Artists from the Collection of the GDR Centre for Art Exhibitions

Her politics and her life’s trajectory predestined Grundig for a career in the GDR. She became the recipient of various prizes and remained active in cultural politics, holding positions such as the president of the Verband Bildender Künstler Deutschland (German Association of Visual Artists) from 1964 to 1970. As Karoline Müller summarised in 1996, “Lea Grundig’s life and work are singular in the contexts of Jewish history in Germany, the labour movement, war in the 20th century, the holocaust, and the history of the GDR.”[1] Eberhard Bartke, then the director of the Berliner Nationalgalerie, had a more ideological take in 1975: “Lea’s work […] engaged in class struggle at every moment and in every situation of her life. She helped her class and her people to persist and prevail through all the victories and all the terrible losses of these struggles, and to create a rich, flourishing intellectual life after their triumph. Her work is deeply rooted in the revolutionary struggle of the German and the international working class – she helped shape this truth, and it is alive today.”[2]

The ZfK collection houses an extensive assortment of 60 works by Grundig from 1934 to 1974, including lithographs, etchings, and offset prints. They form a cross section of her oeuvre in which she processes experiences both of the Shoah and of the war, commemorates workers and “Jordanische Flüchtlingskinder” (Jordanian Refugee Children, 1971), illustrates the “Stählerne Landschaft” (Steel Landscape, 1967) and decries West Germany’s rearmament, as seen in “B- und C-Waffen-Aufrüstung” (B and C Armament, 1971).‎

Lea Grundig was largely forgotten after her death, a trend that grew stronger with Germany’s reunification. It is only thanks to the efforts of a few individuals that the memory of this artist, whose work – although a shade more ideological – shared so much with that of Käthe Kollwitz, has not faded away entirely. In 2012 the Rosa Luxemburg Stiftung took up awarding the Hans und Lea Grundig-Preis, with which the artist once endowed the Universität Greifswald (University of Greifswald) and which had not been granted since 1990.‎

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Text: Anna-Lena Wenzel

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[1] Müller, Karoline. "no title", in: Ladengalerie Berlin (eds.): Lea Grundig. Jüdin, Kommunistin, Graphikerin, exhibitions catalogue, Berlin 1996, p. 4.

[2] Bartke, Eberhard. "no title", in: Akademie der Künste der DDR (eds.): Lea Grundig. Zeichnung, Graphik, exhibition catalogue 1975/76, Berlin/Leipzig/Dresden, no date, p. 29.

Grieshaber revolutionized the art of the woodcut, initially by exploring the medium in oversized formats and printing in multiple colours. These experiments led to a rise in the traditional technique’s popularity. In the 1970s, his prints could frequently be seen in public buildings as well as private art collections and adolescent bedrooms. The artist chose his themes based on Christian-humanist and socio-political motives, in particular. He spoke out against the dictatorships in Greece and Chilé, as well as the nuclear arms buildup and increasing environmental destruction. During the Cold War, Grieshaber did what was in his power to foster connection in a divided Germany.

After numerous visits to the German Democratic Republic (GDR), his involvement in the 1965 Internationale Buchkunst-Ausstellung (International Book Art Exhibition) led to a momentous meeting. The encounter with editor Rudolf Mayer of the GDR publishing house Verlag der Kunst in Dresden and typographer Albert Kapr, head of the Leipziger Hochschule für Grafik und Buchkunst (Leipzig Academy of Visual Arts) – both “Swabians-in-exile” with roots in Grieshaber’s native Baden-Württemberg – initiated a long-lived collaboration. HAP Grieshaber would have many prints and publications produced in Leipzig. In 1966 his edition “Totentanz von Basel” (Basel’s Dance of Death), produced with the Leipziger Hochschule für Grafik und Buchkunst, was published by Verlag der Kunst in Dresden. The publication laid the foundation for various exhibitions of his work in the GDR.

In her 2023 publication „Exhibition Politics. Die DDR und die documenta“ (Exhibition Politics: The GDR and the documenta), Alexia Pooth describes how well Grieshaber was received in the GDR due to his artistic commitment to figurative representation, humanism and historical awareness, as well as his position regarding the difficulties the GDR faced at the time. By 1989, Grieshaber’s work had been shown in 26 solo and numerous group exhibitions throughout the GDR. [1] In 1972 he was appointed to the Internationalen Komitees der Biennale der Ostseeländer (International Committee of the Biennial of the Baltic Countries) in Rostock, an exhibition held during the Rostocker Ostseewoche (Baltic Week) which had been presenting work from neighbouring countries, including West Germany, since 1965. In 1978, the ZfK, produced an extensive exhibition of his work at the Neue Galerie in Berlin, which later travelled to the Kunsthalle Rostock and the Staatliche Kunstsammlungen Dresden. 

