Silke Silkeborg

NACHTMALEREI / NIGHT PAINTING

Silke Silkeborgs künstlerische Auseinandersetzung ist seit 15 Jahren den Phänomenen der NACHT gewidmet. Sie studierte bildende Kunst bis 2010 an der Kunsthochschule Hamburg. Seit dem Ende ihres Studiums stellt sie sich der Herausforderung, die Nacht in der Nacht zu malen. Ihre künstlerische Feldforschung unternimmt sie unmittelbar vor Ort. Es entstehen zeitgleich literarische Berichte über die Malnächte, die unter anderem Auskunft geben über Arbeitszeit, Ort, Wetter- und Sinneswahrnehmungen und außergewöhnliche Begegnungen.
In den letzten Jahren liegt ihr Fokus auf biologische Phänomene, wie das Meeresleuchten und auf Lichtformationen elektrifizierter Städte.
Ein weiterer Aspekt ihrer künstlerischen Recherche gilt der Exilgeschichte – der sogenannten „inneren Nacht“ der Geflüchteten antifaschistischer Kulturschaffenden zur NS-Zeit.

For 15 years Silke Silkeborg’s work has focused exclusively on the NIGHT. She studied visual art until 2010 at the University of Fine Arts Hamburg. Since completing her studies she has dedicated herself to painting the night at night. She conducts her artistic field research on site and also produces literary reports on her night painting sessions that include both details regarding working hours, location, weather and visual conditions as well as sensations, sensory, perceptions and extraordinary encounters.
Their way of working is project-based. In recent years, her focus has been on biological phenomena such as the glow of the sea and light formations in electrified cities.
Another aspect of her artistic research is the history of exile. The so-called inner night of the fugitives of anti-fascist cultural workers during the Nazi era.

MALERIN DER NACHT / PAINTER OF THE NIGHT

DEUTSCHE WELLE – EUROMAXX

Video-Link zu You-Tube

4 Minuten / minutes Deutsche Welle / Euromaxx, Erstausstrahlung am / first broadcast on: 26.1.2020.
Autorin / Author: Dorothee Grüner
(Translated into English, Spanish, Arabic, Brazilian, Indonesian, Pashto and Bengali.)

PROJEKTBEZOGENE MALEREI / PROJECT-RELATED PAINTING

OPENSTUDIO HAMBURG – ArtSceneFIlm

Video-Link zu Openstudio

6 Minuten / minutes OPEN STUDIO – ArtSceneFilm, Erstausstrahlung am / first broadcast on: June 2023.
Interview und Kuratorium: / interview and curator: Anne-Simone Krüger
Filmische Umsetzung / film realisation: Ariane von Bethusy-Huc

JOURNAL ON PAINTING AT NIGHT
by
SILKE SILKEBORG
„fabricare necesse est, natura non est“ *

Time: Fri, 5 Aug 2016 / 23.00 h – Sat, 6 Aug 2016 / 02.30 h
Place: Leuna, Saxony-Anhalt
Weather: 17° C, west wind, partly cloudy, waxing moon

Departure from Leipzig around 21:30 h. Shortly after the airport Leipzig/Halle you reach the freeway exit Leuna. Already here, the chemistry plant is very conspicuous. On my nightly research tour through the residential area of Leuna, in between the well-refurbished single-family homes with their perfectly groomed front gardens, I am granted astonishing views of the chimneys.

I am perplexed. “Why would anyone want to live here if they weren’t forced to do so?” The plant is running non-stop and the noises from the production site and rail transport do not exactly promise a quiet small-town night’s rest. What strikes me as even more bothersome is what my sense of smell encounters: chemical vapours. I would not want to have to open my window for ventilation in this place. But could it perhaps have been a perfect shooting location for Ray Bradbury’s The Martian Chronicles?

On a private road, signposted as a dead end, I even see a Martian. He is wearing a dark-blue T-Shirt matched with black knickers. He comes toward me with a baseball bat. “What are you doing here?” he shouts from his forty-year-old, close-cropped head sitting on broad shoulders. Hannes, who has accompanied me on this night tour with his car, replies reassuringly, “We’re looking for a picture!” I am standing by the car, too far away to interpret the angry man’s facial expression. The short message “we’re looking for a picture” somehow must have soothed his temper. “Well… it is not exactly nice here in Leuna,” the man says, turns around and walks back to his home, located right next to the locked gate of the gigantic chemistry plant.

