About

I have always been fascinated by the ambivalence of photographic realities, the ambiguity of visual perception and its effect on the individual, on the collective and on nature. During my studies at the State Academy of Fine Arts in Stuttgart, where I did work interdisciplinary in different departments such as graphic design and photography under Professor Albrecht Ade and painting under Professor Paul-Uwe Dreyer, I rediscovered photography as my main conceptual artistic medium. My full-time practice as a fine artist encompasses series and groups of works as well as collaborative projects, which I develop and realize in cooperation with staff at public or private institutions in Germany and abroad or in response to Kunst am Bau competitions. I taught at art academies and schools and continue to hold workshops, give talks and curate exhibitions.

Statement

For me as an artist, photography is a conceptual medium and, in a technical sense, a documentary tool. I use it to examine the nature and impact of mankind which I see expressed and reflected in how we deal with nature, animals and our fellow human beings. My pictures are the result of artistic investigations of perception and thematize the relationship between body, envelope and space on different levels. My works reference cultural, political and social conditions of Western society. They oscillate between abstraction, documentary reality and staged presentation. In my presentations, they become large-format transparencies, panel pictures, objects, sculptures, projections, installations or artist books.

Education

  • 1981 - 1987 | „Fine Art“ Diplom, Staatliche Akademie der Bildenden Künste, Stuttgart (DE)
  • 1979 - 1981 | Haute Couture Schneiderlehre, Gesellenbrief, Salon Topell, Wiesbaden (DE)

Institution (Work Experience)

  • PROJEKTREALISIERUNG IN KÜNSTLERISCHER ZUSAMMENARBEIT MIT INSTITUTIONEN:
  • 1996 | SEB Bank, Frankfurt a.M. (DE)
  • 1994 | DZ Bank, Frankfurt a.M. (DE)
  • 1994 | "Die letzten Könige von Paris": Paco Rabanne, Torrente, Lapidus, Louis Féraud, Carven, Didier Lecoanet et Hemant Sagar, (FR)
  • 1992 | "RESERVATE 1-21, mit 21 deutschen und New Yorker Großkonzernen
  • KUNST AM BAU PROJEKTE:
  • 2013 |Vermögen Baden-Württemberg, Universität Konstanz (DE)
  • 2006 | Quivid, Landeshauptstadt München (DE)
  • LEHRE:
  • 2000 - 2004 | Vertretungsprofessur, Staatliche Akademie der Bildenden Künste Stuttgart (DE)
  • 1992 - 1996 | Lehrauftrag, FHG und FHW, Pforzheim (DE)
  • 1993 | Lehrauftrag, Workshop, Merz Akademie, Stuttgart (DE)
  • VORTRÄGE | WORKSHOPS (Auswahl)
  • 2019 | Künstlergespräch, Kunsthistorisches Institut der Universität Bonn (DE)
  • 2010 | Vortrag zum Symposium, Hochschule Anhalt Dessau (DE)
  • 2004 | Vortrag, Universität Weimar, Deutscher Designer Club (DE)
  • 2002 | Workshop, Universität Greifswald (DE)
  • 2002/3/5/7 | Berufsakademie Schloß Rotenfels, Bad Rotenfels (DE)
  • 2001 | Workshop, ISTROART, 5. Biennale der Kunstakademie Bratislava (SK)
  • 1999 | Vortrag, Kunstakademie Nürnberg (DE)
  • 1999 | Vortrag, Forum der Muthesius-Hochschule für Kunst und Gestaltung, Kiel (DE)
  • 1999 | Vortrag, Humboldt Universität Berlin (DE)
  • 1997 | Workshop, Les Rencontres de la Photographie d’Arles (FR)
  • 1994 | Workshop, Galleria Latina, Montevideo (UY)
  • 1993 | Workshop, Galleria Handal, La Paz (BO)
  • 1991 | Workshop, Erste Internationale Fototage, Herten (DE)
  • PUBLIKATIONEN SOLO:
  • 2015 | Architekturen des Archivs, Studiohefte 23, Tiroler Landesmuseen Ferdinandeum Innsbruck (AT)
  • 2010 | CASES 2009-2010, ZF Friedrichshafen im Zeppelinmuseum (DE)
  • 2006 | DAS DUELL, Museum Schloss Neuenbürg, Badisches Landesmuseum Karlsruhe (DE)
  • 2002 | Sinje Dillenkofer, Städt. Galerie Villingen Schwenningen (DE)
  • 1997 | INNOCENTIA I-XXV, Kunstverein Göttingen, Staatliche Galerie Moritzburg Halle Landeskunstmuseum Sachsen-Anhalt (DE)
  • 1996 | Sinje Dillenkofer, Kerber Verlag (DE)
  • 1992 | RESERVATE, Lindemann Verlag Stuttgart (DE)
  • 1992 | Fotoobjekte, Sinje Dillenkofer, Kunstverein Karlsruhe (DE)
  • 1992 | Fotografie, Sinje Dillenkofer, Staatliche Akademie der Bildenden Künste, Edition Cantz (DE)

