About

Ireen-Zielonka_by-Daniel-Zakharov_178

Photo by Daniel Zakharov

 


My drawn lines are my vocal cords.

upcoming

28. April 2018, at 3pm

“Today. Berlin. Art.” auction at Villa Elizabeth, Invalidenstr. 4a, 10115 Berlin Mitte

 

Research project “Tower of Winds”  (Dip Pen Drawings and Soundspieces)

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Vita

1981 born in Berlin, Germany

2oo3 – 2oo7 Museum Studies / completed as „Best Graduate“. Diploma about the philosophical question „Why is there something and not nothing?“  Purchase by Barbara Klemm and the Museum Folkwang, Essen Germany.

lives and works in Berlin

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Collection Michael Haas

Collection Dorothea and Rudolf Zwirner

Collection Peter Raue

Katowice Miasto Ogrodów, Poland (UNESCO)

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Artist in residence

2oo4 Artist in residence at ”monochrom”, Museumsquartier/Vienna (Electric Avenue), Austria

2016 Artist in residence AADK  Centro Negra, Spain (“Aktuelle Architektur der Kultur”)

 

Exhibitions (S) Solo / (G) Group

2018  “Sell your treasures” at Sala d’expositions del Casino de Vic, Catalonia, Spain (S)

2018  Lecture in Escola d’Art i Superior de Disseny de Vic, Catalonia, Spain

2017 “Überfordert” (Overwhelmed), Curator Vadim Zakharov at “Freehome”, Berlin (G)

2017 goMedus, Berlin (G)

2017 “Pneuma” at Gallery Tore Suessbier, Berlin (S)

2017 “House of Tweets”, Ministergärten, Landesvertretung des Saarlandes in Berlin (G)

2017 “Die Schlesische Lunge” / The Silesian Lung, Drawings in Gallery Miasto,Katowice Miasto Ogrodów, Poland (UNESCO). Soundinstallation in cooperation with Paweł Palej, Łukasz Kozera, Michaeł Paduch, Paweł Siodłok and Tomasz Makula. (S)

2017 “Prologue”, Gallery Pusta, Katowice Miasto Ogrodów, Poland (UNESCO). (S)

2016 “Artist to Artist”, Curator Vadim Zakharov at “Freehome”, Berlin (G)

2016 „Die Lichtenbergnorm“,  Galerie Zwitscher­maschine, Berlin (G)

2o15 Open Art Weekend at ECC Weißensee, 29./3o. August (G)

2o14/15 „Zürich…von Giganten und Ganoven“ („Zurich … from Giants and Crooks“) , Galerie 16b, Zurich, Switzerland (G)

2o14 „Einwandzeichnungen“, Kunst am Spreeknie, Berlin (G)

2o13 Kunsthalle European Creative City ECC-Weißensee, Berlin, Germany (G)

2o13 Mash Up, Kunststern, Essen, Germany (G)

2o12 Anti-Heroes, „The Death of Andy Warhol”, graphic novel, Villa Mohr, Munich, Germany (G)

2oo5 Stahlyn, installation of an cocktail-robot, at the international annual exhibition „Roböxotica” (G)

2oo5 „Feuerwehrspezialeinheit”, photography, Museumsquartier/Vienna (Electric Avenue), Austria (G)

2oo4 „Machines”, drawings, Bari, Berlin (S)

2oo4 „Parteiapparat”, political machine, installation, Museumsquartier/Vienna (Electric Avenue), Austria (S)

2oo4 „Loka Daun”, photography, Museumsquartier/Vienna (Electric Avenue), Austria (S)

 

Other works

2016 “The Metallic Taste Of Pneuma”, a drawing-research about the history of tuberculosis based of the ancient greek term of PNEVMA

2016 Illustrations for a story by author Leonardo Letra „Contadores de històrias“ (what means a professional storyteller and Campolina), Rio de Janeiro, Brazil

2o15 Drawing „Farewell-party“, Professor Hans Wilderotter, Museum Europäischer Kulturen, Berlin-Dahlem

2o12 Curator Exhibition „Der falsche Teppich” („The wrong Carpet“), Birgit Hölmer Stasimuseum Berlin, ASTAK e.V.

