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Ingeborg Flierl – Around the Kollwitzplatz
Early drawings and prints
The special exhibition is dedicated to a special period in the decades-long work of an artist who, as a native Berliner, has lived in Pankow since 1952 - the art weaver Ingeborg Flierl, née Millies. She holds an unmistakable place in the textile art of the GDR. Her work includes more than 200 tapestries, numerous appliqués, prints and architectural works in ceramics.
After 1945, Ingeborg Millies did not take up the profession she had just learned as a farmer. The passionate draughtswoman was drawn to study art. Without further ado, the 20-year-old self-taught artist enrolled at the traditional Hochschule für Bildende Künste in Berlin-Charlottenburg. She initially studied painting and sculpture before finally switching to the Applied Arts department in 1951. Here she turned to textile art.
in 1952, Ingeborg Millies and her friend, architecture student Peter Flierl, were among the signatories of a petition against the treaty on Germany between the FRG and the three Western Allies. The treaty provided for the rearmament of Germany and its inclusion in the Western alliances. As they did not withdraw their signatures, they were exmatriculated from Charlottenburg University for political reasons.
Both then moved to the East Berlin district of Pankow in 1953 and married. An open circle of friends of like-minded artists formed around the Flierls. In the climate of the state-initiated formalism debate against the Western cultural scene, they moved closer together. The exchange with friends and colleagues enriches and inspires the young Ingeborg Flierl, who now works as a freelance draughtswoman, graphic artist and textile artist and raises their four children "on the side" over the next ten years.
Between 1956 and 1961, Ingeborg Flierl lived with her family in the middle of Prenzlauer Berg, on Kollwitzplatz. The studio apartment was assigned to her by the artists' association and was located on the top floor of the house at Knaackstraße 45. After painstaking demolition work, the war debris has been removed from the surrounding area. But the trees on the square survived the cold post-war winters without being cut down. The square becomes a meeting place for many people. Ingeborg Flierl again observes and portrays normal, daily activities and her own everyday life. At the same time, she also draws more distant city motifs in Mitte and Friedrichshain, including views of destroyed cultural sites such as the Schinkel Concert Hall. To do this, she puts her pencils aside, picks up pen, brush and ink and turns to printmaking techniques, especially lithography. In this way, Ingeborg Flierl captured the special atmosphere that was typical of the long post-war period in East Berlin - between surviving the war years and a new zest for life.
The special exhibition presents these previously unknown drawings and prints. They came to light while Theresa Flierl was compiling a catalog raisonné and are being shown here for the first time.
Supported by the Bezirkskulturfonds.
After 1945, Ingeborg Millies did not take up the profession she had just learned as a farmer. The passionate draughtswoman was drawn to study art. Without further ado, the 20-year-old self-taught artist enrolled at the traditional Hochschule für Bildende Künste in Berlin-Charlottenburg. She initially studied painting and sculpture before finally switching to the Applied Arts department in 1951. Here she turned to textile art.
in 1952, Ingeborg Millies and her friend, architecture student Peter Flierl, were among the signatories of a petition against the treaty on Germany between the FRG and the three Western Allies. The treaty provided for the rearmament of Germany and its inclusion in the Western alliances. As they did not withdraw their signatures, they were exmatriculated from Charlottenburg University for political reasons.
Both then moved to the East Berlin district of Pankow in 1953 and married. An open circle of friends of like-minded artists formed around the Flierls. In the climate of the state-initiated formalism debate against the Western cultural scene, they moved closer together. The exchange with friends and colleagues enriches and inspires the young Ingeborg Flierl, who now works as a freelance draughtswoman, graphic artist and textile artist and raises their four children "on the side" over the next ten years.
Between 1956 and 1961, Ingeborg Flierl lived with her family in the middle of Prenzlauer Berg, on Kollwitzplatz. The studio apartment was assigned to her by the artists' association and was located on the top floor of the house at Knaackstraße 45. After painstaking demolition work, the war debris has been removed from the surrounding area. But the trees on the square survived the cold post-war winters without being cut down. The square becomes a meeting place for many people. Ingeborg Flierl again observes and portrays normal, daily activities and her own everyday life. At the same time, she also draws more distant city motifs in Mitte and Friedrichshain, including views of destroyed cultural sites such as the Schinkel Concert Hall. To do this, she puts her pencils aside, picks up pen, brush and ink and turns to printmaking techniques, especially lithography. In this way, Ingeborg Flierl captured the special atmosphere that was typical of the long post-war period in East Berlin - between surviving the war years and a new zest for life.
The special exhibition presents these previously unknown drawings and prints. They came to light while Theresa Flierl was compiling a catalog raisonné and are being shown here for the first time.
Supported by the Bezirkskulturfonds.
Runtime: Wed, 12/06/2024 to Sun, 02/02/2025
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