Text: Susanne Weiß

[1] Pooth, Alexia. Exhibition politics: die documenta und die DDR. Publication series documenta archiv, Kerber Verlag, 2024.

Nevertheless, Doris Kahane, née Machol, is hardly known today. Like Lea Grundig, she fled Nazi Germany for France, where she joined Travail allemande, a German communist faction of the French Resistance. She survived two internments in Nazi camps and returned to East Berlin a staunch communist in 1946. There she married journalist Max Kahane, whom she had met in France. From 1951 to 1955 she studied at the Hochschule für bildende und angewandte Kunst Weißensee (Weißensee University of Fine and Applied Arts) with a focus on the printmaking and painting. In the following decades, she would spend an unusually large amount of time abroad. From 1957 to 1960 she lived with her family in New Delhi, where her husband worked as a foreign correspondent, travelled to Vietnam as an interpreter and visited Latin American countries such as Cuba, Chilé and Brazil several times.

Motifs from her life abroad can be found in many of her drawings and prints, 44 of which belonged to the collection of the ZfK and now the ifa, such as “Vietnamesische Mutter” (Vietnamese Mother, 1956), “indischer Töpfer” (Indian Potter, 1961) and “Wasserbüffel” (Water Buffalo, 1958). Kahane was also known for her portraits of figures including politician Grete Wittkowski, communist resistance fighter Aenne Saefkow, and writer Ludwig Renn. While the latter are intended to honor in memoriam, her portraits of mothers and children often convey an air of ambivalence in the subjects’ questioning or even accusatory gazes. In the internment camps, Kahane witnessed mass-deportations of children to Ausschwitz. This traumatic experience was said to have stayed with her for the rest of her life.‎

She died at only 56 years of age. Her grandson Leon Kahane, also an artist, paid homage to her in the installation “Vom Ich zum Wir” (From I to We) for the exhibition Ein anderes Land. Jüdisch in der DDR (Another Country. Jewish in the GDR, 2023). In the catalogue he speaks of the optimistic atmosphere of change at the new nation’s founding, which his grandparents shared, and of the disappointments that the GDR’s political system held for them.[2]

Text: Anna-Lena Wenzel

[1] Neue Berliner Galerie and Zentrum für Kunstausstellungen der DDR: Doris Kahane: Malerei und Grafik, exhibition catalogue Galerie Zentralbuchhandlung, Vienna 1973, no page.
[2] cf. Kahane, Leon. "Vom Ich Zum Wir", in: Tamar Lewinsky et. al. (eds.): Ein anderes Land: Jüdisch in der DDR, exhibition catalogue, Jewish Museum Berlin, Berlin 2023, p. 241–246.

Steadily building her oeuvre from 1954 on, she established herself as one of the most important woodcut artists of the GDR with her cycle on the tropical doctor Albert Schweitzer. At the same time, Scigala made confession of her humanist worldview, as is evident at least from 1959 through her work for the publishing houses associated with the East German Christian Democratic Party (one of the so-called block parties attempting to carve out a separate policy program within the political structure dominated by the SED), a position she confirmed in 1972 by becoming an official member of that party. Her forceful and uncompromising oeuvre is seen “in the tradition of a late expressionism, mollified in its expression.”[2] According to the same source, Scigala’s depictions of men and women are not loud, but strong. They are always reduced to the essential and elevated to the universal.

Throughout the 30 years of her creative period, the theme of “mother and child” appears time and again in her work. And she no doubt drew from personal experience: At the age of six, Scigala was committed to a Protestant orphanage in Berlin-Pankow by her destitute parents; and we find her living with her young son as a single mother immediately after completing her studies at the Hochschule für angewandte Kunst in Berlin-Weißensee (East Berlin, 1947– 50) and the Hochschule für Bildende Künste (West Berlin, 1949– 51).

