{"id":11643,"date":"2021-09-14T14:13:52","date_gmt":"2021-09-14T12:13:52","guid":{"rendered":"https:\/\/www.artinprint.at\/karin-pliem\/"},"modified":"2022-05-11T10:32:49","modified_gmt":"2022-05-11T08:32:49","slug":"karin-pliem","status":"publish","type":"page","link":"https:\/\/www.artinprint.at\/en\/karin-pliem\/","title":{"rendered":"Karin Pliem"},"content":{"rendered":"

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\n[\/et_pb_fullwidth_header][et_pb_fullwidth_header title=”Karin Pliem” subhead=”Medusa, 2020″ _builder_version=”4.16″ background_color=”#445C82″ custom_padding=”25px|170px|15px|170px” saved_tabs=”all” global_colors_info=”{}” button_one_text_size__hover_enabled=”off” button_two_text_size__hover_enabled=”off” button_one_text_color__hover_enabled=”off” button_two_text_color__hover_enabled=”off” button_one_border_width__hover_enabled=”off” button_two_border_width__hover_enabled=”off” button_one_border_color__hover_enabled=”off” button_two_border_color__hover_enabled=”off” button_one_border_radius__hover_enabled=”off” button_two_border_radius__hover_enabled=”off” button_one_letter_spacing__hover_enabled=”off” button_two_letter_spacing__hover_enabled=”off” button_one_bg_color__hover_enabled=”off” button_two_bg_color__hover_enabled=”off”] 
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<\/strong><\/p>\n

<\/strong><\/p>\n

Karin Pliem<\/strong>
(born 1963 in Zell am See, lives and works in Vienna)<\/p>\n

Medusa<\/em>, 2020, for the art in print series women III<\/em><\/p>\n

Lithograph in four colours, printed on Magnani Incisioni 300g paper
by Rudolf H\u00f6rschl\u00e4ger, Druckwerkstatt Uferst\u00f6ckl, Wallsee \/ Lower Austria<\/p>\n

Edition of 33 + 5 AP + 2 EP + 2 PP<\/p>\n

Signed, numbered, titled and dated by the artist.<\/p>\n

40 x 50 cm<\/p>\n

 <\/p>\n

[\/et_pb_text][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]\"\"<\/a>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row module_class=” et_pb_row_fullwidth” _builder_version=”4.16″ width=”94%” width_tablet=”80%” width_phone=”” width_last_edited=”on|desktop” max_width=”94%” max_width_tablet=”80%” max_width_phone=”” max_width_last_edited=”on|desktop” custom_padding=”27px|0px|0px|0px” make_fullwidth=”on” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_divider color=”rgba(68,92,130,0.23)” _builder_version=”4.16″ global_colors_info=”{}”] [\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” width=”66%” module_alignment=”center” custom_margin_tablet=”” custom_margin_phone=”” custom_margin_last_edited=”on|desktop” custom_padding=”15px|0px||0px|false|false” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/www.artinprint.at\/wp-content\/uploads\/2020\/05\/Portrait-Karin-Pliem-500.jpg” show_in_lightbox=”on” show_bottom_space=”off” force_fullwidth=”on” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.16″ global_colors_info=”{}”] 
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Karin Pliem<\/h2>\n

1963<\/strong> \/\/ born in Zell am See, Salzburg
1982<\/strong> \/\/ International Summer Academy Salzburg (Stipend);
1983<\/b> \/\/ Atelier Iris Mansard, Biarritz (France);
1983\u20131987<\/strong> \/\/ University of Applied Arts in Vienna (sculpture, painting);<\/p>\n

1992\u2013present \u2013 study trips to Southeast Asia, New Zealand, the South Pacific, Turkey, the USA and Algeria.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row custom_padding_last_edited=”on|tablet” _builder_version=”4.16″ width=”66%” custom_padding=”|0px|0px|0px|false|false” custom_padding_tablet=”|80px|0px|80px|false|false” custom_padding_phone=”” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ custom_padding=”||31px|||” global_colors_info=”{}”]<\/p>\n

Recent exhibitions<\/h3>\n

2018<\/strong><\/p>\n

Universit\u00e9 2, Oran\/Algerien (15th Intern. Symposium on Languages, Literatures, Arts, mit Videoscreening L\u2019inifinito della natura)
Stadtgalerie Waidhofen a.d. Ybbs (E, mit Videoscreening L\u2019inifinito della natura)
me Collectors Room Stiftung Olbricht, Berlin\/DE (Video L\u2019inifinito della natura)
Parallel Vienna 2018, Wien; kunstGarten, Graz;
Maison des relations internationales Nelson Mandela (mit Video L\u2019inifinito della natura) und Maison de Heidelberg, Montpellier\/F
ega: frauen im zentrum, Vienna (E, mit Video L\u2019inifinito della natura)<\/p>\n

