Born 1954 in Kiel, Germany.
Lives and works in Berlin.

Education

2002–2008 Professor for Sculpture, Hochschule für Bildende Künste, Hamburg
2000–2001 Guest Professor for Sculpture, Hochschule für Bildende Künste, Hamburg
1979–1984 Sculpture Studies, Hochschule für Bildende Künste, Hamburg
1973–1978 Sculpture and Printmaking Studies, Muthesius Kunsthochschule, Kiel

Awards

2014 Goslarer Kaiserring, Germany
2013 Residency Villa Concordia Bamberg, Germany
2002 Edwin-Scharff-Preis der Freien und Hansestadt Hamburg, Germany
2001–2002 Residency, Berliner Senatsverwaltung für Kultur, Delfina Studio Trust, United Kingdom
1999–2000 Sculpture Fellowship, Henry Moore Foundation, Bristol
1995–1996 Grant Cité Internationale des Arts, Paris

Solo Exhibitions (selection)

2016 Wiebke Siem – What Things Dream, K20 Kunstsammlung Nordrhein-Westfalen, Labor, Düsseldorf
2015 Wiebke Siem, Lehmbruck Museum, Duisburg
2014 Wiebke Siem – Kaiserringträgerin der Stadt Goslar, Mönchehaus-Museum, Goslar
Wiebke Siem im Atelier Karin Sander, Studio Karin Sander, Berlin
2012 Geister, Installation im Treppenhaus der Kunsthalle zu Kiel
2009 Die Fälscherin, Neues Museum Nürnberg, Nuremberg
2004 Maskenkostüme, on the occasion of the Edwin Scharff Award of the city of Hamburg, Hamburger Kunsthalle, Hamburg
2001 Collection, The Henry Moore Institute, Leeds

Group Exhibitions (selection)

2017 Wiebke Siem, Zeichnungen, Sammlung Kerstin Hiller und Helmut Schmelzer, Neues Museum Nürnberg, Nuremberg
Edwin Scharff Preisträger Hamburg, Edwin Scharff Museum, Neu Ulm
2016 Magie der Dinge, Hamburger Kunsthalle, Hamburg

Wiebke Siem’s work deliberately blurs disciplinary boundaries between art, architecture, fashion, and design. In her 2014 Goslar Kaiserring laudation, Penelope Curtis evocatively summarized the artist’s practice: “Wiebke Siem takes two roads and keeps them in balance; she maps a knowledge of the art of the twentieth century (and in its widest sense, thus including craft and design, as well as fine art) onto a lived experience of what the twentieth century has meant, and above all here, in Germany. She knows how artists have sought inspiration and refreshment in the form-making languages of others, be they puppet-makers, furniture makers or mask-makers, in Berlin, Bavaria or Benin. She has borrowed as artists have borrowed, but she has done it in an unusually transformative way, always asking gently insistent questions about who owns what, and who, and insisting on the role of the woman, not just as maker, but as author. Her questions have weight because they shape themselves and find the form of their answers in the slow and elaborate process of making; whether this be sewing or carving, filling or extracting material, adding or subtracting. There is a restrained violence in her work which has, on occasion, broken through. It plays out on the domestic level between woman and man as much as on the level of the community or nation.”

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