Rita Rohlfing

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Rita Rohlfing (* 1964 in Bad Oeynhausen ) is a German painter , photographer , sculptor and installation artist .

Life

Rita Rohlfing studied from 1985 to 1991 at the University of Fine Arts in Braunschweig . In 1992, she was supported by Bernd Minnich and Roland villagers to master student appointed. Also in 1992 she received the “Dragoco grant for young artists” in the Rudolf-Jahns-Haus Holzminden and was honored with an exhibition of the panel paintings she made there . In 1994 she received a DAAD scholarship for the USA and studied at the School of Visual Arts in New York City . In 2002 she received a scholarship from the Künstlerdorf Schöppingen Foundation and in 2004 she received a grant from the Kunststiftung NRW . Rita Rohlfing is a member of the German Association of Artists and the West German Association of Artists . She lives and works in Cologne .

Rita Rohlfing is the winner of the Leo Breuer Prize 2018. The prize was awarded for the tenth time this year.

Artistic work

Rita Rohlfing's works of art are located in the border area between sculpture and painting. In addition to panel paintings , she creates object-like wall and floor elements and conceives spatial installations: “Even if her works, with their vital interest in color and color effect, are strongly anchored in the field of color painting, they always present themselves with their emphasis on material and spatial effect as three-dimensional objects and as such have a sculptural reference; in large format, they even expand into veritable room installations. "

Panel paintings

Rohlfing's panel paintings are mostly very large, irregularly shaped and painted monochrome in bright red tones that radiate intensely into the surrounding space. The shaped canvases hang on the wall like pictures, but their shape creates the impression of three-dimensionality . This becomes clear in her work RoT. If you stand directly in front of the work, it appears like a normal rectangular mural. However, if the viewer moves and changes his position, he realizes that the canvas is thicker at the top than at the bottom and the character of the rectangle becomes questionable. It looks as if the picture surface arches forward into the room. Rohlfing's panel paintings are neither pure mural nor pure sculpture, but are an expression of the artist's cross-genre way of working.

  • Panel painting RoT , 1992
    Acrylic and oil on canvas
    360 × 222 cm

  • Panel painting RoT , 1998
    Acrylic and oil on canvas
    200 × 338 cm

  • Panel painting RoT , 2001
    Acrylic and oil on canvas
    50 × 70 cm

Room installations

In her room installations, Rita Rohlfing combines elements of minimalism , monochrome painting and color field painting . She often combines various elements such as panel paintings, photographs and spatial installations into a total work of art . The use of color in her objects is an integral part of her staging, mostly about different shades of red that have an intense effect on the surrounding space. In her individual objects, the colored elements are often hidden under matt acrylic glass panes. You get a diffuse tint and look "foggy". The viewer cannot see which elements are responsible for the color effect.

With her installations, Rita Rohlfing redesigns existing rooms in such a way that a kind of “second room” is created that overlays the existing room, a “virtual room” so to speak. If you look at the names of their exhibitions / installations such as tightrope act , seeming , transparencies and ambivalence , many areas that fascinate Rohlfing are already described. It is always about the fact that nothing is certain or is irrevocably certain. Rooms change as you walk through; depending on your point of view, the viewer sees other parts of the installation and becomes part of the installation when walking through the room. It affects his whole body-body-soul being. People locate themselves in a spatial structure, among other things, through the angles that tell them where the walls are, the boundaries of the room, etc. Rita Rohlhfing uses this basic knowledge to design her spatial installations in a targeted manner by using acute and obtuse angles that the viewer experiences irritations, perspectives are shifted and the rooms appear larger, higher, narrower or even completely disappear. The room installations by Rita Rohlfing developed from room-related installations to installations that not only determine the entire room, but also change its architecture for a limited period of time, to presentations that use a complete museum with all its possibilities: “Rooms are for Rita Rohlfing is no longer just a mirror surface and virtual extensions of her work, the occupation of real space combined with the creation of color spaces has become part of her artistic concept. "

"Air Tones" (1999)

