| | | |  | | | Katharina Sieverding: KUNST UND KAPITAL, 2016
© Katharina Sieverding: VG Bild-Kunst, Bonn 2021
Foto: © Klaus Mettig, VG Bild-Kunst, Bonn 2021 | | | | | | FOTOGRAFIEN, PROJEKTIONEN, INSTALLATIONEN 2020 - 1966 | | | | ... until 25 July 2021 | | | | In order to make your visit to the exhibition as safe as possible, an appointment reservation is required. Please follow this link and choose your individual time slot for your visit, Sundays from 12 to 5 pm | | |  | | | | | | | | | |  | | | Katharina Sieverding, THE GREAT WHITE WAY GOES BLACK, IX/1977
Farbfotografie, Acryl, Stahlrahmen
300 x 500 cm
Installationsansicht der Ausstellung: Katharina Sieverding – Close Up, KW Institute for Contemporary Art
Berlin, 2005
© Katharina Sieverding, VG Bild-Kunst, Bonn 2021 | | | | | | | For more than five decades, Katharina Sieverding has been one of the pioneers who recognized the diverse expressive possibilities of photography early on and continually expanded the medium conceptually and formally. Her subject and artistic principle are »transformation processes, questions about identity, gender, and race« the artist says. Sieverding became known for the unprecedented consistency with which she has used her portrait, enlarging and manipulating it in a variety of ways, in film and photography since the 1960s. Beginning in the 1970s she worked on large-format montages on the state of the world, first shown internationally at documenta 6 in 1977. She critically questions the accelerated imaging processes of the present in the sense of responsibility also toward oneself. Her best-known works include Schlachtfeld Deutschland from 1978, a statement on the time of the Red Army Faction, and the 1993 Berlin poster campaign Deutschland wird deutscher, in which Sieverding reacted to the radical right-wing attacks after the fall of the Berlin Wall. Shortly before this, the artist realized the Memorial to the Murdered Members of the Reichstag. | | | | | |  | | | Katharina Sieverding: DEUTSCHLAND WIRD DEUTSCHER XLI-92, 1992
Fünffarben-Offsetdruck
252 x 356 cm
Plakatierung in Berlin vom 30. April bis 12. Mai 1993
© Katharina Sieverding, VG Bild-Kunst, Bonn 2021
Foto: © Uwe Walter | | | | | | | This major exhibition in the Falckenberg Collection presents some 100 works and spans all phases of the artist’s oeuvre, from her early large-scale photomontages in the 1960s to her striking series of selfportraits and films ranging from the 1970s to the 1990s as well as current productions. This also includes completely new, previously unseen works, such as the documentary film Metroboards about Sieverding’s art in public places and the work Gefechtspause, which deals with the lockdown during the coronavirus crisis. The exhibition focuses in particular on the continuing relevance of earlier works and the artist’s interest in creating installation-based approaches to the medium of photography. | | | | | |  | | | Katharina Sieverding: Encode II, 2006
A/D/A-Process, Acryl, Stahlrahmen
190 × 125 cm
© Katharina Sieverding, VG Bild-Kunst, Bonn 2021
Foto: © Klaus Mettig, VG Bild-Kunst, Bonn 2021 | | | | | | Katharina Sieverding studied at the Hochschule für bildende Künste Hamburg from 1963 to 1964, and from 1964 to 1967 she was part of Teo Otto’s class at the Kunstakademie Düsseldorf. During this time she was involved in several theater productions as a stage designer at venues including the Deutsches Schauspielhaus Hamburg, the Burgtheater in Vienna, the Düsseldorfer Schauspielhaus, and the Deutsche Oper Berlin. In 1967 Sieverding switched to Joseph Beuys’s class at the Kunstakademie Düsseldorf. After Beuys was fired in 1972, Sieverding went to the United States on a DAAD scholarship, where she gave lectures on her work at various institutions. She also traveled to Canada, China, and the Soviet Union. From 1990 to 1992 she was a visiting professor at the Hochschule für bildende Künste Hamburg and subsequently received a professorship at the Berlin University of the Arts. She has also held guest professorships at the Center for Contemporary Art Kitakyushu in Japan (1995–99), the International Summer Academy in Salzburg (1995–2013), and the China Academy of Art in Hangzhou (2002–2003).
Her works have been shown in numerous group and solo exhibitions and are represented in renowned collections, including the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the Stedelijk Museum in Amsterdam, the National Gallery in Berlin, the Museum Folkwang in Essen, and the Kunstsammlung NRW in Düsseldorf.
Sieverding received the Ernst Poensgen Prize in Düsseldorf in 1967, followed by numerous other awards and grants, including the Förderpreis des Landes Nordrhein-Westfalen (1975), the Förderpreis des BDI (1979), the Karl Schmidt-Rottluff Stipendium (1980–82), the Deutscher Kritikerpreis (1994), the Lovis Corinth Prize (1996), the Kaiserring der Stadt Goslar (2004), and the Käthe Kollwitz Prize (2017).
Accompanying the exhibition, a publication designed by the artist was be published. | | | | | |  | | | Katharina Sieverding: XI/78, SCHLACHTFELD DEUTSCHLAND, 1978
C-Print, Acryl, Stahlrahmen
300 x 375 cm
© Katharina Sieverding, VG Bild-Kunst, Bonn 2021
Foto: © Klaus Mettig, VG Bild-Kunst, Bonn 2021 | | | | | | unsubscribe here
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© 18 Mar 2021 photo-index UG (haftungsbeschränkt)
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