LIVES AND WORKS
LIVES AND WORKS
DATE OF BIRTH
03.08.1965 born in Basel, Switzerland.
as the first child of Heidi & Fritz Meyer-Weidmann.
2 sisters, Simone, born 1972 and Salome born 1981
mother of 2 teenager, Mona born 2004, Sofia born 2002.
since 2008 married with Mic Rasmussen.
1983-1993 divers jobs and traveling Europe and Asia
1993- 1997 school of art-therapy.
since 1995 in pension of disable
1994 to 2018 volunteering in many divers contexts in the field of HIV/ aids in Switzerland, Italy and Germany
Artwork : Paintings, Objects, Performances, UrbanArt and other.
1983 first exibition of paintings in Basel. «She is wild.» acryl
1993 & 1997 Exibition of paintings, Basel. Her body. acryl, oil pastels
2000 first Performance: the Pilldress. What we have and don’t share. Durban SA.
2003 Exibition of paintings Basel, the Virus
acryl, (no brushes, just worked with the hands)
2009 Object : « me absolvo » confessional about 1700.
Stigma and HIV. (actually stays in the « schwules museum berlin »)
2010 clownschool of Yve Stöcklin, Basel. Class of improvisation clowntheater.
2011 Performance during the viste of Pope Benedikt in Berlin. " Blood trial // Maria"
2015 House-installation Hölstein, Baselland. " Bloom" an art-intervention against racism.
2017 Clownschool Olten, Theater Schwager. Class for Clown on stage.
2018 August- December Urban Art-intervention, Liestal " Lenten Veil// Hungertuch".
Focus in the last 25years on feminism and aids activism.
living on the countryside, in Switzerland, in a village with 2000 habitants.
I mostly work with strong symbols, even religious, christian, ones, free of any believe but deeply used to question social behaviour and hierarchy and at the same time i use myself as person, vulnerable and visible.
The lenten veil was sewed live in front of the parliament.
Liestal is the capital of the Cantone Baselland. It is a little city with circa 13570 inhabitants.
i sewed during the second half-year every parliament-session.
As the parliament was cutting fonds all around salaries, healthcare, welfare, education, art and cultur.
The member of parliaments, and everyone who worked for the parliament or was visting it, had to walk over the veil, while i was sitting on it and working. So part of this piece is the footprint of parlamentarians, but also visitors and schoolclasses for example.
Every sew-day i invited people to sit next to me, talk with me about their hunger, real or metaphoric.
the setting gave also a clear view on the hierachy between them and «me».
i worked always on the flor and i weared a armlet, with a black angle on it- like the people who was cathegorized as asocial in the death camp of the nazis. (To involve and use me personaly as an non-employed citizen.)
the veil was well placed, so that nearly all people walked over a piece of veil, where the word « würde/ dignity » was emboidered.
the intervention was therefore often called passiv-agressiv.
urban art in a very small-city on the countryside of switzerland needs much more time and courage, because people try firstly to ignore or denial and need more time to interact as people in a bigger (real ?) city.
i sewed every two weeks a whole day, from august to december, people was getting used to it and could re-act.
On 13th of >December i offred soup and bred to the parlamentarians as ending-event.
Only a few accepted. But passantes, inhibitants ate with me and talked to me. I am very grateful for this experience, even if it hurted me very much on different levels.
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