  • 1994 Performance Festival Die Rose von Jericho , Oldenburg
  • 1997 Action Rheinspur , GEW tunnel under the Rhine, exhibition Rheinspur / performance taubenrot , Antoniterkirche Cologne
  • 2000 Desired track , Vonderau Museum Fulda
  • since 2001 art project a performancelife
  • 2002 Van Gogh's Dream , Performance, Aomori Contemporary Art Center, Aomori / Japan
  • 2005 Exhibition Rheingold - Shinkansen , Kita Gallery, Yamatokooriyama-City / Nara-Ken
  • 2007 KunstWerk Köln HC - BC
  • 2008/09 Ludwig Forum for International Art Aachen

Group exhibitions

Works in public collections

  • Deutsche Bank art collection
  • Cologne City Museum
  • Vonderau Museum Fulda
  • Siegburg City Museum
  • City of Cologne Art Collection
  • Muzej i galerija Ijentnikovca Buca / Centar za kulturu Tivat (State Museum of Contemporary Art Tivat / Montenegro)
  • State art collections - Neue Galerie Kassel
  • documenta archive Kassel
  • Kleinsassen art station
  • Stadtsparkasse Wuppertal

literature

Catalogs

Catalogs for solo exhibitions (selection)

  • Rheingold - Shinkansen , Salon Verlag Cologne, 2007, ISBN 978-3-89770-255-4
  • Wish track - Wishingtrack , Salon Verlag Cologne, 2002, ISBN 3-89770-166-9
  • Rheinspur , Salon Verlag Cologne 1999, ISBN 3-932189-51-5
  • Siglinde Kallnbach - Performance , dalebo Verlag, Cologne 1995, ISBN 3-9804380-1-5
  • Siglinde Kallnbach: Death masks for van Gogh / Japan 1990 , Kleinsassen Art Station 1991
  • Connections , Art Station Kleinsassen 1985
  • Fire Gate , Kleinsassen Art Station 1984

Catalogs for group exhibitions (selection)

  • 1997 Gabriele Münter Prize , catalog of the group exhibition, Bonn
  • Alles Prophetinnen , Frauenmuseum Bonn , 2006, ISBN 3-928239-46-5
  • Performa 04 - FestiwalSztukj Zywej / Live Art Festival - Private Inpact , Szczecin / Poland, 2004
  • Art on prescription , Salon Verlag Cologne 2001, Museum Ratingen 2001 and other places, 2002/2003, ISBN 3-89770-143-X
  • Shozo Shimamoto - Siglinde Kallnbach , Japanese Cultural Institute Cologne, Cologne 2000
  • Gabriele Münter Prize 1997 , Frauen Museum Bonn / Kunsthalle Dominikanerkirche Osnabrück / Galerie am Fischmarkt Erfurt, ISBN 3-928239-35-X
  • City of Women , Women's Museum Bonn 1995
  • Multimediaists: Female Performer Week Erfurt , Kunsthaus Erfurt 1992
  • InterAzioni- Laboratorio Internationale delle Performances et Installazioni , Cagliari / Sardinia 1990

Publications (selection)

  • Siglinde Kallnbach: Performance - the perforated concept - a plea against the teachability of performance , in: Marie-Luise Lange (Ed.): Performativity experience. Teach action art - learn action art . Schibri Verlag, Berlin / Milow / Strasburg, 2006, ISBN 3-937895-42-6
  • Siglinde Kallnbach: Judicium Ignis: 500 years of Hexenhammer - women's procession through the Kassel city center , in: Feminist cultural education: projects and concepts , Remscheid Academy 1989, ISBN 3-923128-05-3

bibliography

  • James Putnam: Art and Artifact. - The Museum As Medium , Thames & Hudson, London 2001, ISBN 0-500-23790-5
  • 20 Years of the Women's Museum Bonn , Bonn 2001, ISBN 3-928239-49-X
  • Religion concerns us: Friedrich Spee , Bergmoser + Höller Verlag , ISSN  0936-5141 , Aachen 1996
  • Thomas Illmaier: Siglinde Kallnbach: Schamanistische Performance , in: Yearbook for Ethnomedicine and the Study of Consciousness , no.4, Verlag für Wissenschaft und Bildung Berlin 1995, ISBN 3-86135-031-9
  • Monograph temple offerings and fire rituals , in: KUNSTFORUM INTERNATIONAL , Volume 130/1995
  • EL Interview Siglinde Kallnbach , in: The English Journal , Tokyo, March 1992 (with audio cassette)
  • Elisabeth Jappe: Performance Ritual Process - Handbook of Action Art in Europe , Prestel-Verlag, Munich / New York 1993, ISBN 3-7913-1300-2
  • P. Schmaling: Artist Lexicon. Hessen-Kassel 1777-2000 , Kassel 2001.

Web links

Individual evidence

  1. ↑ Julius Tomboronino in: (Ed.) Atelier Verlag Ursula Fritsche KG: Art: art supplement west special . Cologne ISDN: 1866-542X p. 1
personal data
SURNAME Kallnbach, Siglinde
BRIEF DESCRIPTION German artist
DATE OF BIRTH June 14, 1956
PLACE OF BIRTH Tann (Rhön)