2o12 Consultation and participation „Manfred Butzmann. Heimatkunde. Aus den Tagebüchern der Jahre 1989 und 199o” Akademie der Künste Berlin (Hg.), AdK, Archiv, Berlin

2o12 Curator Interim-Exhibition Stasimuseum Berlin, ASTAK e.V.

2o1o John-Heartfield-Haus, Waldsieversdorf, Reconstruction and Research, Studio – private Interior weekend cottage of John Heartfield

2oo5 Photographs for a computer game „Sowjet Unterzögersdorf”, for the artistgroup ”monochrom”

2oo4 Stage design for „anti”-musical „Udo 77”, collaboration with the art-technology-philosophy group „monochrom”, Rabenhoftheater Vienna, Austria

 

Publications

2016/17 Interview „People who works on paper“, published in: designdrift magazine, India

2015/16 „Die Berlinerin“, Part of Photoserie by Photographer Ashkan Sahihi about the Berlin Woman, Galerie im Körnerpark, Berlin / DISTANZ Verlag, ISBN 978-3-95476-101-2

2o15 „Visionarios“, Magazine, Issue 4, Cover and Illustrations, Hollywood L.A.

2o15 Article about Artwork in: „Posi+tive Magazine“, Issue I, page 125, „ECC / Berlin’s City Of Creativity / Ireen Zielonka“, www.positive-magazine.com

2oo9 „Penelope Goldschlag – The first instrument”, „Penelope Goldschlag – Falling in love with Joey Ramone”, yiddish graphic novels in Swiss magazine „Milk & Wodka”, Rock ‚n‘ Roll Vol.II, 2oo8, No. 9, Switzerland

2oo9 Drawings, ”Die Krähen vor meinem Fenster” („The Crows up on my Window“); author Willi Sagert, Exhibition and Book

2oo9 Academy of Arts, Berlin: New acquisitions Library May / August: ”Die Krähen vor meinem Fenster” („The Crows up on my Window“); Willi Sagert, Ireen Zielonka

2oo9 Hertzfeldt & Partner, Westermann Verlag, Praxis Englisch, „Action – Training Film Literacy”, „Australia”

2oo9 „Penelope Goldschlag and the death of Andy Warhol”, „Penelope Goldschlag and the Death of Brian Jones”, yiddish graphic novels in Swiss magazine „Milk & Wodka”, Death, No. 1o, Switzerland

2oo7 „Penelope Goldschlag, wos ajn Schlamassel” yiddish graphic novel

2oo7 „Penelope Goldschlag‘s experience with The Cramps”, Rumble Skunk, No.2, 6o‘s Garage Punk Fanzine, Greece

2oo5 „tag day dies”, publication, drawings and texts of a diary

 

Charitable engagement

2o14 „Agree To Disagree“ drawing for lyrics from the Album „Money can‘t kill Music“ by Christiano Can

2o14 „I‘m not perfect but I‘m perfectly me“, concept for „RUA“. Project for children who are living in „Morro da Providência“ (Favela) Rio de Janeiro, Brazil, www.r-u-a.jimdo.com

 


 Craft and Stance

Text: Silvia Halfter
Translation: Matt Robinson

There is hardly a drawing of Zielonka’s in which no philosophical thought is the starting point for an allegorical representation. Her work posits the interactions between society and the individual and the unelected arrested-being with conventions, traditions and origins. Reflection, inquiry and pursuit of knowledge are mandatory as the scouts to act confidently and maturely, she adds.

Zielonka’ s work negotiates the divide between what she refers to as the Gesellschaftsspiel (Company Game) and the Gesellschaftsmaschine (Company Machine). Those who play the machine and those who are played by the machine. Influence has a social dimension, the ratio the individual between the two poles of emancipation and manipulation varies when influence, both external and internal, is introduced and acknowledged.

The collage and mirror techniques of the Dadaists and their application in literature by William S. Burroughs (cut-up and fold-in) point to a formal technique, the paradox, introducing the random and the automated as a counterweight to the creative author. She has applied her thoughts to a way of working which is a mixture of strict composition, precision craftsmanship and controlled chaos.

Here is where Zielonka’ s work steps away, piece by piece, from the distraction of colour to become refined art, offering room for reflection. Her habit of abstraction provides thoughful content of a particular depth, the kind Max Klinger called the “true organ of imagination” confronting the art of belief in drawing.