Artist

Ernst Ludwig Kirchner

Title

Artistin

On view
Year
1910
Alternative Title
Artistin - Marcella
Category
Material / Technique
Dimensions
Bildmaß 101 × 76 cm
Rahmenmaß 120 × 95 × 5 cm
Acquisition details
Erworben 1997 aus Privatbesitz
Credits
Ernst Ludwig Kirchner, Artistin, 1910, Öl auf Leinwand, Brücke-Museum, Gemeinfreies Werk

Exhibitions (selection)

Literature (selection)

  • Magdalena M. Moeller, Das Brücke-Museum Berlin, Prestel, München 1996.

  • Magdalena M. Moeller (Hg.), Brücke. La nascita dell´espressionismo, Ausst.-Kat. Fondazione Antonio Mazzotta Milan, Mazzotta, Milano 1999.

  • Magdalena M. Moeller (Hg.), Die Brücke. Meisterwerke aus dem Brücke-Museum Berlin, Ausst.-Kat. Brücke-Museum Berlin, Hirmer Verlag, München 2000.

  • Magdalena M. Moeller (Hg.), Ernst Ludwig Kirchner. Neuerwerbungen seit 1988, Hirmer Verlag, München 2001.

  • Javier Arnaldo, Magdalena M. Moeller (Hg.), Brücke. Die Geburt des deutschen Expressionismus, Ausst.-Kat. Berlinische Galerie, Hirmer Verlag, München 2005.

  • Javier Arnaldo, Magdalena M. Moeller (Hg.), Brücke. El nacimiento del expresionismo alemán, Ausst.-Kat. Museo Thyssen-Bornesza Madrid/Fundación Caja Madrid, Madrid 2005.

  • Brücke und Berlin. 100 Jahre Expressionismus, Ausst.-Kat. Neue Nationalgalerie, Kulturforum Potsdamer Platz, Nicolai, Berlin 2005.

  • Magdalena M. Moeller (Hg.), Brücke-Museum Berlin, Malerei und Plastik. Kommentiertes Verzeichnis der Bestände, Hirmer Verlag, München 2006.

  • Magdalena M. Moeller (Hg.), Brücke Highlights, Hirmer Verlag, München 2007.

  • Staatssekretär für kulturelle Angelegenheiten des Landes Berlin, André Schmitz (Hg.), Im Zentrum des Expressionismus. Erwerbungen und Ausstellungen des Brücke-Museums Berlin 1988 - 2013. Ein Jubiläumsband für Magdalena M. Moeller, Hirmer Verlag, München 2013.

  • Magdalena M. Moeller (Hg.), Meisterstücke. Die schönsten Neuerwerbungen des Brücke-Museums, Ausst.-Kat. Brücke-Museum, Hirmer Verlag, München 2013.

  • Magdalena M. Moeller und Rainer Stamm (Hg.), ... die Welt in diesen rauschenden Farben. Meisterwerke aus dem Brücke-Museum Berlin, Ausst.-Kat. Landesmuseum Oldenburg, Hirmer Verlag, München 2016.

  • Magdalena M. Moeller (Hg.), Brücke Museum Highlights, Hirmer Verlag, München 2017.

  • Meike Hoffmann, Lisa Marei Schmidt, Aya Soika für das Brücke-Museum (Hg.), Flucht in die Bilder? Die Künstler der Brücke im Nationalsozialismus, Ausst.-Kat. Brücke-Museum , Hirmer Verlag, München 2019.

  • Brücke-Museum, Lisa Marei Schmidt, Isabel Fischer (Hg.), 1910. Brücke. Kunst und Leben, ausstellungsbegleitende Zeitung, Brücke-Museum, Berlin 2022.

Details

Inscription/Signature
Signiert oben rechts: EL Kirchner (Signatur)
Rückseitig auf dem Bildträger: Artistin (Bezeichnung)
Rückseitig auf dem Bildträger: Artistin (Beschriftung)

Inventory Number
1/97

Catalog Number
Gordon 125

(Fafali Roy Ziga-Abortta)

Shores of Discrimination

The day Seseku was whisked away by the police, the bystanders swore they didn’t see it happen the way he had narrated to the journalist. How he was jostled with face slapping the ground like butter falling onto gravels and asked to shut up in the process. He could not prove he wasn’t undocumented. He was suspected to be riding a stolen bicycle. Now isn’t this a story that has been told too many times?

That night, his wife came running to the station. “Here are his papers! The bike belongs to his son! Release him this very minute!” Her voice was so stern and study. Some may say it was power speaking to power. She looked somewhat pale and mildly tanned from the hike she had been on in the early hours of the day. In their home, they are able to agree on what he prefers and what she prefers as a hobby. She was calm and collected, with a demeanour that was screaming like a peaceful bomb. It said quietly, that this had happened before. That it wasn’t the first she had to rescue her husband from the law enforcers.

At home, Seseku still teaches his kids the importance of inclusivity with no regret. He is kind, that Black man. A kind fool, but a fool nonetheless. From where he comes from, he was taught one virtue: treat a fellow man as you would treat yourself, independent of their orientation, gender identity or their race! But this world out here, this world has failed to make room for the same dreams that broke the backs of our fathers.

It is torture when your seedling does not have equal chances at flourishing when your neighbour insists he is tilling a land of milk and honey. Why say “I am offering a land of opportunities” when the sons of poor traders only become poor fathers to poor children. Why offer a thing with your hand and take it back with the other? Why act surprised, when the children who have nothing to lose and everything to live for want to burn your lying tongue to the ground?

The story of Seseku is but a grain of sand at the shore of discrimination against Black people. And many walk around with scoops of sand in their pockets that have never been emptied. So as my contribution, I write poems like this. Poems that spread love instead of hate, poems that spread hope for bright futures and take away painful memories, poems that inspire the vulnerable to stay afloat and continue to breathe, poems that insist on breeding passions away from violence and suppression. I want these poems to take up space as much as the people they are intended to speak for.

(Roy)
03:39
(Daniela Bystron)
About the Work
(Fafali Roy Ziga-Abortta)
Shores of Discrimination
(Josephine Papke)
Seeing and Being Seen
(A. Rochaun Meadows-Fernandez)
Why Won’t Society Let Black Girls Be Children?
(Simbi Schwarz)
Huh? What Does it Mean: Adultism
(Josephine) Context
00:09
(Maria) Corona situation
00:18
(Myriam) Absent
00:19
(Myriam ) Ascribing
00:12
(Myriam) TV
00:03
(Roy) Feeling lonely
00:11
(Roy) Perspective
00:09
Associations
00:58
Questions
00:28
Imprint