2019<\/strong><\/p>\n

Austrian Parlament in the Hofburg Wien, Vienna
Bildraum Bodensee, Bregenz (E, mit Videoscreening L\u2019inifinito della natura)
Kunsthaus Muerz, M\u00fcrzzuschlag
Traklhaus, Salzburg
unttld contemporary, Vienna (E)
Sammlung Urban, Waidhofen a.d. Ybbs
N\u00d6 Dokumentationszentrum f\u00fcr moderne Kunst, St. P\u00f6lten
kunstGarten Graz (mit Videoscreening L\u2019inifinito della natura)
MAB Museum am Bach, Kra\u00dfnitz b. Ruden<\/p>\n

2020<\/strong><\/p>\n

Kunsthalle Nexus, Saalfelden (with Video screening L\u2019inifinito della natura)
Art Vienna international art fair, Hofburg, Vienna
Galerie Wolfrum, Vienna
Festival Tricky Women 2020, Video screening L\u2019inifinito della natura, Artwork Space, Vienna
Galerie Walker, Weizelsdorf (E)
Kunstverein Paradigma, Linz (E)<\/p>\n

[\/et_pb_text][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\n

Medusa<\/h3>\n

\u201cI\u2019m concerned with the solidarity between nature, culture and civilisation. Mankind that exploits the riches of nature merely to benefit themselves is ignoring the fact that they’re destroying themselves in the process. And therefore also their culture. Culture is a spiritual product of humankind, not a commodity. It\u2019s the most important linking element between civilisation and nature.<\/p>\n

The image for me is a place of communal living, a space where it\u2019s possible for opposites to meet.<\/p>\n

The image should be open to all of the protagonists appearing within it, a parliament for the many voices where everyone can meet and interact and can find a suitable place for them in the space.<\/p>\n

Head\u2014heart, light\u2014shade, conflict and harmony\u2026 Is harmony always the ultimate goal? Opposites are always there, should be there: cold\u2014warmth, sadness\u2014glee, silence\u2014noise\u2026 but: justice and acceptance are conditions of peaceful, productive and creative cohabiting. We learn from one another by asking each other questions, by communicating.<\/p>\n

That also means remaining mobile, creating spaces with spiritual and cultural movement to promote further development. Always look beyond and read between the lines in order to seize and open up opportunities.<\/p>\n

Standing still makes you powerless, and being powerless is a slow and gradual death!\u201d<\/p>\n

Karin Pliem, 2020<\/strong><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ custom_margin=”|||” custom_padding=”0px|80px|0|80px|false|false” custom_css_main_element=”display: none;” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\n

About the artist<\/h2>\n

Andrea Bischof geh\u00f6rt zu den wichtigsten VertreterInnen der informellen Malerei in \u00d6sterreich, so der heutige Direktor der Gem\u00e4ldegalerie Alte Meister in Dresden, Stephan Koja.* Farbe ist f\u00fcr die Malerin Andrea Bischof das Medium schlechthin. Ihre oft gro\u00dfformatigen \u00d6lbilder entstehen in einem sich \u00fcber Wochen entwickelnden behutsamen Prozess, an dessen Ende ein wahrer Kosmos an Farben steht. Die K\u00fcnstlerin baut ihre Bilder aus vielen miteinander korrespondierenden vielfarbigen Schichten ausgehend von einem meist starkfarbigen Grund auf. Schicht f\u00fcr Schicht, bis zur feingesponnenen Oberfl\u00e4che. Bischofs Bilder sind ein ber\u00fchrendes Farberlebnis, wobei es der Malerin nicht um das vordergr\u00fcndige Schwelgen in der Sinnlichkeit der Farbe geht, sondern um einen klaren konzeptionellen Ansatz. Von jeher fasziniert Bischof in ihrer Kunst das Verh\u00e4ltnis von Oberfl\u00e4che und Tiefe, von Haut und Grundierung. Andrea Bischof arbeitet in traditioneller \u00d6ltechnik. Sie liebt dieses Medium, holt gleichsam aus der Farbmaterie Gebilde ans Licht. Sie sucht nach den Beziehungen der Farben, orchestriert ihr Zusammenspiel und sucht nach Wegen, dieses zu intensivieren. Andrea Bischof ist eine konsequente Arbeiterin, beginnt fr\u00fch am Morgen mit der Arbeit in ihrem weitl\u00e4ufigen Atelier im zweiten Wiener Gemeindebezirk und beendet den Arbeitstag mit einer (Selbst)Kritik, um am n\u00e4chsten Morgen gezielt weiterzuarbeiten. Wie viele K\u00fcnstlerInnen arbeitet sie an mehreren Bildern parallel und entwickelt sie \u00fcber mehrere Wochen. \u201eIm langsamen Entwickeln des Bildes wird Malen f\u00fcr Bischof zum Erkenntnisprozess. Es geht, auf dem Weg hoher Empf\u00e4nglichkeit f\u00fcr die Intensit\u00e4t der Farbe, um das Erkennen von Gesetzen der Harmonie. Letztlich sucht Bischof nach einer Sch\u00f6nheit, die Tiefe besitzt. Nicht jene oberfl\u00e4chliche Sch\u00f6nheit, die am Ende hohl bleibt und nur Entt\u00e4uschung zur\u00fcckl\u00e4sst, sondern Sch\u00f6nheit, die auf Gr\u00f6\u00dferes verweist (\u2026).\u201c (Koja)
\nStepahn Koja (Hg.) Andrea Bischof. Color Truth, 2016 Hirmer Verlag.
\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ custom_padding=”27px|0px|0|0px” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_divider color=”#cecece” _builder_version=”4.16″ global_colors_info=”{}”] [\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ custom_padding=”0|0px|54px|0px” custom_css_main_element=”display: none;” global_colors_info=”{}”][et_pb_row custom_padding_last_edited=”on|desktop” _builder_version=”4.16″ custom_padding=”0px|80px|0px|80px” custom_padding_tablet=”0px|100px|0px|100px” custom_padding_phone=”0px|0px|0px|0px” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\n

