Wiebke Siem
Wiebke Siem (* 1954 in Kiel ) is a German artist . She lives and works in Berlin .
Study and teaching
Siem studied from 1979 to 1984 at the University of Fine Arts in Hamburg with Stanley Brouwn . She herself held a visiting professorship from 2000 to 2001 and a professorship for sculpture at the University of Fine Arts in Hamburg from 2002 to 2008 . Wiebke Siem was a member of the German Association of Artists .
plant
During and after her studies in Hamburg between 1983 and 1988, Siem developed her first clothes, wall paintings and the series of hats. With this work, Siem processes the influence of her generation of teachers in an ironic way. The clothes of the early 1980s are her answer to the textile works of Franz Erhard Walther , they are also "objects to use". The eye-catching applied patterns, some of which are offset on the surface as if the dress had been carelessly sewn together, create an alienation, they visually contrast the clothes that one wears normally in the street scene. The murals, created at the same time, take up the murals by Blinky Palermo and reduce them to absurdity. Instead of a monochrome painting, Siem uses an imitation marble stone like in the theater. The wall works are placed in public space (stairwell, office corridor, café) and sometimes remain there for years without being labeled as a work of art. The hats are also wearable and hardly differ from fashion designs. Years later, in 1995, Siems textile works were first exhibited as art objects in the Chantal Crousel gallery in Paris.
The 4 groups of works
From 1989 to 1997 Siems created 4 groups of works, a large cohesive work that occupies a central place in her oeuvre. The first group of works, 1989 to 1993 ( dresses, hats, bags, shoes ) crosses the line between art and fashion like the previous works. Clothes and accessories are objective or potentially usable. They are a kind of prototype and are displayed like a product display in a large fashion boutique.
The objects in the second group of works (1991–1994) are ambivalent. The designation clothes, hairstyles, scarves, wagons ( Portikus catalog ) suggests fashion / lifestyle, the group of works itself does not meet this expectation. The clothes are more like knight's armor, the hairstyles are hard plaster helmets that cannot be worn, the wagons are heavy wooden carts reminiscent of a peasant museum, the cloths are thick wall hangings made of felt. The presentation of the group of works is more similar to the collection of a cultural history museum than that in a fashion boutique. The female role understanding is undermined and taken to absurdity.
The third group of works (1993–1997) also refers to museum collections. The 6 furs are reminiscent of the shaggy mask suits from the Alpine region (Klaubauf, Perchten). In the group of 7 masks , the artist reproduced her own face in seven different facial expressions. ( Franz Xaver Messerschmidt is the reference) The group of 42 stones refers to Henry Moore's fieldstone collection and, in 42 individual sculptures, plays through the canon of modernist sculptures ( Hans Arp , Henry Moore).
The 4th group of works (1995–1997) develops a domestic look through the carpet in the middle. The installation looks like a huge room. The oversized carpet makes the life-size dolls / figurines and wooden objects that surround it appear small like toys. The puppets are at the same time a reference to classical puppet shapes as well as to sculptures and theater costumes by Oskar Schlemmer.
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Rustic furniture
Wiebke Siem developed the farm furniture group during her first stay in Great Britain. In this case, all objects are 1: 1 copies of existing German farm furniture from the 18th and 19th centuries in various private and public collections. The alienation in this case lies in the fact that the reproduced furniture including the painting is brand new. They appear strange to us, although they are taken from our own cultural and historical background. This raises the question of what is foreign and what is proper.
Mask costumes
Most of the mask costumes (2000/2001) were created during Siem's second stay in England and refer to objects from non-European cultures in European museum collections, mask costumes from the African and Pacific regions. The carved masks also show references to European modernism. ( Modigliani , Schlemmer ) It is about the art of the non-European area as a resource of European modernity.
The forger
Between 2005 and 2009, Siem worked on a group of larger room installations that will be shown in the New Museum in Nuremberg in 2009 under the exhibition title Die Fälscherin . In room furnishings and furniture from the pre- and post-war period, large fabric sculptures are placed as actors in surreal domestic scenes. Fear vision and comedy are close together. The central installation, an “Africa collection” made up of household items and obsessively occupying the entire room, gives the exhibition its title.
Hot Skillet Mama
With the sculptures that have been created since 2010, Wiebke Siem frees herself in her practice from the elaborately crafted sculptures that have shaped her work for decades. Now she assembles her sculptures from simple household items and then processes them so that they have a uniform surface. Disembodied sculptures emerge, not dissimilar to skeletons. In the installation Hot Skillet Mama, named after an early play by Sun Ra , the figures hang from the ceiling like marionettes. As with many of Siem's works, this is also about alienation, the transformation of something familiar into something foreign.
In the studio installation Der Traum der Dinge - The Dream of Things in 2016, she leaves it to the visitors to assemble and hang up household appliances to create new figures (K20 - Kunstsammlung Nordrhein-Westfalen , Düsseldorf).