Scigala’s admiration of and affinity with Käthe Kollwitz is unmistakable. She shared with Kollwitz an “intensity of motherly, activist feeling and an energetic partisanship.”[3] Scigala’s clearly contoured graphics adorn the covers of countless books published in the GDR; her Anne-Frank portrait was known to every seventh-grader in the East German schools. The folklore scenes, too, which she cut in the manner of a relief for what was at the time the world’s longest wooden frieze, adorning the building constructed for the Soviet specialty restaurant Baikal, are firmly anchored in the memories of East Berliners.

Despite all that, the sensitive and humble Scigala, who remained independently employed all her life, never really forged a grand career – even though her professor and mentor Arno Mohr averred that “the younger generation of graphic artists in the GDR, to which Helena Scigala belongs, reached a level of artistic quality in their work, compared with which West German artists of the same age have nothing to offer.”[4]

Helena Scigala was for a long time viewed by the state as having no parents and no nationality. Only in 1972 – at the insistence of the Verband Bildender Künstler in der DDR (Artists’ Union) – did she acquire full rights of citizenship in the GDR. Despite reaching the age of retirement in 1981, and despite the physical ailments that plagued her – stemming in part from her work as one of the women sorting through the rubble after the war to re-build their lives – Scigala kept working to avoid destitution in her old age. Without any notable success, however. The woman who took the weak as her perpetual subject died in 1998, at 77 years of age. She is among the “lost women”[5] of art, as her son Martin Scigala testifies. Nevertheless, in his capacity as administrator of her estate, he has for several years now sought to validate the legacy of this woman, who with her more complex colored woodcuts earned a unique place within the artistic landscape of the GDR. At the same time, he hopes to complete a group biography of the Pankow Art Circle of the Verband Bildender Künstler Deutschlands, an institution shaped to a significant extent by Helena Scigala, and whose network time and again offered her in return, despite everything, some humble advantages.

Text: Sylvie Kürsten, translation: Darrell Wilkins

[1] Hütt, Wolfgang: Junge bildende Künstler der DDR : Skizzen zur Situation der Kunst in unserer Zeit (Young Visual Artists of the GDR: Sketches on the Circumstances of Art in Our Time), Leipzig 1965.

[2] Lang, Lothar: “Künstlerinnen” (Women Artists) in Das Magazin (March 1976), p. 53-58.

[3] Catalogue text for an exhibition at the Berlin television tower, 1983.

[4] Neues Deutschland, 1959.

[5] Helena Scigala. URL: www.helenasciagala.de [accessed: 08.07.2024].

Vorsicht Gedankengut! (Caution, Systems of Thought!) R. R. 

Robert Rehfeldt’s expressive statements, printed sentences and communicative tones – all are valuable thoughts, and a significant component of his extensive oeuvre. As constant, life-affirming principles they challenged the inhumanity and intolerance that surrounded the artist. He pushed back by Dadaist means in a style both ironic and militant and became the Enfant terrible of the East German art scene. Robert Rehfeldt’s contribution to the undermining and critical examination of those loyal to the German Democratic Republic (GDR) is still legible in his works today. His mining, poetic artistic statements stood in stark contrast to the style of representation desired by GDR cultural policy, making Rehfeldt the subject of multiple exotic methods of censorship and restriction.  
 

Robert Rehfeldt’s work would not receive widespread acclaim until his 1991 retrospective at the luminous Ephraim-Palais in Berlin. Past accusations of Rehfeldt’s participation in a counter-demonstration against the GDR government in 1965 had led to the closure of his exhibition at the Galerie Arcade in Berlin, then directed by Dr. Klaus Werner – but these allegations no longer held any sway after the fall of the Berlin Wall. The extensive showcase of his work at the Ephraim Palais made Robert Rehfeldt a favourite artist in Germany’s new climate, which he continued to help shape with his signature momentum and dedication. For his own circumstances as “leader of the pact” and guiding hand of the “Gemeinschaft Kreativer Kunstarbeiter” (Fellowship of Creative Art Workers) had not changed. Rehfeldt’s self-proclaimed function as medium between Eastern and Western understandings of art had taken on a new quality. The demands of both his mailbox for artists damaged by isolationism and his “Kontakt-Kunst-Contart” office for the exchange of art and ideas via mail became overwhelming at times, leading him to overexert himself in the here and now and ruin his health. For as he himself wrote, “Kunst ist jenseits ich lebe diesseits” (Art exists in the beyond, and I live in this world).  

