Berlin Zeitgeist! A selection from the Adam Lindemann collection of contemporary German art Anselm Reyle Untitled 2006 Acrylic and silver PVC foil on canvas in plexiglas. 234 x 198.8 x 24.8 cm (92 1/8 x 78 1/4 x 9 3/4 in).
Provenance Galerie Giti Nourbakhsch, Berlin Catalogue Essay Sampling ideas from Modernism and Abstract Expressionism, Anselm Reyle injects new life into these styles. In his foil paintings, Reyle achieves this by reactivating concepts of abstraction and the ready-made with a shiny new material; and in so doing, he revitalises the notion of chance during the acts of both creation and viewing. Each peak, bend and valley of his synthetic foil substrate creates a new surface upon which light can refract and forms reflect; there is a constant fluctuation of light and tone, creating a work which remains new no matter how many times it is viewed. “I found this cheap foil at a studio of a friend. I was very fascinated by this material. The quality – that it was so glossy. I’ve always liked the fact that you have to do very little to make it look good. In this case, you really have a lot of interesting effects created by almost nothing. All the colours reflect and also it has a very psychedelic effect when you look at it from a close distance. A bit like on an acid trip. The fact that this cheap store foil work is such a big contrast to the expensive acrylic box around it, is another aspect. Without this box, it would have been more trashy, cheap and even more fragile. But when it’s inside it gets more serious leaving no doubt that it’s a real piece of art.” (The artist, in an interview with Alexander Tovborg, during the exhibition, Anselm Reyle: Valley of the Snake Ladies, Andersen’s Contemporary, Copenhagen, 27 May – 24 June 2006) Read More
Berlin Zeitgeist! A selection from the Adam Lindemann collection of contemporary German art Anselm Reyle Untitled 2006 Acrylic and silver PVC foil on canvas in plexiglas. 234 x 198.8 x 24.8 cm (92 1/8 x 78 1/4 x 9 3/4 in).
Provenance Galerie Giti Nourbakhsch, Berlin Catalogue Essay Sampling ideas from Modernism and Abstract Expressionism, Anselm Reyle injects new life into these styles. In his foil paintings, Reyle achieves this by reactivating concepts of abstraction and the ready-made with a shiny new material; and in so doing, he revitalises the notion of chance during the acts of both creation and viewing. Each peak, bend and valley of his synthetic foil substrate creates a new surface upon which light can refract and forms reflect; there is a constant fluctuation of light and tone, creating a work which remains new no matter how many times it is viewed. “I found this cheap foil at a studio of a friend. I was very fascinated by this material. The quality – that it was so glossy. I’ve always liked the fact that you have to do very little to make it look good. In this case, you really have a lot of interesting effects created by almost nothing. All the colours reflect and also it has a very psychedelic effect when you look at it from a close distance. A bit like on an acid trip. The fact that this cheap store foil work is such a big contrast to the expensive acrylic box around it, is another aspect. Without this box, it would have been more trashy, cheap and even more fragile. But when it’s inside it gets more serious leaving no doubt that it’s a real piece of art.” (The artist, in an interview with Alexander Tovborg, during the exhibition, Anselm Reyle: Valley of the Snake Ladies, Andersen’s Contemporary, Copenhagen, 27 May – 24 June 2006) Read More
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