Rohlfing's work in the Mülheim an der Ruhr art museum encompassed the entire 16 meter deep and 12 meter wide room. As soon as the visitor entered the room, he saw five three-meter-long matt acrylic glass panes hanging one meter above the floor , which seemed opaque. Another row of acrylic glass panels followed at a distance of three meters, which were also suspended from the ceiling, at the same distance as in the first row. When entering the room, depending on the viewer's position, there were views of this second row. Another three meters away was a row of aluminum panels, which were suspended from the ceiling and were painted in monochrome in various "red states". Pure vermilion , orange and pink tones radiated into the surrounding space: “The painted aluminum panels seem to float in the room and are 'blurred' into diffuse light tones by the reflection in the Plexiglas panes. An overall sculpture develops through which the viewer moves and which repeatedly constitutes himself as he strides through the different spatial values ​​and makes the color red like a red fog, like a veil, just like an air tone tangible in the room Filter of the opaque, milky glass panes, the color is fanned out to a kind of room color, it loses its material quality and becomes - very appropriately the artist named the installation with this title - air tone that increases the vibration intensity throughout the room.

  • Room installation Lufttöne , 1999,
    Art Museum in the Alte Post
    Mülheim an der Ruhr
    Acrylic glass, aluminum, paint, steel cable, 550 × 1450 × 1140 cm

  • Air tones , room installation, 1999, detailed view 1

  • Air tones , room installation, 1999, detailed view 2

"Wire rope act" (2000)

In 2000 Rita Rohlfing was able to redesign the exhibition space in the Gotha Art Forum. It is an exhibition space that is very long and high. The room is spanned by an iron bridge, to which stairs lead on both sides. Rita Rohlfing created a walk-in work of art here: she installed 18 aluminum panels along the two side walls, 3 meters high and 1.50 meters wide, which emphasize the longitudinal axis of the room. Another 14 three-meter high steel girders were aligned parallel to this at regular intervals. Between these, she attached long steel cables that were anchored in the ground. As a result of these interventions, the space suddenly appears narrowed, the viewer locked in the given eight narrow passages - they dictate the direction of the steps. Other visitors to this installation can be seen, but closer contact seems impossible because one cannot leave the path: “The senses of those walking through, both their optical perception and their influence through their overall psychological perception, are caused by these linear controls or obscurities activated and stimulated to subjective associations. "

"Red Light District" (2002)

With her installation Red Light District , Rita Rohlfing went one step further. She not only used the available space for her installation, but also changed the entire architectural ensemble of the exhibition space for a limited period through her work. The “Old Rotation” is a room that was previously used industrially and has two floors and a staircase in the middle of the room that connects the two. Rohlfing designed 14.5 meter long and 4.4 meter wide boxes for this area, which completely covered the stairs and the basement. At the edges they were bordered with aluminum panels and the top was covered by a PVC film, which glowed reddish from the depths. On the one hand, the room was given a simple sobriety through the rectangular shape of the floor objects and the metallic appearance of the aluminum panels. At the same time, the reddish shimmering color radiation into the room gave it an "emotionally increased color". While the viewer walks around the installation, he sees the color changing in different shades of red and yet cannot see where the glow is actually coming from. For the viewer of the installation it looks as if the boxes have a mysterious inner life, a kind of infinite depth in which mysterious things happen.

"The virtual in the concrete" (2015)

With the Clemens Sels Museum Neuss , Rita Rohlfing had a complete museum for her staging for the first time. In her conception for the exhibition, she dealt with the “bulky architecture” of the building. It was implemented in 1975 by Harald Deilmann in post-war modern architecture . The massive concrete elements construct a space that exudes stability and clarity. In contrast to this, Rohlfing is particularly interested in the diffuse and puzzling nature of rooms, in the "uncertainty in the spatial experience" caused by light, colors and spatial irritation. It was therefore a special challenge for them to enable these spatial experiences despite the hard architecture.

