Ireen Zielonka Studio

About

Portfolio Ireen Zielonka

 


My drawn lines are my vocal cords.

upcoming

2017/Dec.  Group-Exhibition “Überfordert” (Overwhelmed) Curator Vadim Zakharov at “Freehome”, Berlin

2017/18  Interview, article in “NAU NUA”, art-magazine, Spain

2018  Solo-Exhibition “A breeze in Catalonia / Soul-Scape” at Sala d’expositions del Casino de Vic, Spain

 

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

 

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Vita

1981 born in Berlin, Germany

2oo3 – 2oo7 Museology / 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

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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 (selected)

2017 Group-Exhibition at goMedus, Berlin

2017 Solo-Exhibition “Pneuma” at Gallery Tore Suessbier, Berlin

2017 Group-Exhibition “House of Tweets”, Ministergärten, Landesvertretung des Saarlandes in Berlin

2017 Solo-Exhibition “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.

2017 Solo-Exhibition “Prologue”, Gallery Pusta, Katowice Miasto Ogrodów, Poland (UNESCO).

2016 „Die Lichtenbergnorm“,  Galerie Zwitscher­maschine, Berlin

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

2o14 / 2o15 „Zürich…von Giganten und Ganoven“ („Zurich … from Giants and Crooks“) , Galerie 16b, Zurich, Switzerland

2o14 „Einwandzeichnungen“, Kunst am Spreeknie, Berlin

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

2o13 Mash Up, Kunststern, Essen, Germany

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

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

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

2oo4 „Machines”, drawings, Bari, Berlin

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

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

 

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.