“Kunst ist wenn sie trotzdem entsteht” (Art is what happens in spite of things), printed Rehfeldt, whose international contacts numbered more than those of any other artist working in the East of the Federal Republic of Germany. Stamped and delivered straight to recipients’ doors, these life-affirming signals of connection and communication were censored for their provocations and destroyed for their political disrepute. They make up the most popular part of Robert Rehfeldt’s oeuvre, which grew far beyond the “informational” correspondences that brought him recognition as a mail artist for decades and made his studio such a busy creative hub in the GDR. His large groups of assemblages, collages, drawings and prints as well as light-kinetic artworks, films, and visual-poetic works capable of correcting a prioritising, limited gaze underscore the artist’s search for aesthetic authenticity. 

Robert Rehfeldt intervened in the machinations of art production and development with an admirable artistic perseverance and political concision, true to his own maxim “Kunst im Kontakt, ist Leben mit der Kunst!” (Art in contact is living with art!)” 

Text from the exhibition catalogue for Denken Sie jetzt bitte nicht an mich (Please Think of Me Now) at the Ephraim Palais Berlin, 8 August – 26 September 1991. Schirmbeck, Hans-Jörg, Robert Rehfeldt : Malerei, visuelle Poesie, Mail-Art, Grafik, Objekte, Video (Robert Rehfeldt: Drawings, Visual Poems, Mail Art, Prints, Objects, Videos), published by Galerie Vier and Galerie Zielke, 1991. 

Herta Günther, née Bauer, lived in Dresden throughout the Second World War, after which she completed an apprenticeship as a graphic draughtswoman and later studied visual arts at the Hochschule für Bildende Künste Dresden (Dresden University of Fine Arts). In 1957 she began working as a self-employed painter and graphic designer. The collection formerly owned by the ZfK includes 44 of her works, primarily colour etchings printed in editions of 20 or 30.

Compared with the oeuvre of Lea Grundig, Günther’s imagery appears delicate, playful and reserved. It is not dated in any obvious way, nor does she depict political subject matter, although Werner Kohlert observes a propensity for society’s weaker or disadvantaged groups.[3] Herta Günther’s scenes often have a certain stillness about them. Their protagonists, too, appear removed or pensive at times, and yet, writes Katharina Lorenz, these portrayals might also reflect an “empathy for a model’s mood and nature”[4] on the part of the artist. Her work is characterized not only by her choice of motifs, but by her signature combination of lines with planes out of focus, and her controlled use of pointed accent colours.

Text: Anna-Lena Wenzel

[1] Lang, Lothar: “no title” in: Günther, Verlag der Kunst Dresden 1983, no page.
[2] Wenzkat, Ingrid. “no title”, in: ibid.
[3] cf. Kohlert, Werner. “Wiederholter Besuch bei Herta Günther”, in: Wulf Kirsten und Hans-Peter Lühr (Hrsg.): Künstler in Dresden im 20 Jahrhundert. Literarische Porträts, Dresden 2005, p. 205–208.
[4] Lorenz, Katharina. “Herta Günther”, in: Matthias Rataiczyk and Kunsthalle “Talstraße” (eds.): Die schaffende Galatea. Frauen sehen Frauen, Halle 2019, p. 84.

His works are in the collections of the Berlinische Galerie, the Josef-Albers Museum Bottrop, the Teufel Collection of the Kunstmuseum Stuttgart and the Museum Haus Konstruktiv in Zurich. Bartnig is counted today among the most important protagonists of concrete art in Germany. In the GDR art scene, he was seen as an exceptional figure, highly respected as a constructivist-concrete painter. After reading Kazimir Malevich’s manifesto “Die gegenstandslose Welt” (The Non-Objective World), he saw himself affirmed in his mission to pursue uncompromisingly the path of art. Because the artistic policy of the GDR was fixated on narrative painting and representations of the human being, Bartnig’s image generation, based on the principle of system and variation in form and color, on graphic algorithms, and a geometric language of forms, managed to elude, as it were, the “radar” of the art dogmatists. His artistic intention was to eliminate chance from the process of drawing and develop a painting which, in terms of both form and color, was the result of mathematical series and variations thereon. He was able to pursue this path relatively unimpeded, and all the more systematically when he began to work with computers from 1979 on. His analogue paintings of acrylic on canvas are thus based on computer drawings. This was made possible through an exciting collaboration with scientists from the Zentralinstitut für Informatik und Rechentechnik (the GDR’s Central Institute for Information and Computer Technology).