Eleven of the 19 works of art were specially created for the museum. Objects, installations, photographs and a projection were used: “The artist, who has been living in Cologne for a long time, makes the museum dance with its very different room situations.” For the foyer with “the staircase made of block-like, cubic concrete elements”, Rohlfing designed a 12 × 6.50 meters large black and white projection held, "The Virtual in the concrete" (in German "The Virtual concretely" - connotes concrete in English and concrete ). It was projected onto the concrete structure of the stairwell and shows a picture from New York, a tall building with fire escapes, photographed by Rohlfing from an extreme soffit. This “superimposition” of the massive staircase with the small structures and lines of the projection counteracts the heaviness of the staircase: “With this targeted intervention, Rita Rohlfing apparently removes the constructive nature of the real architecture - that is, purely virtual - and allows a visual interplay of lightness and Difficulty, closeness and distant, large and small arise, which unfolds effectively between reality and projection, between the surrounding space and the work of art. ”The untitled spaces attached to the wall , objects made of frosted acrylic glass boxes , inside which are not exactly recognizable colored form elements, also have an effect that radiate into the room. Here, too, the position of the viewer decides which color tones can be perceived: "What appears almost colorless from a fixed position can turn into a surprising color experience from a different perspective."

Rohlfing realized the installation Apparently in the garden room of the museum . Matted acrylic glass walls, more than four meters high and two meters wide, emitted a red hue that could be seen from the inside and outside. A window thus became an opening between inside and outside that could be viewed from both sides, the color of which shimmered in various shades of red depending on the incidence of daylight. Another exhibition element was the large photographs entitled Apparent , which were 2 meters high and 1.25 meters wide. They show an obviously enlarged image of an indefinable something . Nothing in this exhibition is clear, sharply defined, clearly delimited. On the contrary, the boundaries between inside and outside become almost permeable “membranes” like in the installation in the garden hall; the wall objects glow in a wide variety of colors, but the visitor cannot make sure where the glow comes from, as the matt acrylic glass makes it impossible for him to see through; the photographed does not reveal itself to him in the photographs, no matter how close he looks at them. Everything in this exhibition breathes mystery and mystery and thus stimulates reflection on one's own perception: "Your work reflects the fact that we live in a present that has become incredibly complex and in many of its aspects incomprehensible."

  • Part of the overall installation
    Title Apparently , 2015, Clemens Sels Museum Neuss, mixed media
    450 × 170 × 22 cm

  • Part of the overall installation
    projection The Virtual in the Concrete , 2015
    1000 × 650 cm

  • Part of the overall installation, photographs Scheinbar , 2015, Lamda print behind acrylic glass on Alu-Dibond,
    each 200 × 125 × 3 cm

Further installations

  • 2009: Fully Booked - Hotel Beethoven , installation in public space, Moving Locations e. V., Bonn, Germany
  • 2010: Mapping the City , installation in public space, Vorgebirgspark Skulptur, Cologne, Germany
  • 2013: Heidenheim , laureate of the sculpture symposium Werk 13, permanent installation, Heidenheim Art Museum, Germany
  • 2017: Eight flags , installation in public space, Radevormwald, Germany

  • Permanent installation Reflection , 2013, Schlosspark Heidenheim an der Brenz, stainless steel, car paint
    250 × 1500 × 800 cm

  • Detailed view Permanent Installation Reflection

  • Detailed view Permanent Installation Reflection

Works in public collections (selection)

Exhibitions (selection)

Solo exhibitions

  • 1999: Rita Rohlfing , Villa Zanders , Bergisch Gladbach, Germany
  • 2002: Red light district , old rotation, Rheinisches Landesmuseum Bonn , Germany
  • 2004: Spannfeld , Platform I, Delden, Netherlands
  • 2004: Transparencies , Association for Current Art Ruhr Area e. V., Oberhausen, Germany
  • 2006: Ambivalenz , Kunsthaus Nordrhein-Westfalen Kornelimünster , (two corresponding solo exhibitions in different rooms) Kornelimünster, Aachen, Germany
  • 2009: Cartographic works , International Art Biennale, Tel Aviv, Israel
  • 2014: Rita Rohlfing: object, painting , art collection of the province of Upper Austria, Linz, Austria
  • 2015: Rita Rohlfing - The virtual in the concrete , Clemens Sels Museum Neuss , Neuss, Germany
  • 2015: Immaterial Space , Galerie Bernd A. Lausberg, Düsseldorf, Germany
  • 2016: Cologne: Photographs and Spaces , Smudajescheck Galerie, Kunstraum van Treeck, Munich, Germany
  • 2016: Off Perspective , Galerie Floss & Schultz, Cologne, Germany
  • 2018: Apparently , Lausberg Gallery, Düsseldorf, Germany
  • 2018: Exhibition for the Leo Breuer Award 2018, Society for Art and Design , Bonn, Germany

