Peter Riek

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Peter Riek, portrait shot in the studio
Peter Riek

Peter Riek (born March 5, 1960 in Heilbronn ) is a German draftsman and painter.

Life

After childhood and youth in Schluchtern near Heilbronn, Peter Riek began studying at the Academy of Fine Arts in Stuttgart after graduating from high school in 1979 , with professors Moritz Baumgartl, Christoff Schellenberger and Rudolf Schoofs . He also studied geography at the University of Stuttgart from 1982 to 1984 . Afterwards, his community service takes him to Lake Constance. Here he found the Vayhinger Gallery, which took him on as artist-in-residence for a few months and has represented him since then. Before starting his freelance career, he completes his legal clerkship and the second state examination. Larger foreign scholarships take him to Strasbourg , Paris , Budapest and Basel for six months , where he begins to work on groups of works that are linked to the places where he is staying, such as “Totendisko” for the “Basler Totentanz” and “Reise zu Matthias”. to the 'Isenheim Altarpiece' in Colmar. While at the beginning of his career individual graphic components only appeared in connection with pastose painting, over the years Riek turned increasingly to drawing. Peter Riek lives and works in Heilbronn.

Artistic creation

Peter Riek dedicates his artistic work to drawing. Drawing is less to be understood here than the quick sketching and loosely shaping of quick thoughts on a piece of paper. Rather, drawing is a universal medium for the artist to reflect on the brevity and transience of life - not just human life.

"They are unstable, ephemeral drawings that often incorporate the spatial context, made with chalk and therefore only of short duration, ephemeral, vulnerable, exposed to wind and weather without protection."

- Peter Weiermaier

This topic becomes clear not only in motifs such as bones and skulls, but also in the fact that the artist himself stages the materials of the drawing as ephemeral. "The brittle line alone already harbors fragility and therefore impermanence." Says Riek. For Riek, drawing as a technique of taking notes and documenting also means working against the destruction of all life in time.

"Without the documentation work, the (temporary) work would be lost."

- Reinhard Ermen

By experimenting with drawings between the extremes of growth and preservation on the one hand, and passing and dissipation on the other, the draftsman pushes the drawing beyond the second dimension and also conquers non-graphic materials such as iron and textiles as well as architectural space.

However, during his studies (1982–84) with the draftsman Rudolf Schoof, Peter Riek initially occupied himself intensively with painting, which he pursued until the end of the 1980s. It was not until 1988 that the first street drawings were made, which under the collective term "drawing outside" still play a major role in the artist's work today. He quickly draws ephemeral drawings on asphalt with chalk and documents them photographically.

This documentation can become the starting point for screen prints, glass pictures and other transformations. They are often the basis for further installations. Since 1990 an abstract organic vocabulary of forms in the form of floral and microbiological structures has developed in the artist's work; a design language that continues to change today. Riek almost exclusively uses black oil pastel as a drawing medium. At the same time, drawings are created using a kind of print-through process with blackened paper. In the 2000s, the artist showed spatial installations with drawings. Often the perception situation on site is discussed. At the same time, the first iron drawings are made, which are actually two-dimensional, but can be described as drawings in space due to their nesting and the distance to the wall. You will find various uses in art-in-building projects. The interest in the relationship between the drawing and the space justifies cooperation with architects. There are projects for various structures, from hotels to motorway noise barriers.

From 2005, Peter Riek has been working with drawings by people with experience in psychiatry, children's drawings and Art Brut. They are works that can be understood as monuments for those who have failed and for outsiders. Examples of this are works and installations on Barbara Suckfüll from the Prinzhorn Collection, Heidelberg.

Around 2010 the artist expanded his work with drawing to include other techniques, such as B. Wall and carpet drawings. In doing so, he touches the limits of the drawing and leads it beyond himself into unfamiliar areas. A serious illness in 2011 changes the subject matter in Peter Riek's work. From now on he devotes himself more and more to biographical subjects.

Exhibitions

Solo exhibitions (selection)

  • 1993: St. John's Arts Center, Listowel, Ireland
  • 1995: Royal Albert Memorial Museum, Exeter
  • 1996: Mannheim Art Association
  • 1997: Maulbronn Monastery
  • 1998: Pena National Palace and Goethe Institute Lisbon
  • 1999: kx art at Kampnagel Hamburg
  • 2000: Morat Institute for Art and Art History Freiburg
  • 2003: Center d'Art Contemporain André Malraux Colmar
  • 2007: Hans-Thoma-Gesellschaft / Kunstverein Reutlingen
  • 2009: Prinzhorn Collection Heidelberg
  • 2011: Bartels Basel Foundation
  • 2012: Reuchlinhaus, Art Association Pforzheim
  • 2013: Art Museum Singen
  • 2014: Galerie Stihl Waiblingen
  • 2015: Aalen Municipal Gallery

Participation in exhibitions (selection)

  • 1987: “Young West Art Prize”, Recklinghausen
  • 2003: "Pit stop", Städt. Museums Heilbronn
  • 2004: "Art Foundation Baden-Württemberg", State Representation Baden-Württemberg in Berlin
  • 2006: "Acquisitions of the State of Baden-Württemberg 2001–2005" Im Prediger, Schwäbisch Gmünd
  • 2009: "SingenKunst09", Singen Art Museum
  • 2010: "Biennale of Drawing", Kunstverein Eislingen
  • 2010: "Foreign Home", Kunsthalle Mannheim
  • 2011: "Hamlet Syndrome", Marburg Art Association
  • 2011: "From Kirchner to today - artists react to the Prrinzhorn Collection", Heidelberg
  • 2012: “Drawing expansive” Kunstverein Ettlingen Wilhelmshöhe
  • 2013: "Prinzengarten", State Garden Show Sigmaringen
  • 2016: “His.face. Body "Project by Alexander Ochs Berlin Cathedral, Synagogue etc.