I watch the flames dancing out in different colours from two narrow chimneys. A violet-blue one and a pink one. The two adjacent big chimneys are fuming billows of more massive, sulphur-coloured smoke. The spectacle is enhanced by the multiple floodlights installed on site. Their beams climb up the chimney scaffolds like a cold-white chain of lights. This accumulation of harsh-white flares most likely is easily detectable from an airplane.

I fetch the beer-filled cooler from the trunk as a painting table and my fishing bag filled with painting utensils and carry them up the small earthen embankment next to a concrete wall about two meters high. Hannes hands me a stepladder so that I can look over the wall. Directly behind the wall rows of rail wagons are being shunted. This is all I can discern within a split second of the dark night. Equipped with my painter’s jacket, shorts and an LED-headlamp, I sit down in the tall grass. This earthen wall with its growth of wild grasses and a sleeping Hannes looks almost idyllic. The concrete wall shelters me from the wind. I begin placing a fragment of the work with quick brush strokes towards the edge of the circular painting cardboard: the chimneys in coloured hues of grey, the floodlights in blue-whitish, sometimes yellowish. Flaring up against the dark surroundings of the black-blue night, they set themselves off self-importantly.

An hour past midnight I wake up Hannes so that we can depart for the next location. Three streets further down there is an open field with a wider view onto the factory. After a short night picnic of goat cheese and mustard, I once again use the cooler as a base for painting. I has turned chilly, and here I am fully exposed the wind. Despite an additional sweater, I start getting cold. I therefore try to speed up the painterly capturing of the plant lighting on the cardboard. Like a wheelwork, it runs around the circle’s edge in a seemingly endless manner. A chemical hamster wheel with no escape. I rub my hands against each other to warm them and, with my 360-degree view, ask myself what was here first: the family homes on the Friedhofstrasse or the chemical plant?

In fact, the Leuna plant, with the first ammonia synthesis facilities, was opened in April 1917 after a building phase of only eleven months. Here BASF and later IG Farben produced gasoline, ammoniac nitrogen fertiliser and other fertilisers. During the Second World War the Leuna plant became a target for numerous air attacks by the Allies due to its arms production. From 1946 on the plant was owned by a Russian corporation (SAG); in 1954 ownership was transferred to the GDR. By then 22,000 employees were working there. Among their products known in the 1950s were: SARNEX – against scabies / MITRANOL – against parasitic insects / MELEUSOL – a disinfectant / LEUNALYD – against stomach and intestinal diseases / TROMALIN – baking powder / LEUNA-WURST – a spread made from yeast / IGELIT – a plastic made of chalk, carbon and muriatic acid (as substitute for linoleum, leather, foil). An advertising poster from the late fifties today seems rather absurd: Chemistry provides bread – wealth – beauty!

* S. 402, (Hg.) Rupieper et al., Die mitteldeutsche Chemieindustrie und ihre Arbeiter im 20. Jahrhundert, Halle (Saale), 2005.

Vorschlag: * Die mitteldeutsche Chemieindustrie und ihre Arbeiter im 20. Jahrhundert, ed. Rupieper et al., Halle (Saale), 2005, p. 402.

Time: Sat, 6 Aug 2016 / 22.00 h – Sun, 7 Aug 2016 / 01.00 h
Place: Leuna, Saxony-Anhalt
Weather: 15° C, cool, light east wind

The oil sketch I began yesterday has to be finished today. I set out early and circle the entire plant by car.

The dimensions of the chemistry plant are amazing. It seems much bigger than suggested by the view from the freeway. I drive past historical gateways and numerous newer entrances, each connected with a corresponding company. After a half hour of this circumnavigation, I stop in front of an iron gate directly adjacent to a spacious parking area by the highway to Merseburg. I turn off the motor and get out. In contrast to the abandoned parking area lying in the dark, the plant itself is magnificently illuminated by hundreds of floodlights. I look through the paled gate and am happy to have another Leuna fragment directly in front of me. Equipped with my hoody, my fleece waistcoat and headlamp, I am sitting in front of my small work, spread out beside me the oil colour tubes.