Participation in exhibitions

  • 1995: Beauty and the Public. America´s most wanted painting , Visual Arts Gallery, New York, USA
  • 1998: KölnKunst , Josef-Haubrich-Kunsthalle , Cologne, Germany
  • 1999: Live Art Unplugged 2 , Les Bains, Brussels, Belgium
  • 2000: Wire rope act , Cologne Gothaer Kunstforum, Cologne (with Frauke Wilken ), Cologne, Germany
  • 2002: Cologne Artists at Huyton , Huyton Gallery, Liverpool, England
  • 2003: Colourfast - Genuine Color , Ludwig Forum for International Art , Aachen, Germany
  • 2004: More color - More space , deWatertoren Current Art, Vlissingen, Netherlands
  • 2007: Room objects, part VII , Old Villa of the Art Museum Gelsenkirchen , Gelsenkirchen, Germany
  • 2009: Homonym - German – Israeli exchange project , Moltkerei Werkstatt, Cologne, Germany
  • 2010: perception. Memory. Visual texts by Heinz Gappmayr and installations and objects by Rita Rohlfing , Galerie Hoffmann, Friedberg, Germany
  • 2010: Oracle , Taf the Art Foundation, Athens, Greece
  • 2011: Static - Dynamic , Mannheimer Kunstverein , Mannheim, Germany
  • 2011: Frontierspirit , MK Ciurlionis National Museum of Art , Kaunas, Lithuania
  • 2011: Transparency. Looking through , Vasarely Museum , Budapest, Hungary
  • 2011: air. Aire compartido , Museo de Arte Moderno del Estado de México, Toluca de Lerdo , Mexico
  • 2012: La Serpara , Il Giardino di Paul Wiedmer, Wangen an der Aare, Switzerland
  • 2013: We're here again , BO – WKB 2013, Kunstmuseum Bochum , Bochum, Germany
  • 2013: ArchiSkulptur , Society for Art and Design , Bonn, Germany
  • 2013: Mainly gray , Mies van der Rohe House , Berlin, Germany
  • 2013: Sculpture Symposium Werk 13 , laureate of the Symposium Sculptures in Public Space , Heidenheim, Germany
  • 2015: Green City. Shaped landscape - networked nature. The Ruhr area in art , Ludwiggalerie Schloss Oberhausen, Oberhausen, Germany
  • 2018: Cologne plus - color painting positions , Association for Current Art Ruhr Area e. V., Oberhausen, Germany
  • 2018: Exhibition of the nominees for the International André Evard Prize , Riegel am Kaiserstuhl, Germany
  • 2018: Form, color, space - Gatermann, Rohlfing, Siber , Galerie p13, Heidelberg, Germany
  • 2019: Embodying Color V , Museum – Wilhelm-Morgner , Soest, Germany
  • 2019: Bauhaus * inside rooms 1919-2019 , Women's Museum Bonn , Bonn, Germany