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Text: Ingeborg Ruthe

Form and colour are his means of expression. Artforms alone make psychic phenomena tangible, bring inner realities into the visible realm. – The language of these forms is indispensable to experiences of both the beautiful and the demonic. Every artist is concerned with creating the forms of this language.

Rolf Händler refers to the emotion that becomes law in painting or drawing as the determining principle of his work – the sensation that makes it possible to say the unspeakable, to turn what is inside outwards and speak from the soul and heart; form and colour grow organically from what is registered emotionally. His worldview flows through the capacity of realisation into its form. Firm contours dissolve, but form does not come into the foreground all alone. The urge towards nature is not the yearning for sun or the drive to beautify metropolitan life, rather, nature to him is only the starting point, the medium for his inner message be expressed artistically and brought into focus. Although time appears to be banished from his images, whether portrait, landscape, or still life, the passionate devotion with which he “crawls into nature,” as Corot writes, is clearly legible. His intention is not to record and show the entire world in his paintings. And yet, his portraits, studio paintings, and landscapes contain the universe. His depictions of people are quiet and lyrical, and yet their surrounding suspenseful reality is discernible through vibrating, wave-like contours.

Building on a tradition that undoubtedly reaches from Turner to Corot all the way to Giacometti, Rolf Händler has found his own stylistic approach to his concern with starting from reality to find the connection between the external and the internal that lies beneath the surface. I find that even this small selection from his extensive repertoire reflects this achievement.

Text: Hans-Jörg Schirmbeck for Rolf Händler’s exhibition at the Galerie am Prater in Berlin, Prenzlauer Berg, 1979

Erika Stürmer-Alex, born 1938 in Wriezen in eastern Brandenburg, has for many decades been one of the most prominent artist personalities in Brandenburg, where she was awarded the art prize of her Bundesland. She studied at the Hochschule für bildende und angewandte Kunst Weißensee through 1963, orienting herself towards German Expressionism and towards the free-spirited painting of her expressionist and abstract colleagues in the West. She created works for Kunst am Bau (Art in Buildings), ensuring for instance that inhabitants of the soul-less modern housing complexes in the city of Eberswalde could recognize their homes among the monotonous apartment blocks by dint of friendly signs. In 1982, she co-founded, with kindred spirits in Oderbruch bei Seelow, the producer gallery Kunsthof Lietzen. She belonged to the circle of non-conformist spirits who supported the reform movement of the final years of the GDR. Two years after the fall of the Wall, she was also co-founder of the non-profit organization Endmoräne – Künstlerinnen aus Brandenburg und Berlin e. V. (Terminal moraine – Women Artists from Brandenburg and Berlin). Although it is a simplification, one could describe her work as painter and sculptor stylistically as Neo-Expressionist. Her extraordinary oeuvre, with its at first glance almost inconceivable richness and diversity, stands as paradigm of an entire era in the cultural zone of East Germany – a zone and an era whose significance is still today far from adequately explored and appreciated. As almost nowhere else, her work reveals a powerful gesture towards an existential art – one which liberates itself unflinchingly from the dogma of high art and its clearly defined canon.

text: Ingeborg Ruthe, translation: Darrell Wilkins

Formally, the ironic pictures he created up through the fall of the Wall in 1989 recall the Pop-Art of the West. But their substance was profoundly different: Ticha provocatively glued the betrayed ideals and lying rituals of the “Winners of History” onto paper or canvas with brush and silkscreen templates, very much in the style of Agit-Prop. Just look at his opportunistically clapping “Claqueuer” (The Rent-a-Mob), his “Alles-Hörer” (Ubiquitous Ears) with their giant ears, the rubber-stamping “Bürokraten” (Bureaucrats) his fat, self-satisfied functionaries; and the list goes on: “Agitatoren” (Agitators), ”Ordensträger” (Members of the Order), “Fahnenschwenker” (Flag-wavers). All these form a part of the strange, hard-to-grasp iconography of Ticha’s work, distilled as it were from the constructivism of the Russian Kazimir Malevich, with his Lubok figures, or of the French Fernand Léger, from the stylized, Bauhaus figures of Oskar Schlemmer, and from American Pop-Art into an idiosyncratic cosmos of images. Everything served to construct a grandiose persiflage of the ritualized, stereotype-perpetuating cult of winners dictated by those in power, such as prevailed in the GDR sport-culture of that era – and such as prevails today, too, in the conduct of those shaping international sport competitions, where the ruthless and environmentally devastating reign of money dictates its law of ever higher, ever farther, ever faster – and achieves it by any and all means, not barring doping. 