Scholarships and Awards
1990
- Scholarship for visual artists from the Hamburg cultural authority
1991
- Scholarship, Akademie Schloss Solitude , Stuttgart
1994
- Scholarship for visual artists from the Kunstfonds Foundation , Bonn
- Catalog funding from the Alfried Krupp von Bohlen und Halbach Foundation
1995/96
- Scholarship, Cité Internationale des Arts , Paris
1996/97
- Stay at Künstlerhaus Bethanien , Berlin
1999/2000
- Sculpture Fellowship, The Henry Moore Foundation, Bristol, England
2001/2002
- Scholarship from the Berlin Senate Department for Culture, Delfina Studio Trust, London
2002
- Edwin Scharff Prize of the Free and Hanseatic City of Hamburg
2011
- Catalog funding from the Art Fund Foundation, Bonn
2013
- Scholarship from the international artist house Villa Concordia , Bamberg
2014
Solo exhibitions
2016
- K20 - Art Collection North Rhine-Westphalia (in Lanir), Wiebke Siem - The dream of things
2014
- Wilhelm Lehmbruck Museum, Duisburg
2013
- Johnen Gallery, Berlin.
- Geister , installation in the stairwell of the Kunsthalle as part of the exhibition Gute Gesellschaft , Kunsthalle zu Kiel
2011
- Wiebke Siem in the Karin Sander studio, Karin Sander studio, Berlin
2009
- The forger , Neues Museum in Nuremberg
- 4. Group of works , permanent collection, New Museum in Nuremberg
2007
- Niema tego złego coby na dobry nie wyzło , Johnen Gallery, Berlin
2004/05
- Mask costumes , Galerie der Moderne, Kunsthalle Hamburg
2002
- Lindig Gallery in Paludetto, Nuremberg
- 2. Group of works , permanent collection, New Museum in Nuremberg
- Frith Street Gallery, London (with Massimo Bartolini)
2001
- Collection , The Henry Moore Institute, Leeds, England
2000
- Spike Island, Bristol, England
- Gallery Johnen & Schöttle, Cologne
- Exhibition stand for the Künstlerhaus Bethanien, Art Forum, Berlin
1997
- Castello di Rivara, Torino, Italy
- Kunsthalle Bern, Switzerland
- Künstlerhaus Bethanien, Berlin
1996
- Duchamp's great-grandson , Bonner Kunstverein, Bonn
- Gallery Johnen & Schöttle, Cologne
1995
- Gallery Chantal Crousel, Paris
1994
- Portikus, Frankfurt am Main
- Gallery Johnen & Schöttle, Cologne
1993
- Robert Walser Museum , Hotel Krone, Gais, Switzerland
- Galerie Rüdiger Schöttle, Paris
- Gallery Johnen & Schöttle, Cologne
- Galerie Rüdiger Schöttle, Munich
1991
- Akademie Schloss Solitude, Stuttgart
- Kunstraum Neue Kunst, Hanover
1990
- Westwerk, Hamburg
Group exhibitions
2013
- Just what is it that makes today's homes so different so appealing , New Arts Center, Salisbury
- World tour, art from Germany on the way, works from the Ifa art collection1949 - today , ZKM, Museum of Modern Art, Karlsruhe
- Regionalism Salzburger Kunstverein, Salzburg
2011
- Sowing and weeding , Cobra Museum, Amsterdam
- Artist collectors: Mona Hatoum, Arturo Herrera, Karin Sander , Kunsthalle Koidl, Berlin
2010
- Conversation Pieces Act II , Johnen Gallery, Berlin
2009
- Sowing and weeding , Ravensburg City Gallery, Wolfsburg City Gallery
- Show, An audio tour through Berlin by Karin Sander , Temporäre Kunsthalle Berlin
2008
- On the pea , gallery of the city of Sindelfingen
- We are Stardust we are golden , Galerie Johnen + Schöttle, Cologne
2001
- Unwearable fashion as a sculpture , Museum for Art and Commerce, Cologne
- Through the Looking Glass , M + R Gallery. Fricke, Berlin
- Blondies and Brownies , Praterinsel Action Forum, Munich
2000
- Solitude in the museum , Staatsgalerie Stuttgart, Musee d`Art Moderne de Saint Etienne, France
- Anyone could be anyone else in most ways , Galerie Brigitte Trotha, Frankfurt am Main
1999
- Wolfsburg Art Museum, Germany
- Triennial of Small Sculpture , Forum of Südwest LB, Stuttgart
- Global Fun , Museum Schloss Morsbroich, Leverkusen
- Zoom, a view on German contemporary Art , Villa Merkel, Esslingen, Städtisches Museum Abteiberg, Mönchengladbach
- Kiel art gallery
1998
- The House in the Woods , Center for Contemporary Arts, Glasgow, Scotland
- Dundee Contemporary Arts, Scotland
- Ormeau Baths Gallery, Belfast, Northern Ireland