literature

  • Kuratorium Rudolf-Jahns Haus (Ed.): Rita Rohlfing . Holzminden 1993.
  • Villa Zanders; Art museum in the old post office Mülheim (ed.): Rita Rohlfing . Villa Zanders; Art museum in the old post office, Bergisch Gladbach; Mülheim an der Ruhr 1999.
  • Gabriele Uelsberg; Wolfgang Vomm: Rita Rohlfing: color space sculptures . Villa Zanders, Bergisch Gladbach 1999, ISBN 978-3-939227-23-6 .
  • Frank Günter Zehnder (Ed.): Red light district. Rita Rohlfing . Rhineland Regional Council, Bonn 2002.
  • Ludwig Forum for International Art (Ed.): Farbecht . Aachen 2003, ISBN 3-929292-33-5 .
  • Association for Current Art Ruhr Area e. V. (Ed.): Rita Rohlfing: Apparently . Oberhausen 2004.
  • Art from North Rhine-Westphalia [Former Reichsabteil Aachen-Kornelimünster] (Ed.): Rita Rohlfing: Ambivalenz . Aachen 2006.
  • Sculpture Symposium Heidenheim e. V. (Ed.): Werk13 - Sculpture Symposium 2013 . Heidenheim 2013.
  • Bettina Zeman; City of Neuss (Ed.): Rita Rohlfing: The virtual in the concrete . Kettler, Dortmund 2016, ISBN 978-3-86206-543-1 (German, English).