Art in public space (selection)

  • 1997: Pauluskirche Bietigheim
  • 1998: Eberwinhalle, Obereisesheim
  • 1999: 1st and 2nd prize in the Freiburg urban planning competition with the architects Wohnhaas & Wohnhaas Ludwigsburg
  • 2004: Le Méridien, Vienna
  • 2006: Bulach motorway junction, 1st prize for art and architecture
  • 2006: Hotel Mandarin Oriental Prague
  • 2006: Audi Development Center Neckarsulm
  • 2009: Kurhaus Bad Mergentheim
  • 2011: Kilian House Heilbronn
  • 2012: Tax Office Waldshut-Tiengen, Art Commission State Baden-Württemberg
  • 2013: Christ Church Heilbronn
  • 2013: State Horticultural Show Sigmaringen
  • 2014 * Hotel Intercontinental Davos (architecture Matteo Thun)

Works in public collections (selection)

  • Baden-Württemberg regional council
  • State Parliament of Baden-Württemberg
  • Ministry of Culture Stuttgart
  • State Gallery Stuttgart
  • City Museums Heilbronn
  • Morat Institute for Art and Art History Freiburg
  • State Karlsruhe Art Gallery

Awards

  • 1985: Scholarship from the Baden-Württemberg Art Foundation
  • 1988: State graduate scholarship
  • 1989: Scholarship from the city of Kirchheimbolanden
  • 1992: Marcel Hicter Cultural Foundation, Brussels
  • 1998: Scholarship from the Kunstmuseum Kartause Ittingen, Switzerland
  • 2001: Scholarship from the state of Baden-Württemberg for the Alsace region
  • 2002: Cité Internationale des Arts , Paris
  • 2003: Guest studio Berlin of the Baden-Württemberg Art Foundation in Berlin
  • 2006: Budapest grant from the state of Baden-Württemberg
  • 2010/2011: Bartels Fondation, Basel
  • 2014: Art Prize of the VR-Bank Aalen

literature

  • Martin Walser: Before Peter Riek's pictures. Constance 1984.
  • Peter Hohenstatt: Human measure. Berlin 1989.
  • Angela Zieger, woodcuts, Neckarsulm 1993
  • David Scruton, Setting the art among the objects, Exeter 1995
  • Contribution to art in "Das Plateau", Radius-Verlag, Stuttgart, 12/1995
  • Bernd Künzig, Stranger Signs, Rainer René Müller, Drawing Drawing, and
  • Peter Weiermair, waymarks of a journey; both in: Long Journey / drawing outside, Edition Braus 2000
  • Helmut A. Müller, it wasn't a pilgrimage, Christoph Bauer, the riddle, Bernd Künzig, city and drawing, all in "en route", Verlag Alte Uni 2003
  • Dorit Schäfer, Drawing what the eye hears, Stuttgart, Verlag Alte Uni 2004
  • Clemens Ottnad, making sure of the world. Thomas Röske in conversation with Peter Riek, In: “dass.hab.ich.auch.schon.einmal.gezeich.” Ed. Prinzhorn Collection, Snoeck Verlag 2009
  • Baumann, in “Biennale of Drawing”, Eislingen 2010
  • Monologue in the studio, "Fremde Heimat", published by Kunsthalle Mannheim, Wunderhorn 2010
  • Reinard Ermen, Drawing at the moment, Kunstforum 2011

Web links

Individual evidence

  1. ↑ Peter Weiermaier: "Waymarks of a journey". (PDF) 2000, accessed on September 22, 2016 .
  2. ↑ Dorit Schäfer: “Draw what the eye hears”. (PDF) 2004, accessed on September 22, 2016 .
  3. ↑ Barbara Auer: AufZeichnung. Peter Riek works 1984-2014 . Verlag Alte Uni, Eppingen 2015, ISBN 978-3-926315-44-1 , p. N / A (p. 68) .
  4. ↑ Reinhard Ermen: Peter Riek. (PDF) Art Forum. “Drawing at Time IV”, 2010, accessed on September 22, 2016 .
  5. ↑ Christoph Bauer: Fragments - Assemblies. Peter Riek's rooms of drawing. (PDF) Retrieved September 22, 2016 .
  6. ↑ hdw: scream. Write. To draw. Paragraph Intensive involvement . In: Reutlinger Generalanzeiger of February 19, 2009. Retrieved September 25, 2016 .
personal data
SURNAME Riek, Peter
BRIEF DESCRIPTION German draftsman and painter
DATE OF BIRTH March 5, 1960
PLACE OF BIRTH Heilbronn