With his spirit of caustic irony, Hans Ticha fits into nobody’s schema. His eye, his feeling for the times in which he has lived manifests itself in every one of his pictures, whether its subject is the naturally full-breasted girl scout of the East German FDJ (official GDR Youth Organization) or the model for a contemporary advertisement, with her lips and bosom swollen with silicone. In the year of German reunification, 1990, Ticha moved from Berlin to Hochstadt in the Hessian Rhein-Main region. But living in the West did not cure him of his penchant for irony. Even today, his coolly stylized pictures bear titles like: “Schöner wohnen” (A Nicer Flat), “Wir bieten Ihnen ...” (We offer you … ), “Pauschalreise” (All-inclusive Tour), “Idol”, or “Live Sex”. Now as ever, his work sarcastically paraphrases the slogans of the yes-man, the opportunist, the hawker of soul and happiness.

text: Ingeborg Ruthe, translation: Darrell Wilkins

Hampel’s strong but vulnerable portrayals of women held a critique of a patriarchal society that presented powerful women either as violent monsters or as aesthetic objects for the male gaze. According to Angelika Richter, Hampel thus asserted “her own artistic space within the male-dominated genre of figurative painting in the GDR […] where she developed a subversive and rebellious image of femininity. In contrast to the representations of women as socialist workers or muses dominant at the time, Angela Hampel paints female figures as androgynous and hybrid beings between genders, between human and animal, to this day.”[2]

Reminiscent of expressive tendencies found in West Berlin’s Junge Wilde movement, Hampel’s defiant style of painting garnered her acclaim beyond the borders of the GDR. Her works were shown throughout West Germany and at the São Paulo Biennial in 1985, among other exhibitions. Paul Kaiser writes that she was one of the most prominent figures in the German art scene during this time of transition. 

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In the exhibition catalogue for “und jetzt. Künstlerinnen aus der DDR” (and now. Women Artists from the GDR), Angelika Richter locates Hampel’s work between undaunted frankness and subtle, erotic seduction, describing her draughtsmanship as spontaneous, ungovernable, expressive.[3] April A. Eisman elaborates on Hampel’s images in a catalogue text from 2022, writing that they are marked by a strong emotionality that involves both desire and violence. The work received mixed reviews, Eisman continues: “At first, she met with resistance from several cultural officials who found her depictions of punks inappropriate for the socialist republic. But when her prints and paintings began to sell in the West, this criticism died down. In the 1980s the GDR was in urgent need of foreign currencies from the West, and East German art was an important source of such income. The artists only received a fraction of the GDR art market’s profits.”‎[4]

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Hampel appears to have utilized the GDR system for her own ends: in 1988, she openly admonished her country’s gender inequality during a speech at the X. Kongress des Verbandes Bildender Künstler (X. congress of the GDR’s Association of Visual Artists): “It’s not only about changing the status quo, but \ a transformation in the totality of human relationships.”[5] In 1989 she founded the Dresdener Sezession 89, an association of visual artists that still exists today, together with 22 other female artists – a further testament to her dedication to the feminist cause.

Text: Anna-Lena Wenzel

[1] Eisman, April A. "Puck, Punk und Pink. Angela Hampels Malerei der 1980er Jahre", in: April A. Eisman and Gisbert Porstmann (eds.): Angela Hampel. Das künstlerische Werk, exhibtion catalogue, Städtische Galerie Dresden, Bielefeld 2022, p. 12.
[2] Richter, Angelika: "Angela Hampel", in: Richter, Angelika/Stammer, Beatrice/Knaup, Bettina (eds.): und jetzt. Künstlerinnen aus der DDR, exhibition catalogue, Künstlerhaus Bethanien, Nürnberg 2009, S. 74.
[3] ibid.
[4] Eisman 2022, p. 11.
[5] cf. Hampel, Angela. und jetzt. Künstlerinnen aus der DDR, Künstlerhaus Bethanien, Berlin 2009, p. 14.