Web links

Commons : Rita Rohlfing  - collection of images, videos and audio files

Individual evidence

  1. ^ Kuratorium Rudolf-Jahns Haus (ed.): Rita Rohlfing . Holzminden 1993.
  2. ↑ Rita Rohlfing - The virtual in the concrete | Clemens Sels Museum Neuss. Kunststiftung NRW, accessed on August 19, 2018 .
  3. ^ Rita Rohlfing. Deutscher Künstlerbund, accessed on August 19, 2018 .
  4. ↑ West German Artists Association V. - Members. In: www.westdeutscher-kuenstlerbund.de. Retrieved August 19, 2018 .
  5. ^ Rita Rohlfing: Leo Breuer Prize 2018. In: www.gkg-bonn.de. Retrieved January 5, 2019 .
  6. ↑ Peter Lodermeyer: Rita Rohlfing. Working with photography . In: Bettina Zeman; City of Neuss (Ed.): Rita Rohlfing: The virtual in the concrete . Kettler, Dortmund 2016, ISBN 978-3-86206-543-1 , p. 65-93 , p. 93 .
  7. ^ Maria Engels: Rita Rohlfing. The exhibition Ambivalence in the former Imperial Abbey of Aachen-Kornelimünster . In: State institution art from NRW (Ed.): Rita Rohlfing: Ambivalenz . Aachen 2006 (without page numbers).
  8. ↑ a b Gabriele Uelsberg: Lufttöne, Installation 1999, Art Museum Mülheim an der Ruhr . In: Frank Günter Zehnder (Ed.): Red light district . Regional Association of Rhineland; Rheinisches Landesmuseum Bonn, Bonn 2002, p. 16-19 , p. 19 .
  9. ↑ Ernst Schmerker: Rita Rohlfing presents installations. In: Echo-Online . March 28, 2017. Retrieved September 5, 2018 .
  10. ↑ Gabriele Uelsberg: air tones, installation in 1999, Kunstmuseum Mülheim an der Ruhr . In: Frank Günter Zehnder (Ed.): Red light district . Regional Association of Rhineland; Rheinisches Landesmuseum Bonn, Bonn 2002, p. 16-19 , p. 18 .
  11. ↑ Gabriele Uelsberg: air tones, installation in 1999, Kunstmuseum Mülheim an der Ruhr . In: Frank Günter Zehnder (Ed.): Red light district . Regional Association of Rhineland; Rheinisches Landesmuseum Bonn, Bonn 2002, p. 16-19 , p. 19 .
  12. ^ Gerhard Kolberg: tightrope act . In: Atelierforum Köln eV (Hrsg.): Drahtseilakt . Atelierforum Köln eV, Cologne 2000, p. 1-3 .
  13. ↑ a b Christina zu Mecklenburg: The Bonn rotation becomes a red light district. Rita Rohlfing presents herself as part of the "Rhineland Scene". In: Bonner General-Anzeiger . February 27, 2002, accessed September 7, 2018 .
  14. ^ Klaus Flemming: Red light district . In: Frank Günter Zehnder (Ed.): Red light district . Regional Association of Rhineland; Rheinisches Landesmuseum Bonn, Bonn 2002, p. 20-31 , p. 25 .
  15. ↑ a b c Sabine Elsa Müller: Rita Rohlfing. The virtual in the concrete. www.kunstforum.de, accessed on September 12, 2018 .
  16. ↑ Peter Lodermeyer: Rita Rohlfing. Working with photography . In: Bettina Zeman; City of Neuss (Ed.): Rita Rohlfing: The virtual in the concrete . Kettler, Dortmund 2016, ISBN 978-3-86206-543-1 , p. 65-93 , p. 66 .
  17. ↑ Peter Lodermeyer: Rita Rohlfing. Working with photography . In: Bettina Zeman; City of Neuss (Ed.): Rita Rohlfing: The virtual in the concrete . Kettler, Dortmund 2016, ISBN 978-3-86206-543-1 , p. 65-93 , p. 65 .
  18. ↑ Bettina Zeman: The virtual in the concrete . In: Bettina Zeman; City of Neuss (Ed.): Rita Rohlfing: The virtual in the concrete . Kettler, Dortmund 2016, ISBN 978-3-86206-543-1 , p. 17-45 , p. 17 .
  19. ↑ Bettina Zeman: The virtual in the concrete . In: Bettina Zeman; City of Neuss (Ed.): Rita Rohlfing: The virtual in the concrete . Kettler, Dortmund 2016, ISBN 978-3-86206-543-1 , p. 17-45 , p. 18 .
  20. ↑ Bettina Zeman: The virtual in the concrete . In: Bettina Zeman; City of Neuss (Ed.): Rita Rohlfing: The virtual in the concrete . Kettler, Dortmund 2016, ISBN 978-3-86206-543-1 , p. 17-45 , p. 36 .
  21. ↑ Peter Lodermeyer: Rita Rohlfing. Working with photography . In: Bettina Zeman; City of Neuss (Ed.): Rita Rohlfing: The virtual in the concrete . Kettler, Dortmund 2016, ISBN 978-3-86206-543-1 , p. 65-93 , p. 93 .
  22. ^ International art exhibition Fully Booked. In: www.moving-locations.de. Retrieved July 14, 2018 .
  23. ^ Jens Peter Koerver: Rita Rohlfing. Mapping the City. In: vorgebirgsparkskulptur.eu. Retrieved August 18, 2018 .
  24. ^ Work 13th sculpture symposium Heidenheim, accessed on September 9, 2018 .
  25. ↑ artman.film: Rita Rohlfing "reflction". November 22, 2015, accessed August 18, 2018 . comment = "reflction" in the original, instead of reflection. Preview of a longer contribution that will be shown on a DVD that is included with the exhibition book. There the post has a length of 15 ′ 40 ″
