Anselm Reyle

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Anselm Reyle (born February 12, 1970 in Tübingen ) is a German artist.

Life / biography

After training as a landscape gardener , Reyle studied at the State Academy of Fine Arts in Stuttgart and at the State Academy of Fine Arts in Karlsruhe . In 1997/1998 he moved to Berlin and founded a studio community with John Bock , Dieter Detzner, Berta Fischer and Michel Majerus . From 1999 to 2001 Anselm Reyle ran the producer galleries “Andersen's Apartment” and “Montparnasse” with Claus Andersen and Dirk Bell together with Dirk Bell and Thilo Heinzmann. After visiting professorships at the State Academy of Fine Arts , Karlsruhe, the Berlin University of the Arts and the Hamburg University of Fine Arts , Reyle was appointed professor of painting / drawing in Hamburg in 2009.

In early 2014, Reyle announced that he would temporarily withdraw from the art business. As one of the reasons for this, he stated that the lavish operation of his studio after the financial crisis would have led to great pressure from 2007 and increasingly had to be financed through inquiries from collectors. “And these inquiries have become more and more one-dimensional recently. They focused more and more on my trademarks, especially on film images. ”Under these conditions, according to his own statements, the“ experimental character ”of the studio structure, which strongly shaped his art,“ faded ”.

After a two-year break, Anselm Reyle returned to the art business. For “Gallery Weekend” 2016 Reyle presented a new series of ceramic vases in the new premises of the CFA Gallery in Berlin. In 2017 he opened his expansive installation "Eight Miles High" in the branch of the König Galerie in St. Agnes in Berlin, which he has since been represented by. Further gallery representatives are u. a. Almine Rech (Brussels, Paris, New York, Shanghai), Andersen's Contemporary (Copenhagen) and Kukje Gallery (Seoul).

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Anselm Reyle's works are characterized by the use of found objects from different contexts that have been removed from their original function, optically changed and placed in a new context. Reyle works primarily in the media of painting, sculpture, installation and uses a variety of materials for his work, such as foils from shop window decorations, color pastes, car paint, civilization garbage from urban space, remnants of neon tubes from commercial city illumination and the use of stolen waste that has become functionless, construction - and electronic waste. The degree of alienation varies from the partial visibility of the respective references to the transformation of the respective material. The exhibition titles are also often quotations from the field of music, the title of the work being found objets trouvés from the material pool .

His well-known groups of works include the “foil paintings” covered with foil and built into colored Plexiglas boxes, whose moving, wrinkled, jagged surface underscores their object character and spatial presence. The stripe images in partly dissonant color combinations are also characteristic. In addition to acrylic paint, Reyle uses silver foil, colored mirrors, structure pastes and varnishes for this.

Another work cycle includes figurative, representational motifs, the templates of which are based on the well-known principle of painting by numbers. Comparable to serial building blocks, the individual fields are filled with materials and colors that the viewer recognizes from earlier works (stripe pictures, Otto Freundlich pictures). What is evoked is the impression of a three-dimensional relief with a wide range of surface textures, the haptics of which appeal directly to the recipient's sense of touch.

The so-called "African sculptures" are part of his sculptural work. They are borrowed from tourist flea market pieces and, in their formal conception, are reminiscent of abstract sculptural positions of modernity, such as a. Hans Arp , Alexander Archipenko or Henry Moore . Reyle takes up traditional techniques by having the models cast enlarged in bronze, but then mirrored and glazed, which creates an exciting ambivalence. The traditional sculpting process is opposed to a highly technical work process from industry, under which the precious bronze can only be guessed at. The precondition for the development of this artistically intended paradox is the knowledge of the viewer about the background of the creation.

In addition to this exploration of a repertoire of forms that are foreign to art for his own visual language and the associated change in the charge of content, his works are characterized by the reference to art-historical currents of abstraction of modernity such as Informel , Cubism , Op Art , Minimal and Pop Art . The type of appropriation does not follow the appropriation idea as for example with Louise Lawler or Elaine Sturtevant , but at a moment of exaggeration it questions the various “dead ends of modernity” in terms of their formal language and at the same time updates them with new colors or materials. His fascination for glossy effects, the provocation of emptiness and simplicity, his reflection on the prevailing cliché and kitsch leads to a “tightrope walk that can definitely hurt”.