- Art and paper on the catwalk, fashion show, Deutsche Guggenheim, Berlin
- Addressing the Century, 100 Years of Art and Fashion , Hayward Gallery, London
1997
- Time and Fashion , The Solomon Guggenheim Museum, Soho, New York
1996
- Bodyscape , Barbara Gross Galerie, Munich
- Private View , The Bowes Museum, Barnard Castle, England
- Propositions , Musee Departemental de Rochechouard, France
- Lines and signs , Künstlerhaus Bethanien, Berlin
- Il tempo e la Moda , Biennale di Firenze, Italy
1995
- Physical logos , Staatsgalerie Stuttgart, Altes Museum, Berlin, Castello di Rivoli, Torino, Italy and many other international stations
- Giovani Artisti Tedesci , Castello di Rivara, Torino, Italy
- Room monuments , Bochum
- Aperto 95 , Le Nouveau Musee Villeurbanne, Lyon, France
1994
- Suture - Phantasms of Perfection , Salzburger Kunstverein, Salzburg
- Life is too much , Galerie des Archives, Paris
- Villa Pams - Le Jardin des Senteurs , Collioure, France
- Bad zur Sonne - 100 changing rooms , Styrian Autumn, Graz, Austria
- Trans , Chantal Crousel Gallery, Paris
- Expose , Institute for Foreign Relations, Stuttgart
1992
- Art space new art, Hanover
- Le Témoin Oculiste , Center Corégraphique Nationale de Franche-Comté, Belfort, France
- Qui, Quoi, Ou? , Un regard sur l'Art en Allemagne 1992, Museé d'Art Moderne de la Ville de Paris
- Just what is it, that makes today's home so different, so appealing , Galerie Jennifer Flay, Paris
- Chambre 763 , Hotel Carlton Palace, Paris
1991
- Hamburg work grants , Hall K3, Hamburg
- Around the dome , Württembergischer Kunstverein, Stuttgart
1990
- Jürgen Becker Gallery, Hamburg
Sculptures in collections (selection)
- Hamburger Kunsthalle
- State Gallery Stuttgart
- New Museum Nuremberg
- Fonds National, France
- FRAC Franche-Comté, Besançon (formerly Dole), France
- FRAC Alsace, Sélestat
- Landesbank Baden-Württemberg, Stuttgart
- Collection of the IFA, Stuttgart
- Deutsche Bank Collection, Frankfurt / Main
- Rudolf Bossi Collection, Zurich
- Lothar Schirmer Collection , Munich
literature
1991
- Wiebke Siem: clothes, hats, bags, shoes , texts by Wiebke Siem and Jean Paul; Catalog for the exhibition of the same name at Schloss Solitude. Ed .: Jean-Baptiste Joly, Akademie Schloss Solitude , Stuttgart, 1991
1994
- Wiebke Siem: clothes, hairstyles, scarves, wagons , texts by Wiebke Siem and Adelbert von Chamisso; Catalog for the exhibition of the same name in the Portikus. Ed .: Kasper König, Portikus, Frankfurt am Main, 1994
1996
- Wiebke Siem , texts by Wiebke Siem and Annelie Pohlen; Brochure for the exhibition of the project series Duchamp's great-grandchildren. Ed .: Bonner Kunstverein 1996.
1997
- Wiebke Siem - Kunsthalle Bern , texts by Wiebke Siem and Ulrich Loock; Catalog for the exhibition of the same name. Ed .: Kunsthalle Bern, Switzerland, 1997
- Tower room , text by Peter Herbstreuth; Leaflet for the exhibition of the same name at Künstlerhaus Bethanien, Berlin, 1997
2000
- Juliana Engberg and Wiebke Siem: A new Project by Wiebke Siem , texts by Kay Campbell; Brochure for the exhibition of the same name in Spike Island. Ed .: Spike Island, Bristol, England, 2000
2007
- Wiebke Siem: Niema tego zlego coby na dobre nie wyszlo , text by Jens Asthoff; Catalog for the exhibition of the same name. Ed .: Johnen Galerie, Berlin 2007
2013
- Wiebke Siem: Works 1983-2013 . Ed .: Melitta Kliege and Angelika Nollert, Verlag für Moderne Kunst Nürnberg, 2013
Web links
- Wiebke Siem. ifa - artist database, accessed on August 10, 2013 .
- Wiebke Siem. Catalog of the German National Library, accessed on August 10, 2013 .
- Wiebke Siem. Artfacts, accessed August 10, 2013 .
Individual evidence
- ↑ kuenstlerbund.de: Ordinary members of the German Association of Artists since it was founded in 1903 / Siem, Wiebke ( Memento of the original from March 4, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (accessed on February 26, 2016)
| personal data | |
|---|---|
| SURNAME | Siem, Wiebke |
| BRIEF DESCRIPTION | German artist |
| DATE OF BIRTH | 1954 |
| PLACE OF BIRTH | Kiel |