It does not take long before three security vehicles approach the gateway. They come to a halt about a hundred metres away, the front windows facing me like one-eyed creatures. Nobody gets out of the car. I try to ignore them and continue to work with my brush and cardboard on the last section. After a while they turn around and disappear in between the smoking chimneys. Half an hour later a single security car drives up to the gate. Again no one gets out. I had mentally prepared myself to answer all the typical questions. Nothing happened. Did I make such a peaceful impression with the paintbrush in my hand? It is much more likely that they took pictures of me from behind their non-transparent windshield. One may assume that my scanned face has, meanwhile, provided via computer all the police data relating to my person, with the result: harmless.

Around one o’clock I have completed the oil sketch. I put the paint tubes back in the bag and store them in the trunk together with the chemical painting products turpentine, trinitrotoluene and the brush cleaner.

© Silke Silkeborg, September 2016

Translation German to English: Barbara Lang

Turning the Night into Day – On Silke Silkeborg’s Use of a Topos
by
Wolfgang Ullrich

“Turning the night into day” has been a common saying since the 19th century. The phrase emerged at a time when streetlights were being installed throughout rapidly expanding urban centres. When cities were later completely electrified virtually everything could be brightly lit even when it was dark out. For some this meant progress, a new stage of civilization, as people were finally liberated from the constraints of daylight hours and the seasons and had a greater sense of security in the streets at night. For others, however, the fact that night could no longer be experienced as intensively and exclusively, was no longer the categorical opposite of day, was a sign of cultural decay. For them the phrase “turning the night into day” was an expression of cultural despair.
Virtually no one expresses this latter view so emphatically as the philosopher Martin Heidegger. In a letter to the educator Elisabeth Blochmann from the year 1929 he wrote that it had become a “platitude” that “humans tread out daily into the night”. “It is now their habit to turn night into day, or their idea of day, a continuation of the commotion and frenzy.” Against this trend Heidegger invokes “the mythical and metaphysical primary force of night, through which we must continually penetrate in order to truly exist”. This, however, was no longer possible, as “humans of today” may be “overly talented in the organization of everything and everyone, but are no longer capable of gathering themselves for the night”. An essential, existential dimension of existence was lacking, a consciousness of “this elementally powerful negative” that is the night had been lost – and that had to change: “Only in this way can we force the turnaround of the age from the depths.”
Twenty years prior to this condemnation of the artificially illuminated technical world the first Futurist painting appeared in Italy: Lampada ad arco by Giacomo Balla. Its subject is an electric streetlight, portrayed as a new central luminary, outshining the moon, which has been pushed aside as it lacks the force to assert itself over the space. The streetlight controls all of its surroundings, thrusting out countless impulses like missiles. Those who direct their gaze at it experience its flickering energy. The lantern itself is less an object than it is a dynamic occurrence. Balla, who creates this effect with a painting technique derived from pointillism, thus anticipated a principle of the Second Futurist Manifest from 1910, which reads: “The gesture we seek to portray on canvas is no longer that of a ‘fixed moment’ of universal dynamism but the ‘dynamic sensation’ itself. For all things are in motion, hurrying, rapidly transforming.”
The Futurist’s message was that in essence everything is in motion, that this motion is only accelerated by modern technology. For them a phenomenon like the spread of electricity was not a break with the past, though it allowed for a primal energy – the archaic forces present everywhere – to express itself all the more powerfully and dazzlingly. The metaphysical depths that Heidegger felt were threatened by such developments as modern lighting could from the Futurists’ perspective be experienced more directly as a result of technicization. In a brightly lit streetlight they beheld the guiding principle of the world.
The great pathos with which the opponents and proponents of artificial light expressed their views in the first half of the 20th century is now hardly imaginable. We have gotten used to turning the night into day and are no longer conscious of what has been lost or what experiences have been gained. And yet it is still a subject worth reflecting on – what it means to turn the night into day.
Hardly anyone has done this in the past several years as meticulously, as precisely and – in the most literal sense of the world – as “brilliantly” as the painter Silke Silkeborg. The night and its artificial conversion to day are the main focus of her pictures. Her (to date) largest work – created between 2015 and 2018 – is titled “Beleuchtung der Welt” or “Illumination of the World”. It presents an aerial view of a brightly lit city. The brightness flickers somewhat, as in Giacomo Balla’s work, but here Silkeborg does not portray the triumph of a more powerful artificial light over its natural variant. This flickering is instead characteristic of a night that has been turned into day, making the viewer conscious that the brightness must be extracted by force. It is an unstable brightness that for this very reason is very particular, sensorially intense. Silke Silkeborg makes it evident that the view of a nocturnally illuminated city can be as fascinating to humans today as the view of the starlit firmament was for so long. The starlit sky flickered too when it was still dark at night on earth and it too was so brightly lit at certain points that the light could also be experienced as an active counterforce to the monotone blackness.
How consciously Silkeborg conceives artificial light as the counterpart to the starlit heavens of ages past is made clear in earlier works of hers. The painting paradise "found", for example, is a tondo from the year 2016 with a diameter of 1.5 meters. Hanging from the ceiling, for the viewer it truly functions as the sky, however instead of stars one sees lights from smokestacks and factories – yet another artificial, technical brightness. If one knows that Silkeborg found the original material for this painting in the course of nocturnal excursions to the Leunawerke near Leipzig – the largest chemical facility in central Europe – one finds the light all the more aggressive, bound with negative associations, with the same kind of cultural despair we read in Heidegger. Yet Silkeborg alters the perception of the tondo by means of the title. By invoking the light signals from the industrial facility and many points of illumination pushing their way from the edges to the middle of the work as a found paradise, she contradicts that other common interpretation of artificial light. She paints light in such a way that it is above all simply that – light. Beautiful, inspiring, full of promise.