  26. ↑ Sculpture Symposium Heidenheim e. V .; René Hirner (Ed.): Werk13 - Sculpture Symposium 2013 . Heidenheim 2013.
  27. ^ Radevormwald: artist flags . In: www.kunstforum.de. April 24, 2017. Retrieved August 19, 2018 .
  28. ^ Deutsche Bank. The artists. In: art.db.com (homepage of the Deutsche Bank collection). Retrieved August 16, 2018 .
  29. ^ Exhibition archive . In: villa-zanders.de. Retrieved August 17, 2018 .
  30. ↑ Christina zu Mecklenburg: The Bonn rotation becomes a red light district. In: General-Anzeiger . February 27, 2002, accessed August 17, 2018 .
  31. ^ Exhibition archive . In: vfakr.de (website of the association). Retrieved August 17, 2018 .
  32. ↑ Werner Reuber, Rita Rohlfing. In: kunstaspekte.art. Retrieved August 17, 2018 .
  33. ^ The Art Collection Archive 2014. In: dieKUNSTSAMMLUNG. Retrieved August 18, 2018 .
  34. ↑ Archive. Clemens Sels Museum Neuss , accessed on August 17, 2018 .
  35. ↑ Immaterial Space. In: Lausberg Gallery. Retrieved August 18, 2018 .
  36. ↑ Achim Manthey: Ground stations. In: Wide Angle Blog. May 14, 2016, accessed August 18, 2018 .
  37. ^ Rita Rohlfing: Off Perspective. Exhibition catalog. (PDF; 2.26 MB) Galerie Floss & Schultz, April 21, 2016, accessed on August 16, 2018 .
  38. ↑ Oh Jerusalem - a conciliatory gesture. Lausberg Gallery, accessed on August 18, 2018 .
  39. ^ Rita Rohlfing receives Leo Breuer sponsorship award. In: www.talking-art.de. Retrieved January 5, 2019 .
  40. ↑ Atelierforum Köln e. V. with the support of Gothaer Insurance (Ed.): Rita Rohlfing March 1st to April 9th, 2000, Gothaer Art Forum . Atelierforum Köln e. V., Cologne 2000.
  41. ^ Ludwig Forum for International Art: Colourfast - Genuine Color. Ludwig Forum for International Art , accessed on July 14, 2018 .
  42. ↑ Nico Out: Circled . In: Rheinisches Landesmuseum Bonn; Galerie Bernd A. Lausberg (Ed.): Achim Zeman. Catalog for the exhibition Sehfest 2008 in the Rheinisches Landes Museum Bonn . Bacht, Essen 2008, ISBN 978-3-9811834-1-2 , pp. 32-34 .
  43. ^ Exhibitions of the Kunstverein Gelsenkirchen 2007. Room objects, Part VII. Kunstverein Gelsenkirchen, accessed on August 18, 2018 .
  44. ^ Events in the Moltkerei workshop 2009. In: www.moltkerei.de. Retrieved August 18, 2018 .
  45. ↑ Newsletter Hoffmann number 3, 2010. (PDF, 163 KB) In: www.galeriehoffmann.de. October 4, 2010, accessed August 18, 2018 .
  46. ↑ Christel Heybrock: Rendezvous of fine things. Art Nine artists will be exhibiting at the 16th gallery days on the subject of "Static - Dynamic". In: Mannheimer Morgen . May 27, 2011, accessed August 18, 2018 .
  47. ↑ Frontier Spirit. In: Ciurlionis.LT. Retrieved August 19, 2018 .
  48. ^ Transparency - Looking Through. Museum of Fine Arts, accessed August 19, 2018 .
  49. ↑ we here again. BO – WKB 2013. Kunstmuseum Bochum , accessed on August 19, 2018 .
  50. ↑ The main thing is gray. Content. In: form + Zweck. Retrieved March 21, 2018 . | Comment = table of contents of the book of the same name with all exhibitions and artists of the exhibition concept
  51. ^ Matthias Bleyl; Michael Fehr; Wita Noack (Ed.): Mainly gray . Form & Zweck, Berlin 2014, ISBN 978-3-935053-75-4 .
  52. ↑ Heidenheim sculpture symposium. In: bildhauersymposion.de. Retrieved August 19, 2018 .
  53. ↑ Christine Vogt; Nina Dunkmann: Green City: Shaped Landscape - Networked Nature. The Ruhr Area in Art . Kerber, Berlin 2015, ISBN 978-3-7356-0112-4 .
  54. ↑ Cologne plus - color painting positions. In: vfakr.de. Retrieved August 19, 2018 .
  55. ^ Announcement for the 5th International André Evard Prize of the Messmer Art Gallery. The 2018 nominees.www.kunsthallemessmer.de, accessed on January 5, 2019 .
  56. ↑ Heide Seele: Form, color and space effectively staged. Three artists present their pictures and objects in the Heidelberg gallery p13. In: Rhein-Neckar-Zeitung . June 28, 2018, accessed January 5, 2019 .
  57. ↑ Bettina Boronowsky: Body and color in interaction. In: soester-anzeiger.de. July 11, 2019, accessed December 20, 2019 .
  58. ^ Gudrun von Schoenebeck: Bonn Women's Museum heralds the anniversary year. The Bonn Women's Museum is showing the exciting exhibition “bauhaus * inside rooms 1919-2019” and is thus joining the anniversary year. In: general-anzeiger-bonn.de. June 4, 2019, accessed December 20, 2019 .
personal data
SURNAME Brute, Rita
BRIEF DESCRIPTION German painter, photographer, sculptor and installation artist
DATE OF BIRTH 1964
PLACE OF BIRTH Bad Oeynhausen