Villa Aurora Grant Recipients | 1997

Apr, May, Jun

Gisela Weimann | Visual Artist

Gisela Weimann
Gisela Weimann
Born in Bad Blankenburg/Thuringia
1965 – 1971
Study of painting at University of the Arts Berlin (Meisterschülerin)
1971 – 1972
DAAD-Scholarship to the Royal College of Art, London (Printmaking/Photography)
1978 – 1979
Airlift-Memorial and Fulbright-Scholarships to study Film and Photography at the San Francisco Art Institute (BA)
1979 – 1980
Studio in Tepoztlán, Morelos/Mexiko
1982 – 1987
Head of the Department of Art and Creativity at the University of Continuous Education in Berlin-Wedding
Residence-Scholarship of the Cultural Senate of Berlin for Istanbul/Turkey
Production-Grant of the Berlin Women-Artists-Programme
Publishing-Grant of Käthe-Dorsch-Foundation, Berlin
1996 – 2004
DAAD-Guest-Lecturer in the Fine Arts Departments of the Universities of Salamanca and Madrid/Spain, in Cluj-Napoca/Romania and at Universidad Autónoma Metropolitana in Mexico-City
Villa Aurora Residence-Scholarship, Los Angeles/USA
Project Grants for “Opera for 4 Buses” by Kulturfonds and Berlin Capital Culture Fund
Critics Prize for Visual Art
Resident Scholarships of the Emily Harvey Foundation in Venice/Italy and the Kunstverein Frankfurt-Oder/Germany
Production Grant of the Centre d’Art Essaouira, Ifitry/Marocco
Lives and works in Berlin


Gisela Weimann, Critics’ Prize 2002 for Visual Art

Text of the Laudatio by Professor Dr. Stefanie Endlich

For decades the artist has been engaged consistently in cross-border projects. This could be seen in her retrospective exhibition “Leben im Spiegel” (Life in a Mirror) in the summer of 2001, which first prompted the critics to honour her with this award. Gisela Weimann crosses frontiers with cosmopolitan projects and cooperative ventures in and outside Europe. The breadth and variety of her artistic forms of expression and working techniques range from painting and printmaking, photography and film, mail art installations and environments to multimedia projects, events, performances and art in public spaces. She leaps over the boundaries between artistic genres by means of intercultural and interdisciplinary cooperation with artists from theatre, music and film, as well as with researchers from various disciplines.

Gisela Weimann’s particular working method is characterised by the magnetic field between her individual artistic handwriting, on the one hand, and a complex network of far-reaching actions and reactions created by her own initiatives, on the other. Some of her cooperative projects grow into existential endeavours demanding the total commitment of her personal energies. For this she has earned special encouragement.

There are two leading threads in Gisela Weimann’s life’s work: her diaries, which are conceived visually as well as narratively and which describe her continuous reflections on the relation between politics, society and personal experience. Both threads determine the specific form of her artistic references. Both include her repeated mental struggle with the powerlessness of art against war and violence. In awarding this prize, the jury wishes to emphasize that Gisela Weimann’s struggle is not outdated but as important as ever in today’s world.

(Professor Dr. Stefanie Endlich, Sigrid Nebelung, Dr. Lucie Schauer)