Die weiteren Drucke der Edition III<\/h2>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image src=”https:\/\/www.artinprint.at\/wp-content\/uploads\/2018\/05\/Bischof_ungerahmt_edition.jpg” align_tablet=”center” align_phone=”” align_last_edited=”on|desktop” _builder_version=”4.16″ filter_opacity=”50%” global_colors_info=”{}”] 
\n[\/et_pb_image][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image_n10s _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_image_n10s][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image_n10s src=”https:\/\/www.artinprint.at\/wp-content\/uploads\/2018\/05\/Schoene_ungerahmt_edition.jpg” size=”shop_catalog” n10s_type=”hanoi” title1_overlay=”Gabriele Sch\u00f6ne ” title2_overlay=”Mittwochabend, 2018″ caption_orientation=”left” image_as_url=”on” url=”https:\/\/www.artinprint.at\/gabriele-schoene” animation=”off” admin_label=”Sch\u00f6ne” header_font_size=”20px” _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\n

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“Bildname”
\nAnna Stangl<\/h2>\n

\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n

[\/et_pb_image_n10s][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image_n10s src=”https:\/\/www.artinprint.at\/wp-content\/uploads\/2018\/05\/Stangl_ungerahmt_edition.jpg” size=”shop_catalog” n10s_type=”hanoi” title1_overlay=”Anna Stangl ” title2_overlay=”Traum, 2018″ caption_orientation=”left” image_as_url=”on” url=”https:\/\/www.artinprint.at\/anna-stangl” animation=”off” admin_label=”Stangl” header_font_size=”20px” _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\n

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“Bildname”
\nGabriele Sch\u00f6ne<\/h2>\n

\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n

[\/et_pb_image_n10s][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image_n10s src=”https:\/\/www.artinprint.at\/wp-content\/uploads\/2018\/05\/Thuma_ungerahmt_edition.jpg” size=”shop_catalog” n10s_type=”hanoi” title1_overlay=”Gerlinde Thuma ” title2_overlay=”aeolus, 2018″ caption_orientation=”left” image_as_url=”on” url=”https:\/\/www.artinprint.at\/gerlinde-thuma” animation=”off” admin_label=”Thuma” header_font_size=”20px” _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\n

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“Bildname”
\nRegina Zachhalmel<\/h2>\n

\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n

[\/et_pb_image_n10s][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_image_n10s src=”https:\/\/www.artinprint.at\/wp-content\/uploads\/2018\/05\/Zachhalmel_ungerahmt_edition.jpg” size=”shop_catalog” n10s_type=”hanoi” title1_overlay=”Regina Zachhalmel ” title2_overlay=”japanischer Gast, 2018″ caption_orientation=”left” image_as_url=”on” url=”https:\/\/www.artinprint.at\/regina-zachhalmel” animation=”off” admin_label=”Zachhalmel” header_font_size=”20px” _builder_version=”4.16″ global_colors_info=”{}”]<\/p>\n

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“Bildname”
\nGerlinde Thuma<\/h2>\n

\n<\/div>\n

 <\/p>\n<\/div>\n<\/div>\n

[\/et_pb_image_n10s][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

    Karin Pliem(born 1963 in Zell am See, lives and works in Vienna) Medusa, 2020, for the art in print series women III Lithograph in four colours, printed on Magnani Incisioni 300g paperby Rudolf H\u00f6rschl\u00e4ger, Druckwerkstatt Uferst\u00f6ckl, Wallsee \/ Lower Austria Edition of 33 + 5 AP + 2 EP + 2 PP Signed, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":42,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-11643","page","type-page","status-publish","hentry"],"yoast_head":"\nKarin Pliem - Art in Print<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.artinprint.at\/en\/karin-pliem\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Karin Pliem - 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