Angelik Riemer

Angelik Riemer (born February 29, 1948 in Kiel , † January 23, 2014 in Berlin ) was a German painter . It can be assigned to the direction of the New Constructivists .

life and work

Angelik Riemer was born in Kiel in 1948 and graduated from high school in 1966. From 1966 to 1972 he studied painting at the Berlin University of the Arts (today: Berlin University of the Arts ). Between 1970 and 1973 she received a scholarship from the Studienstiftung des Deutschen Volkes eV During this time, she was a master class student of Prof. Hann Trier in 1971 and worked at the Slade School of Fine Art in London in 1972/73 .

In 1979 she worked in New York and in 1992 in Japan (Tokyo, Kyoto, Nara). She went to Tokyo a second time in 1995 for another work stay, this time for 6 months at the invitation of the Japan Foundation as a visiting researcher at Nihon University Tokyo, College of Art. Until 2014 she lived and worked in Berlin.

All works by Angelik Riemer are works made of egg tempera on canvas or paper. The colors are mixed from real powder paints according to an old recipe with egg tempera and applied directly to the substrate. In addition, the artist made monochrome and multicolored aquatints - etchings , screen prints and lithographs in the 1970s and 1980s . Film and photographic works were usually used to explore new aspects of painting, but some large-format photographic works and a number of Super 8 and video films were also presented to the public.

Angelik Riemer's work is divided into sometimes very different creative periods. The phase of objectivity (1971-1981) is characterized by panel images that show internal and external, in which was placed against Built organically grown, is combined with engineered Flowing. Towards the end of the 1970s, a central visual axis dominates almost all works, leading into the depths of the pictorial space, dissolving into a globe-like horizon.

Monochrome with bright corners were the pictures from 1981 to 1984 with which the artist turned away from objectivity in the early 80s. She began non-representational "image constructions and investigations" (unpublished manuscript of speech by the artist from October 19, 1992), in which the Parisian blue became the basic element that still defines the image today. She now allowed "constructive, cross-image meshes of Parisian blue" to emerge, which were "created by small fields of different colors that were bordered with ultramarine" (ibid). The complete interchangeability of the spatial levels became possible.

Artistically interwoven brush strokes characterize the phase from 1985 to 1990, in which the predominantly large-format pictures gained a new dimension: the multi-colored underpainting of up to 50 layers of short, straight brush strokes gave the pictures a relief-like surface and gained three-dimensionality. The final layers of Parisian blue made the colors of the background light up irregularly.

Color bars on a Parisian blue ground mark the works from 1991 to 1997, which now only knew a few color strips that had just been applied to the Parisian blue ground - contrasted by ultramarine blue fields. The paper works also managed with sparingly applied wide Parisian blue color strips that crossed the large-format paper and fluctuated between opacity and transparency due to the irregular brush pressure and these could appear pictorial. During this phase, a number of dialogue projects, primarily with Japanese artists, were realized, namely TAI-WA / DIA-LOG with Yoko Tawada, BRÜCKE / HASHI with Fumio Tachibana and KAWA / FLUSS with Masko Iso. Furthermore, the painting frieze was drawn up in the reception center of the Auguste Viktoria Hospital in Berlin-Schöneberg and realized as 1st prize in the "Art in Urban Space" competition. In addition to painting installations, the Internet project "Kreuzungen" was created in this phase from 5 × 5 centimeter cutouts that were obtained from large-format "intersections" as well as the remarkable color concept for a new building project in the Burgweinting district of Regensburg Buildings flow.

A creative period followed between 2001 and 2004 in which the artist created interwoven color flows . In this most painterly phase, the artist wove a dense grid-like fabric from hundreds of rivulets of paint that had flowed over the canvas or paper, which in its entirety shows relief and pictorial structures. From 2004 onwards, anidots were linked across canvas or paper: traces of color flow out of large patches of color and connect with others. This was followed by "Cycles" (2008), "Mimosa" (2010) and most recently, 2012/2013, the synthesis of the last phases, which Riemer described as "multicolored pointillist interaction".

Note: In the exhibition "forth and back" (2005) the artist used the terms in italics to describe her respective creative period.

Works

In addition to private collections, there is a larger collection of works, including the Hundred Pictures project (1999/2000), owned by the Landesmuseum Berlinische Galerie . One of the publicly accessible main works is the 25-part picture frieze in the reception center of the Berlin Auguste Viktoria Hospital. Another 22-part painting installation is located in the hall of the Viterra headquarters in Bochum.

Projects

• TAIWA / DIALOG (1994) - dialogue project with the poet Yoko Tawada in the experimental studio Pariser Platz 4 of the Akademie der Künste. Artist's book edition Spiegelbild . Edition Mariannenpresse , Berlin 1994. ISBN 3-922510-79-5 .
• BRÜCKE / HASHI (1995) - Dialogue project with graphic designer Fumio Tachibana at P3 art and environment, Tokyo
• KAWA / FLUSS (1997) - dialogue project with the sculptor Masko Iso in the experimental studio of the Akademie der Künste as a guest in the former Virchow lecture hall of the Charité

literature

• Börsch-Supan, Helmut : About new pictures by Angelik Riemer. In the catalog for the exhibition in the Hellweg Museum, Unna 1976
• Sello, Gottfried: female painters. Contribution 152 in the Brigitte series (1982)
• Prince, Ursula: Where nothing is found, everything is found. In the catalog for the exhibition "Korrespondenzen / Correspondance" in the Berlinische Galerie and in the Musée d Art Moderne St. Etienne 1990 (German / French)
• Schneegass, Christian: Intensity through formal rigor and passionate glow of color - New pictures from AR 1990 and 1991. In the catalog for the exhibition at the Neuer Berliner Kunstverein
• Yoko Tawada / Angelik Riemer: SPIEGELBILD. 78th Publication of Edition Mariannenpresse , Berlin 1994
• Schneegass, Christian: KAWA - FLOWING CONSCIOUSNESS. In the German-Japanese catalog KAWA-FLUSS about the project with Masko Iso in the experimental studio of the Academy of Arts as a guest at the Charité (1997).
• Brockschmidt, Rolf: A soft spot for Japan - Angelik Riemer, painter. In the series "In Conversation", DER TAGESSPIEGEL, Kultur, p. 30 from May 1, 1997
• Bock, Reinhard: Angelik Riemer - 7 creative periods. Berlin 2008, signature of DNB Frankfurt 2009 A 60487, DNB Leipzig 2009 A 97923

Web links

• Literature by and about Angelik Riemer in the catalog of the German National Library
• Angelik Riemer's website