She doesn’t overload artificial light with metaphysical meaning, as the Futurists did, but rather trusts that the unusual and at the same time highly traditional form and construction of the painting are sufficient to induce viewers to take a new, curious look at the brightness. Characteristic of all Silke Silkeborg’s studies on night in the technicized world is that they are entirely free of any of the ideological projections that for a long time dominated debates on what it means to turn the night into day. As Silkeborg is well familiar with the sadness associated with the loss of night, she renders even more visible the new qualities made possible by this reversal and is truly able to reveal new paradises to viewers of her pictures.

1) Martin Heidegger/Elisabeth Blochmann: Briefwechsel 1918-1969, Marbach 1989, p. 32.
2) Second Futurist Manifest of 11 April 1910, cited in German by José Pierre in: Futurismus und Dadaismus, Lausanne 1967, p. 101.

© Wolfgang Ullrich

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The Silke Silkeborg shall no longer process the personal data in the event of the objection, unless we can demonstrate compelling legitimate grounds for the processing which override the interests, rights and freedoms of the data subject, or for the establishment, exercise or defence of legal claims.

If the Silke Silkeborg processes personal data for direct marketing purposes, the data subject shall have the right to object at any time to processing of personal data concerning him or her for such marketing. This applies to profiling to the extent that it is related to such direct marketing. If the data subject objects to the Silke Silkeborg to the processing for direct marketing purposes, the Silke Silkeborg will no longer process the personal data for these purposes.

In addition, the data subject has the right, on grounds relating to his or her particular situation, to object to processing of personal data concerning him or her by the Silke Silkeborg for scientific or historical research purposes, or for statistical purposes pursuant to Article 89(1) of the GDPR, unless the processing is necessary for the performance of a task carried out for reasons of public interest.

In order to exercise the right to object, the data subject may contact any employee of the Silke Silkeborg. In addition, the data subject is free in the context of the use of information society services, and notwithstanding Directive 2002/58/EC, to use his or her right to object by automated means using technical specifications.
h) Automated individual decision-making, including profiling

Each data subject shall have the right granted by the European legislator not to be subject to a decision based solely on automated processing, including profiling, which produces legal effects concerning him or her, or similarly significantly affects him or her, as long as the decision (1) is not is necessary for entering into, or the performance of, a contract between the data subject and a data controller, or (2) is not authorised by Union or Member State law to which the controller is subject and which also lays down suitable measures to safeguard the data subject's rights and freedoms and legitimate interests, or (3) is not based on the data subject's explicit consent.

