Cornelia Schleime is acclaimed as a leading figure in German painting, an astute observer and narrator who masterfully interweaves reality and fantasy in visually captivating compositions. In doing so, she carries on the legacy of German Romanticism with a remarkable finesse and aesthetic sensibility. As the artist nears her 70th birthday in 2023, her oeuvre stands not just as a crucial part of art history, but also as a significant commentary on political and social issues.
Born in 1953 in East Berlin, Schleime initially trained as a hair stylist and makeup artist. Her fascination with portraying the multifaceted “faces” of individuals is evident from the start, and remains a prominent theme in her works. In 1975, she began studying graphics and painting in Dresden. With her bold and politically charged pieces, she quickly reached the limits of what was tolerated in the GDR, drawing the ire of authorities. Undeterred, she continued to push boundaries, incorporating performances into her repertoire and documenting them through photographs and films. In one notable photograph, Schleime covers her head with a plastic bag, while in another, she gazes fearlessly into the camera despite being gagged. She never portrays herself as a victim, but as a protester and rebel. These striking works, which unapologetically denounced the personal and systemic repression in the GDR, sparked significant criticism. After participating in an exhibition that explored the concept of freedom on a metaphorical level, she faced a complete ban from exhibiting in 1981. Ultimately, Schleime applied to leave the GDR, but after multiple rejections, she was only granted the opportunity in 1984, under fateful circumstances. In a matter of hours, she and her young son were ordered to leave the GDR, leaving behind all of her belongings, including her entire body of work. With the help of a diplomat, only her Super 8 films, photographs, and artist’s books were saved and brought to West Berlin. Reflecting on this experience in her autobiographically inspired novel, “Weit fort” (2008), Schleime found something “liberating” about the abrupt departure: “One can always redefine themselves, even with empty pockets. Dreams, energies, and experiences cannot be taken away.”
However, her struggles did not end there. After the German reunification, Schleime discovered that a former lover, with whom she had played in the punk band “Zwitschermaschine”, had been acting as a Stasi informer, spying on her. But instead of succumbing to the role of a victim, Schleime bravely launched a counterattack. In her work, “Auf weitere gute Zusammenarbeit” (1993), she juxtaposed the absurd notations from her state security files with artistic satire. With wit, poignancy, and visual potency, she transformed the intrusion into her private life into a powerful and universal work of art. This marked her artistic breakthrough in reunified Germany, as the first editions of her series were purchased by German museums. With her portraits of people, animals, and hybrid creatures, Schleime gained success and recognition on a wide scale. To this day, Schleime holds a proclivity for portraying enigmatic and captivating individual figures that embody both the joyful and melancholic traditions of German Romanticism.
Schleime has gained notoriety primarily as an illustrious painter of imaginative portraits. However, this label falls short in encapsulating the breadth of her work. The artist boasts a diverse array of mediums, ranging from paintings, watercolors, collages, and artist’s books to performances, photographs, films, and literature. In her novel, Schleime portrays artists as “hunters,” a role she identifies with. No matter the medium, the artist pursues a specific motif, a particular expression. The medium itself is of secondary importance compared to the image. Her subjects for her hunting ground are just as expansive. For example, her travel journals take her to realms outside the Eurocentric perspective, while her playful and whimsical watercolors and collages delve into erotic fantasies. Even before the eruption of the Catholic Church’s sexual abuse scandals, she explores religious bigotry in a comprehensive body of work. It should also be noted that her arsenal of techniques in painting is just as diverse. By applying and removing paint and utilizing materials like asphalt and shellac, she creates thick, relief-like surfaces or nearly translucent and delicate skins.