This critical reflection on established taste codes and the implicit negation of bourgeois ideals formulate a social commentary without a moral appeal, sometimes broken ironically. In his serially structured, abstract work groups, Reyle questions the tradition of the singular panel painting with its classical composition. An ambivalent tension is generated in the discrepancy between the originally noble ideals of abstraction and the provocatively decorative-looking, primarily visual orientation of his works. Form and content are no longer congruent. The spontaneity of the conception and dynamic gestures contrasts with the complex technical implementation, for example a bronze or aluminum casting, which is mirrored and colored glazed in cooperation with external companies using complex multi-layer processes. This professionalized approach and partial outsourcing of the artistic process is also reflected in his studio structure. Until his break in 2014, Reyle worked with a team of up to 50 assistants. Following the desire to be more involved in the production process himself, he reduced his team to currently around 10 employees after his return in 2016.

The interest in industrial materials and diverse, effective surface structures, references from the "low culture", influences from music and architecture are also expressed in site-specific, space-encompassing installations, so u. a. in the exhibition “Acid Mothers Temple” in the Kunsthalle Tübingen (2009) or in the Belgian Museum Dhondt Dhaenens on the occasion of the exhibition “Elemental Threshold” (2010). In his solo exhibition "Eight Miles High" at the König Galerie Berlin (2017) Reyle showed three hanging sculptures, the starting point of which are geometric wind chimes made of metal, as can be found as handicrafts at fairs.

Reyle is currently working on a series of new paintings in which he uses his canon of colors and materials, which he has developed over the years, consisting of elements such as neon colors, haptic textures, foils and neon light elements, in a free abstract form. This also includes the series of gestural paintings , in which Reyle refers to the artistic trend of abstract expressionism and informalism by emphasizing the painterly gesture. Thick layers of pastel-colored acrylic paste are applied by him in a dynamic gesture to a canvas primed black and sprayed with neon colors. The element of materiality, which has been the focus of his artistic language since the beginning of Anselm Reyle's work, is combined in the gestural paintings with a strong, dissonant colourfulness that can already be found in the artist's striped paintings .

Exhibitions (selection)

  • 2005: Life Enigma , Galerie Giti Nourbakhsch, Berlin
  • 2006: Anselm Reyle , Andersen S Contemporary, Copenhagen
  • 2006: Anselm Reyle - Ars Nova , Kunsthalle Zürich , Zürich. Catalog.
  • 2007: Anselm Reyle , Modern Institute, Glasgow.
  • 2008: White Earth , Almine Rech Gallery, Brussels
  • 2009: Monochrome Age , Gagosian Gallery , New York City
  • 2009: Acid Mothers Temple , Kunsthalle Tübingen
  • 2011: Anselm Reyle , Andersen S Contemporary, Copenhagen
  • 2012: Mystic Silver , Deichtorhallen , Hamburg
  • 2013: Ultracore , Center national d'art modern Le Magasin , Grenoble.
  • 2015: Stripe Paintings , Contemporary Fine Arts Gallery, Berlin.
  • 2017: Eight Miles High , KÖNIG Galerie, Berlin
  • 2017: Laguna Sunrise , Galerie Almine Rech, Brussels
  • 2019: Reflections , KÖNIG Galerie Chapel, Berlin

literature

Web links

Individual evidence

  1. ↑ a b c d e welt.de: “A pretty liberating feeling” , February 6, 2014
  2. ↑ Anselm Reyle. In: Art Now. Vol. 3, Taschen-Verlag, Cologne 2008, ISBN 978-3-8365-0511-6 , p. 398.
  3. ↑ Anselm Reyle. In: Art Now. Vol. 3, Taschen-Verlag, Cologne 2008, ISBN 978-3-8365-0511-6 , p. 396.
personal data
SURNAME Reyle, Anselm
BRIEF DESCRIPTION German artist
DATE OF BIRTH February 12, 1970
PLACE OF BIRTH Tübingen