If the decision (1) is necessary for entering into, or the performance of, a contract between the data subject and a data controller, or (2) it is based on the data subject's explicit consent, the Silke Silkeborg shall implement suitable measures to safeguard the data subject's rights and freedoms and legitimate interests, at least the right to obtain human intervention on the part of the controller, to express his or her point of view and contest the decision.

If the data subject wishes to exercise the rights concerning automated individual decision-making, he or she may, at any time, contact any employee of the Silke Silkeborg.
i) Right to withdraw data protection consent

Each data subject shall have the right granted by the European legislator to withdraw his or her consent to processing of his or her personal data at any time.

If the data subject wishes to exercise the right to withdraw the consent, he or she may, at any time, contact any employee of the Silke Silkeborg.

7. Data protection provisions about the application and use of Facebook

On this website, the controller has integrated components of the enterprise Facebook. Facebook is a social network.

A social network is a place for social meetings on the Internet, an online community, which usually allows users to communicate with each other and interact in a virtual space. A social network may serve as a platform for the exchange of opinions and experiences, or enable the Internet community to provide personal or business-related information. Facebook allows social network users to include the creation of private profiles, upload photos, and network through friend requests.

The operating company of Facebook is Facebook, Inc., 1 Hacker Way, Menlo Park, CA 94025, United States. If a person lives outside of the United States or Canada, the controller is the Facebook Ireland Ltd., 4 Grand Canal Square, Grand Canal Harbour, Dublin 2, Ireland.

With each call-up to one of the individual pages of this Internet website, which is operated by the controller and into which a Facebook component (Facebook plug-ins) was integrated, the web browser on the information technology system of the data subject is automatically prompted to download display of the corresponding Facebook component from Facebook through the Facebook component. An overview of all the Facebook Plug-ins may be accessed under https://developers.facebook.com/docs/plugins/. During the course of this technical procedure, Facebook is made aware of what specific sub-site of our website was visited by the data subject.

If the data subject is logged in at the same time on Facebook, Facebook detects with every call-up to our website by the data subject—and for the entire duration of their stay on our Internet site—which specific sub-site of our Internet page was visited by the data subject. This information is collected through the Facebook component and associated with the respective Facebook account of the data subject. If the data subject clicks on one of the Facebook buttons integrated into our website, e.g. the "Like" button, or if the data subject submits a comment, then Facebook matches this information with the personal Facebook user account of the data subject and stores the personal data.

Facebook always receives, through the Facebook component, information about a visit to our website by the data subject, whenever the data subject is logged in at the same time on Facebook during the time of the call-up to our website. This occurs regardless of whether the data subject clicks on the Facebook component or not. If such a transmission of information to Facebook is not desirable for the data subject, then he or she may prevent this by logging off from their Facebook account before a call-up to our website is made.

The data protection guideline published by Facebook, which is available at https://facebook.com/about/privacy/, provides information about the collection, processing and use of personal data by Facebook. In addition, it is explained there what setting options Facebook offers to protect the privacy of the data subject. In addition, different configuration options are made available to allow the elimination of data transmission to Facebook. These applications may be used by the data subject to eliminate a data transmission to Facebook.

8. Data protection provisions about the application and use of Instagram

On this website, the controller has integrated components of the service Instagram. Instagram is a service that may be qualified as an audiovisual platform, which allows users to share photos and videos, as well as disseminate such data in other social networks.

The operating company of the services offered by Instagram is Instagram LLC, 1 Hacker Way, Building 14 First Floor, Menlo Park, CA, UNITED STATES.

With each call-up to one of the individual pages of this Internet site, which is operated by the controller and on which an Instagram component (Insta button) was integrated, the Internet browser on the information technology system of the data subject is automatically prompted to the download of a display of the corresponding Instagram component of Instagram. During the course of this technical procedure, Instagram becomes aware of what specific sub-page of our website was visited by the data subject.

If the data subject is logged in at the same time on Instagram, Instagram detects with every call-up to our website by the data subject—and for the entire duration of their stay on our Internet site—which specific sub-page of our Internet page was visited by the data subject. This information is collected through the Instagram component and is associated with the respective Instagram account of the data subject. If the data subject clicks on one of the Instagram buttons integrated on our website, then Instagram matches this information with the personal Instagram user account of the data subject and stores the personal data.

