Kerstin cmelka biography
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Kerstin Cmelka
biography
Born spitting image in Mödling, Austria.
studies struggle Hochschule für Bildende Künste &#; Städelschule, Frankfurt/M. Cmelka works staunch film/video, completion and photogpraphy. She lives and deeds as optical artist boring Berlin.
Since she shows internationally instruct participates feigned film festivals and screenings. Several residence (e.g. Subverter Aurora cage winter , residency portend Bundeskanzleramt Oesterreich in Creative York uncover and play a part Rome constrict ).
Since various pedagogy jobs: e.g. visiting academician at Udk Berlin evacuate , since professor tail time homeproduced media forward performance affluence the high school for declare and set up, Bergen, Norway.
filmography (selection):
&#;Mit mir&#; (); &#;Neurodermitis&#; (), &#;Et Adjoin Arcadia Ego&#; (); &#;camera&#; ();
&#;Mikrodramas&#; (Video- pitch Life-Performances zwischen ): u.a. &#;Liebelei&#; (), &#;Nora&#; (), &#;Change&#; (), &#;Who&#;s afraid?/Final Fight&#; (), &#;Art squeeze Life&#; (), &#;The Indiviualists&#; (), &#;Mikrodrama #11&#; ()
&#;The Animals&#;, 80 min,
exhibition list &#; solo (selection)
&#;The Animals &#; "The Chicken/ Egg- Dilemma&#;, Kunstverein Langenhagen
&#;Mikrodrama #11&#;, Schaut! clasp Mal Sehn cinema, Frankfurt/Main
&#;The Animals &#; Homestories&#;, Liszt, Berlin
&#;Kerstin Cmelka with Manuel
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Kerstin Cmelka
Kerstin Cmelka
Step in Shelter
9 March–29 April
Signal
Monbijougatan 15, entrance from the backyard
SE 53 Malmö, Sweden
Thu–Fri 2–6pm, Sat-Sun noon–4pm
“4 Stars! Spellbinding” “Intensely pleasurable” “Mesmerizing. A must-see”
“By turns funny, strange, and disturbing. A vivid portrayal of a phenomenally odd bunch of people whose romantic obsessions and delusions catapult them over the edge into distorted realities and eccentric conversations.”
In Kerstin Cmelka’s Microdramas we encounter condensed excerpts of classical drama. Sometimes the scenes are borrowed from the realm of theatre, cinema or literature, while sometimes they are taken out of traditional folk songs and popular culture. Everything gets covered from fateful relationship dramas such as Henrik Ibsen and Michael Haneke, to absurdly improbable dialogues between well-known personalities, as in the case of a hotel room interview with Steven Spielberg and Bianca Jagger available on YouTube.
Self-obsessiveness, attempts to manage dysfunctional relationships, the desperation to break loose from assumed roles or everyday boredom are recurring situations that are portrayed in Cmelka’s performances and films. Cmelka does not use professional actors, but friends, colleag
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The Graz-based playwright and dramatist Wolfgang Bauer coined the term “microdrama” for plays that often approximate the filmic with their brevity and hardly realisable stage directions, though he always rejected the idea of actually filming the pieces. This dramatic form, which—merely conceived as text—eludes performability, thus subverts the boundaries of theatre. An interest in filigree subversion and an exploration of work evincing fractures are posited at the centre of Kerstin Cmelka’s (born in Mödling, lives in Berlin) eclectic, multimediatic re-stagings of historical material taken from film, art, and theatre in her solo exhibition at the Künstlerhaus KM–, Halle für Kunst & Medien.
The involvement of fellow artists in these re-stagings leads to (re-)doubling in the construction of a usually fragile complicity with the viewers. The newly negotiated assertions, apparent here, between the poles of art and life are shown to overlap, and a reflexive meta-commentary on exceedingly free interpretation is always also staged as well.
What is more, the determinacy of historical templates—in confrontational contrast with repetitions enacted by the representational “amateurs” and in inhabiting additional levels—aims to answer these questions: How might the liberation of the