Cornelia Schleime

Quick Facts

Full Name	Cornelia Schleime
Occupation	Painter
Date Of Birth	Jul 4, 1953(1953-07-04)
Age	71
Birthplace	Berlin
Country	Germany
Horoscope	Cancer

Cornelia Schleime Biography

Cornelia Schleime is one of the most popular and richest Painter who was born on July 4, 1953 in Berlin, Germany. Schleime was born 1953, in East Berlin. She was raised under the rule of the “gesetztes Wir” (predefined collective or “We”) she had learned early to withdraw from the tyranny and impositions of a set of happiness. The phrase “Community tames extremes”. It could “have smoothened out my fractions. I did not want to change anything here, with the exception of myself. I was fed up with the way people betrayed themselves. I didn’t want to grow old that way.” In the beginning, she fantasized about travelling to Morocco as August Macke did, in the hope to “meet my self in the faraway lands, to dive into the opium of unfettered suns.” She’s always desired to travel and explore the major museums around all over the globe, those powerful centers of concentrated energy, and get to know the Giottos, Masaccios, van Eycks, Vermeers, Manets and Turners there in addition “maybe only to stand only once in front of a small watercolour by William Blake.”

Cornelia Schleime, along with Ralf Kerbach, who met in the Dresden University of Fine Arts and came up with the art-punk duo Zwitschermaschine or “Twittering”. After an unsuccessful art exhibit at the Radeburg Heimatmuseum, organized by Michael Rom, they decided to create music together. The group was active from 1979 until 1983. Ralf Kerbach, who was influenced to The sex Pistols as well as the Stranglers and the guitarist. Schleime was the vocalist . He was joined by Matthias Zeidler on bass and Wolfgang Grossmann on drums. The band’s name was derived from Ralf Kerbach’s love of Paul Klee’s homonymous film, or from the performance of the film of Luis bunuel An Andalusian dog. They appeared in studios. at Drama school Ernst Busch and in the Erfurt “gallery in the hall”. Certain concerts were cancelled by the power of the state. Musically, they were referred to by the state as New Music, the dilettantism that was prevalent in the beginning was a precursor to a Dadaist idea, which was situated somewhere at the intersection of classical musical styles and the three-chord genre. Schleime was later informed the identity of one acquaintances was a monitor the group. She stated in an interview in 2017 she believed that “the punk band actually wasn’t an act of rebellion, it was just a way of expressing myself since I wasn’t allowed to exhibit art.”

While in school she often visited the Sächsische Landesbibliothek (Saxonian County Library) where she discovered Arnulf Rainer, Cy Twombly, Francis Bacon. After graduating from the Dresden School, her work shifted from the classical traditions. She experimented with coffee-grounds and sand bound by glue, a technique she still uses today to break up the even surface, painting by means of scratching and scarring and making marks. In the early 1980s, Schleime drew, painted and wrote poetry, explored performance art and eventually began making films, particularly with the use of Super 8 film.

Her participation in this exhibition, her broad definition of art and her unconventional works and shows resulted in an exhibition ban for her in 1981. In an interview in 2017 she explains that she planning an exhibition that was prevented. “The exhibition manager told me that the culture ministry had imposed a ban on my work. I started working with the pseudonym CMP [Cornelia Monica Petra, Schleime’s full name] so that they wouldn’t know it was me… I was never an enemy of the state or anything like that, I just had a different visual concept. I was told, for instance, that a woman I’d painted, with her head hanging down in a melancholy, surreal expression, didn’t look as she should according to socialism.”

Schleime started her study in graphic arts and painting in the Dresden Academy of Fine Arts in the year 1975. In the year 1980, she was awarded her certificate in graphic and painting arts from the Academy of Arts at the Bruhlsche Terrasse.

Cornelia Schleime Net Worth

Cornelia Schleime is one of the richest Painter from Germany. According to our analysis, Wikipedia, Forbes & Business Insider, Cornelia Schleime 's net worth $5 Million. (Last Update: December 11, 2023)

Cornelia Schleime (born July 4 1953, in Berlin, Germany) is the name of a German artist, performer filmmaker, author and painter. She was born within East Berlin under the GDR She studied graphic and painting in the Dresden Academy of Fine Arts before joining the art underground.

From 1970 until 1975, Schleime was a hairdresser’s apprentice and then studied for makeup artist and camouflage artist. Later, she worked as a stable girl in the Dresden Thoroughbred Races and as an assistant to a nurse for a brief period.

In her undergraduate days, Schleime belonged to a group of young artists who formed a counter-movement to official GDR art policy. The artists pursued new experimental paths and devised alternative presentation formats in studios and private homes. Schleime began her exploration of performance art with works such as a “Raum des Dichters” (Room of the Poet) in the autumn of 1979 as part of this. The group refused to exhibit conventional art as defined by the authorities in the GDR and developed a project of working on a topical issue relevant to their generation. They agreed on a proposal by Michael Freudenberg to choose the theme of doors, an associative response to being in a country enclosed by a wall. In the autumn of 1979, the Leonhardi Museum in Dresden (the former studio-house of the Dresden late Romantic Eduard Leonhardi ) hosted the group’s collaborative work “Türenausstellung” (“Exhibition of Doors”). Michael Freudenberg, Monika Hanske, Volker Henze, Ralf Kerbach, Helge Leiberg, Reinhard Sandner, Cornelia Schleime and Karla Woisnitza each created an installation, while Thomas Wetzel organised four outdoor actions relating to the theme. The exhibition attracted attention from the general public, with A. R. Penck claiming that it represented “the beginning of victory over false consciousness (falsches Bewußtsein)!”.

Height, Weight & Body Measurements

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Who is Cornelia Schleime Dating?

According to our records, Cornelia Schleime is possibily single & has not been previously engaged. As of December 1, 2023, Cornelia Schleime’s is not dating anyone.

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In a 1996 interview, Schleime reflects on her life in East Berlin’s effect on her work “I believe in general, and here I refer to the time in the East, that the oppression or limitations which I experienced did not influence painting. The painting was or is not for me a processing machine for political or personal emergency. In any case, I suffered more from the provinciality of the GDR than from their politics, so our conversations in the East were so often centered around the “universal.” No, I can handle nothing with my painting. My work should be purpose-free, only in this way can I open up new spaces. In the east I had one of the cops, who was standing at the Friedrichstrasse junction, with the umbrella – that was the way to get my frustration, not the brush!”

Facts & Trivia

Cornelia Ranked on the list of most popular Painter. Also ranked in the elit list of famous people born in Germany. Cornelia Schleime celebrates birthday on July 4 of every year.

A number of artists, including Schleime, were contributing to a strong feminist voice within East German underground art, working with a clear feminist idiom and feminist content, without realizing they were or actively participating in a larger international feminist debate. In a 2016 interview Schleime confronted the comparison of her works to 1970s feminist avant-garde artists Annegret Soltau and Hannah Wilke: “Of course I had heard of these artists. But I wasn’t interested in feminism at all. When I went to the West, the feminists thought they had found a comrade-in-arms. But they were wrong. My actions aren’t directed against men. They’re directed against the fact that they stripped me of the freedom to show my art, and so I got naked and tied myself up. I didn’t do it for sexual reasons. I got naked because I was forced to be naked. The GDR took everything I had. I also did those things where I enveloped myself in barbed wire. It was more about vulnerability, about being at someone’s mercy, about Christ with the crown of thorns. I am closer to Arnulf Rainer than to the feminists. He speaks of the negation of all extravagance. Everything that is excessive is negated. He tried to reduce everything and overpainted his works until only a bleating mouth peeped out.”