Selected Awards

  • 2019 | Nominierung zum Kubus. Sparda-Kunstpreis, Kunstmuseum Stuttgart (DE)
  • 2009 | Stipendium, ZF Kunststiftung Friedrichshafen (DE)
  • 2002 | Artist in Residence & Exhibition, Museum Neue Galerie, Graz (AT)
  • 1999 | Casa Baldi, Olevano di Romana (IT)
  • 1996 | Baldreitstipendium der Stadt Baden-Baden (DE)
  • 1995 | Paul-Strecker-Preis, Landesmuseum Mainz (DE)
  • 1992 | Cité Internationale des Arts, Paris (FR)
  • 1988 | DAAD Reisegeldförderung New York Aufenthalt (USA)

Selected Exhibitions/Publications

  • Einzelausstellungen / Solo Exhibitions:
  • 2019 | Stadtgalerie Bad Soden am Taunus (DE)
  • 2017 | Galerie Bildhalle, Zürich (CH)
  • 2015 | Tiroler Landesmuseum Ferdinandeum, Innsbruck (AT)
  • 2012 | Galerie Wenger, Zürich (CH)
  • 2010 | Goethe Institut Nancy (FR)
  • 2009 | Villa Oppenheim, Galerie für Gegenwartskunst, Berlin (DE)
  • 2003 | Museum für Kunst und Gewerbe, Hamburg (DE)
  • Gruppenausstellungen / Group Exhibitions:
  • 2019 | ZKM, Zentrum für Kunst und Medien, Karlsruhe (DE)
  • 2019 | Kubus Kunstmuseum Stuttgart (DE)
  • 2019 | Galerie Schlichtenmaier, Schloß Dätzingen, Stuttgart (DE)
  • 2019 | Victoria & Albert Museum, London (UK)
  • 2017 | Casino Luxembourg Forum d’Art Contemporain (LU)
  • 2016 | Musée de la Chasse et de la Nature, Paris (FR)
  • 2015 | Saarlandmuseum, Saarbrücken (DE)
  • 2014 | Museum Morsbroich, Leverkusen (DE)
  • 2014 | Berlinische Galerie Landesmuseum Berlin (DE)
  • 2003 | Staatsgalerie Stuttgart (DE)
  • 2000 | Musée de l‘Élyssée Lausanne und Culturgest Lisbon (PT)
  • 1997 | MACBA, Museum für Moderne Kunst, Barcelona (ES)
  • 1996 | Rencontres de la Photographie d‘Arles (FR)

Personal Website

http://www.sinje-dillenkofer.de

Galleries

Sinje Dillenkofer | Cases (2001 - today)

Sinje Dillenkofer | Cases (2001 - today)

CASES is about a series of photographies in bird ś -eye view of lid and bottom of historical and modern cases and boxes, which were handmade or industrially manufactured to protect precious objects, scientific instruments, and commoner, aristocratic or royal everyday objects. Emptied of their contents, the containers are removed from their original function, scale and context to become objects of fine art and autonomous abstract images. Their materials and imprints receive graphical and abstract character and refer to the presumed absence. The CASES could be understood as «architectures of the archive» or „sociocultural examination“ from which society's understanding of values or power structures could be deduced and question the meaning of «archive» and our culture of memory. The subtitle of each work gives the spectator the information of the objects’ origin and history and offers a supplementary level of ‘reality’ and perception.

Format:

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Sinje Dillenkofer | By Nature (2019)

Sinje Dillenkofer | By Nature (2019)

BY NATURE consists of 36 diptychs based on 72 hand-coloured engravings by the artist and female entomological pioneer Maria Sibylla Merian (1647-1717). The original engravings are the result of Merian’s scientific observation and artistic interpretation of the process of metamorphosis from caterpillar to butterfly in Surinam. They are regarded as her magnum opus and got published under the title “Metamorphosis insectorum surinamensium” in 1705. Only very few complete copies have come down to us, among them this unique example of 1725 put together for the King of France. In the 300 years of its storage, those illustrations have bled through the pages, resulting in double-page spreads which got photographed by Sinje Dillenkofer and translated into the context of contemporary art.

Format:

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Sinje Dillenkofer | Disjunction of parallel constructs (2019)

Sinje Dillenkofer | Disjunction of parallel constructs (2019)

Disjunction of parallel constructs is a series of two-part works. They can be seen as an interplay of visual, formal, and content-based analogies. On the one hand, this results in an interpretive diversity of the architecture of volume and space using the example of three topographies of napkins and the human body and a map; on the other hand, there is a diversity of content: napkins become figures with seeming individual characters, and people become abstract objects. The works address questions about the meaning of function, norm and deviation, about the change of social values and understanding of human beings who get constantly relocated in a psychological, physical and geographical way.

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Sinje Dillenkofer | Inversion (2010 - 2019)

Sinje Dillenkofer | Inversion (2010 - 2019)

Under the title INVERSION I have assembled a selection of works whose motifs I found in the real world. Photographed and contextualised as art, their reality appears inverted, presence becomes absence; top and bottom, back and front are transposed; organic bodies turn abstract. In the photographs, lines and planes become verifiable referents of our society’s handling of power and nature. This involves a multiple change of perspective that plays with the ambivalence of perception, the credibility of images and the ideas and preconceptions of the viewer.

Format:

gallery