Description

Book Synopsis
Wiebke Siem (1954 Kiel, DE – Berlin, DE) became known in the 1990s for extensive installations in which she alienated everyday objects, such as pieces of clothing, shoes, bags, or toys, or transformed them into oversized objects.

Wiebke Siems uses pieces of furniture, objects, and materials with domestic connotations and whimsical, often puppet-like figures to create psychologically charged installations that are as oppressive as they are humorous and that raise questions about societal role models. Siem’s art repeatedly employs a formal language and a mode of presentation that refer to ethnological objects and collections. This enables her to comment on Modernism’s problematic appropriation strategies toward non-European art. In addition to borrowing motifs from art and cultural history, Siem critically engages the mechanisms of the male-dominated art business – a central theme in her oeuvre.

Wiebke Siem (Bilingual edition): The Maximal

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    Order before 4pm today for delivery by Mon 29 Jun 2026.

    A Paperback / softback by Kunstmuseum Bonn, Kunstmuseum Den Haag, Museum der Moderne Salzburg

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      Publisher: Hirmer Verlag
      Publication Date: 28/07/2022
      ISBN13: 9783777440125, 978-3777440125
      ISBN10: 3777440124
      Also in:
      Individual artists, art monographs Installation art Sculpture

      Description

      Book Synopsis
      Wiebke Siem (1954 Kiel, DE – Berlin, DE) became known in the 1990s for extensive installations in which she alienated everyday objects, such as pieces of clothing, shoes, bags, or toys, or transformed them into oversized objects.

      Wiebke Siems uses pieces of furniture, objects, and materials with domestic connotations and whimsical, often puppet-like figures to create psychologically charged installations that are as oppressive as they are humorous and that raise questions about societal role models. Siem’s art repeatedly employs a formal language and a mode of presentation that refer to ethnological objects and collections. This enables her to comment on Modernism’s problematic appropriation strategies toward non-European art. In addition to borrowing motifs from art and cultural history, Siem critically engages the mechanisms of the male-dominated art business – a central theme in her oeuvre.

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