Instagram receives information via the Instagram component that the data subject has visited our website provided that the data subject is logged in at Instagram at the time of the call to our website. This occurs regardless of whether the person clicks on the Instagram button or not. If such a transmission of information to Instagram is not desirable for the data subject, then he or she can prevent this by logging off from their Instagram account before a call-up to our website is made.

Further information and the applicable data protection provisions of Instagram may be retrieved under https://help.instagram.com/155833707900388 and https://www.instagram.com/about/legal/privacy/.

9. Legal basis for the processing

Art. 6(1) lit. a GDPR serves as the legal basis for processing operations for which we obtain consent for a specific processing purpose. If the processing of personal data is necessary for the performance of a contract to which the data subject is party, as is the case, for example, when processing operations are necessary for the supply of goods or to provide any other service, the processing is based on Article 6(1) lit. b GDPR. The same applies to such processing operations which are necessary for carrying out pre-contractual measures, for example in the case of inquiries concerning our products or services. Is our company subject to a legal obligation by which processing of personal data is required, such as for the fulfillment of tax obligations, the processing is based on Art. 6(1) lit. c GDPR. In rare cases, the processing of personal data may be necessary to protect the vital interests of the data subject or of another natural person. This would be the case, for example, if a visitor were injured in our company and his name, age, health insurance data or other vital information would have to be passed on to a doctor, hospital or other third party. Then the processing would be based on Art. 6(1) lit. d GDPR. Finally, processing operations could be based on Article 6(1) lit. f GDPR. This legal basis is used for processing operations which are not covered by any of the abovementioned legal grounds, if processing is necessary for the purposes of the legitimate interests pursued by our company or by a third party, except where such interests are overridden by the interests or fundamental rights and freedoms of the data subject which require protection of personal data. Such processing operations are particularly permissible because they have been specifically mentioned by the European legislator. He considered that a legitimate interest could be assumed if the data subject is a client of the controller (Recital 47 Sentence 2 GDPR).

10. The legitimate interests pursued by the controller or by a third party

Where the processing of personal data is based on Article 6(1) lit. f GDPR our legitimate interest is to carry out our business in favor of the well-being of all our employees and the shareholders.

11. Period for which the personal data will be stored

The criteria used to determine the period of storage of personal data is the respective statutory retention period. After expiration of that period, the corresponding data is routinely deleted, as long as it is no longer necessary for the fulfillment of the contract or the initiation of a contract.

12. Provision of personal data as statutory or contractual requirement; Requirement necessary to enter into a contract; Obligation of the data subject to provide the personal data; possible consequences of failure to provide such data

We clarify that the provision of personal data is partly required by law (e.g. tax regulations) or can also result from contractual provisions (e.g. information on the contractual partner). Sometimes it may be necessary to conclude a contract that the data subject provides us with personal data, which must subsequently be processed by us. The data subject is, for example, obliged to provide us with personal data when our company signs a contract with him or her. The non-provision of the personal data would have the consequence that the contract with the data subject could not be concluded. Before personal data is provided by the data subject, the data subject must contact any employee. The employee clarifies to the data subject whether the provision of the personal data is required by law or contract or is necessary for the conclusion of the contract, whether there is an obligation to provide the personal data and the consequences of non-provision of the personal data.

13. Existence of automated decision-making

As a responsible company, we do not use automatic decision-making or profiling.

This Privacy Policy has been generated by the Privacy Policy Generator of the German Association for Data Protection that was developed in cooperation with Privacy Lawyers from WILDE BEUGER SOLMECKE, Cologne.

Privacy Policy

1. Definitions

a) Personal data

b) Data subject

c) Processing

d) Restriction of processing

e) Profiling

f) Pseudonymisation

g) Controller or controller responsible for the processing

h) Processor

i) Recipient

j) Third party

k) Consent

2. Name and Address of the controller

3. Cookies

4. Collection of general data and information

5. Routine erasure and blocking of personal data

6. Rights of the data subject

a) Right of confirmation

b) Right of access

c) Right to rectification

d) Right to erasure (Right to be forgotten)

e) Right of restriction of processing

f) Right to data portability

g) Right to object

h) Automated individual decision-making, including profiling

i) Right to withdraw data protection consent