{"id":3795,"date":"2024-09-20T16:17:28","date_gmt":"2024-09-20T16:17:28","guid":{"rendered":"http:\/\/www.berlin-weekly.com\/?p=3795"},"modified":"2024-09-25T10:00:41","modified_gmt":"2024-09-25T10:00:41","slug":"window-171","status":"publish","type":"post","link":"http:\/\/www.berlin-weekly.com\/?p=3795","title":{"rendered":"Window 171"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\" id=\"block-db9c19a0-4129-4b40-ac07-b74833c44238\"><img loading=\"lazy\" decoding=\"async\" width=\"710\" height=\"884\" src=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/klein-fensterDiker2IMG_7662.jpg\" alt=\"\" class=\"wp-image-3796\" srcset=\"http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/klein-fensterDiker2IMG_7662.jpg 710w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/klein-fensterDiker2IMG_7662-500x623.jpg 500w, http:\/\/www.berlin-weekly.com\/wp-content\/uploads\/klein-fensterDiker2IMG_7662-120x150.jpg 120w\" sizes=\"auto, (max-width: 710px) 100vw, 710px\" \/><\/figure>\n\n\n\n<p id=\"block-b1fa7ca4-8e3a-4b01-9e2c-6507ca45a754\"><strong>\u201aAll her colours\u2018 <\/strong>by <a href=\"https:\/\/www.birgit-dieker.de\" target=\"_blank\" rel=\"noreferrer noopener\">Birgit Dieker<\/a><br \/>(material: fabric, height 220cm x 90\/280 width)<\/p>\n\n\n\n<p>Birgit&nbsp;Dieker&#8217;s works almost always revolve around the human body. The Madonna-like&nbsp;figure \u201eAll her Colours\u201c which seems to grow out of a mighty tree trunk with&nbsp;broad roots is made up of countless layers of fabric that the artist has&nbsp;sewn together&nbsp;from garments worn by&nbsp;women of&nbsp;different backgrounds and ages.<\/p>\n\n\n\n<p>The layers of&nbsp;pre-owned clothing, which were intended both to emphasize the individuality of&nbsp;their former wearers and to conceal their vulnerability, are&nbsp;cut open&nbsp;and reveal a part of the&nbsp;personal experiences and fates of these women. The violent cuts in the delicate&nbsp;and soft fabrics wound&nbsp;the figure and at the same time allow it to unfold.<br \/>By layering the&nbsp;fabrics Birgit Dieker creates a collective sculpture in which the individual&nbsp;stories of the women who moved, laughed, cried, loved&nbsp;and&nbsp;worked in those dresses, become co-creators.<\/p>\n\n\n\n<p>Die Arbeiten von Birgit Dieker kreisen fast immer\u00a0um den menschlichen K\u00f6rper. Die\u00a0madonnenhafte Figur \u201eAll her Colours\u201c, die aus einem m\u00e4chtigen Baumstamm mit\u00a0breiten Wurzeln zu wachsen scheint, besteht aus unz\u00e4hligen Stoffschichten,\u00a0die die K\u00fcnstlerin\u00a0aus Kleidungsst\u00fccken von\u00a0Frauen unterschiedlicher Herkunft und Alters vern\u00e4ht\u00a0hat.<br \/>Die Schichten der gebrauchten Kleidung, die\u00a0sowohl die Individualit\u00e4t ihrer ehemaligen Tr\u00e4gerinnen betonen als auch ihre\u00a0Verletzlichkeit verbergen sollten, werden\u00a0aufgeschnitten\u00a0und geben einen Teil der pers\u00f6nlichen Erfahrungen und Schicksale dieser Frauen\u00a0preis. Die gewaltsamen\u00a0Schnitte in den zarten und weichen Stoffen verwunden die\u00a0Figur und lassen sie gleichzeitig zur Entfaltung kommen.<br \/>Durch das Schichten der Stoffe schafft Birgit\u00a0Dieker eine kollektive Skulptur, in der die individuellen Geschichten der\u00a0Frauen, die sich in diesen Kleidern bewegten, lachten, weinten, liebten und\u00a0arbeiteten, zu Mitgestalterinnen werden.<\/p>\n\n\n\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"<p>\u201aAll her colours\u2018 by Birgit Dieker(material: fabric, height 220cm x 90\/280 width) Birgit&nbsp;Dieker&#8217;s works almost always revolve around the human body. The Madonna-like&nbsp;figure \u201eAll her Colours\u201c which seems to grow out of a mighty tree trunk with&nbsp;broad roots is made up of countless layers of fabric that the artist has&nbsp;sewn together&nbsp;from garments worn by&nbsp;women of&nbsp;different &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/www.berlin-weekly.com\/?p=3795\" class=\"more-link\"><span class=\"screen-reader-text\">\u201eWindow 171\u201c<\/span> weiterlesen<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-3795","post","type-post","status-publish","format-standard","hentry","category-weekly-window"],"_links":{"self":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3795","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3795"}],"version-history":[{"count":3,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3795\/revisions"}],"predecessor-version":[{"id":3812,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/3795\/revisions\/3812"}],"wp:attachment":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3795"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3795"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3795"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}