Ute Reeh
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Ute Reeh (* 1958 in Munich ) is a German visual artist . The representation of references and systems is at the core of her graphic work. As a sculptor and performer , she works with participatory processes and their forms.
Life and career
Ute Reeh is the oldest daughter of Helmut and Edda Reeh. Her father Helmut Reeh worked as a theoretical physicist with Werner Heisenberg and Hans Peter Dürr at the Max Planck Institute for Theoretical Physics in Munich , from 1964 to 1966 in Princeton , and later at the University of Göttingen . Ute encountered abstract theoretical models of the smallest building blocks of matter and their dynamics in her father's study. In addition to Fluxus , Dada , Beuys ' concept of art, she was inspired by the formulas and representations of quantum theory drawn in chalk . Ute Reeh attended schools in Princeton, USA, Munich and Göttingen. She first studied mathematics in Göttingen, then biology and art in Kassel (performance and sculpture with Harry Kramer and Alf Schuler ), as well as sculpture and video art with David Rabinowitch and Nam June Paik at the Düsseldorf Art Academy . In 1992 she received the master class title of the Kunstakademie Düsseldorf at the suggestion of Nam June Paik.
performance
Ute Reeh began her artistic work in the border area between performance, drawing, film / video and sculpture. Drawing used - and continues to use it today - as a means of dialogue, initially of the body with itself, with space, with two or more people, and finally to depict complex interactions between systems. In her performances (1980s) Reeh addressed the relationship between the body and its surroundings, between construction and apparently formlessness, between control and loss of control. Her last live performance (performance, 1990, VIP Film Festival Berlin, at four venues) marked a turning point. The audience was an equal part of a situation that was open to both sides (artist and audience). Increasingly complex projects followed, in which the audience, initially without suspecting it, became the inventor of their own performances.
Art projects pattern and travel
The core of the beginning of Muster , which occurred at the same time as the performance , were small drawn, naked figures. These figures - printed on textiles and other materials - formed a pattern that was scattered across the world. The companies Rosenthal and Fischbacher produced the pattern in series, all other products simulated their worldwide distribution as individual pieces in the art context. In addition to china and bed linen, there were also carpets, wallpaper, cloud formations, underwear, ties, etc.
Hanne Loreck (HFBK Hamburg) wrote about this in her text Pattern as a Figure in 1996 : In addition, the patterns reduce the evaluation dispute between “conceptual line” and “physical color” to absurdity, as does the exclusive construction of corporeality / materiality and abstraction. As an opposite pole, they dominate modernity when Malevich asserted in 1912 that contemporary art embodied the spiritual that had matured into revelation, and in 1923 he stated that there was no matter as body. The decorative, however, shakes the incompatibility of body and abstraction, which was already the subject of Ute Reeh's earlier performance comments (since 1985) and the grid works (1993–95).
The Reise project (1996–1999) traced unknown performances: patterns had spread in individual copies on various supports (sofa, carpets, ties, bags, underwear, shoes, wallpaper). Produced as a series by a bed linen company represented in all capitals of the world, it was now ensured that there would be unknown performances in beds in unknown locations all over the world. The internet and book project that resulted from Muster went on a world trip to the moments that are related everywhere, to everyday life all over the world. This project was funded by the Kunstfonds eV Bonn, TECTA Lauenförde and the cultural office of the city of Düsseldorf.
sculpture
Ute Reeh's usable sculptures are inviting objects for communication and a change of perspective, each of which exists as a prototype:
- Tree grates, 2002, realized in 2003 and 2016
- Tree Tongues, 2008–2012
- Therapeutical Sculptures, 2010-2015
The purpose of her sculptures and platforms is to stimulate open and inspiring communication between everyone involved. Thematically, it is basically about improvements in social coexistence in a certain place, about problem solutions for the economic and social future, mostly for a local society. Specifically, the communicative processes often result in tangible solutions, including a. structural type, but also new traditions of action.
To draw
Her drawings are at the center of Ute Reeh's work. In addition to sketches and drafts for her sculptural work, she developed a drawing method from her performative work. You yourself and all other actors held chalk in each hand to draw spaces, boundaries, and interactions on large areas of paper. Amazed by the precision with which less conscious references became visible, she has been using this method since then to represent complex systems . Ute Reeh promotes the inclusion of the skills of visual artists in complex, difficult to understand social, ecological and economic problems. As a sculptor and performer, she understands systems as sculptural structures that can be changed in time and space, which can be viewed, examined and drawn from all sides. Analogously, she draws processes , their successes, their stagnation, their synergies, their obstacles from many angles and in their temporal flow. Relationships, recurring patterns and social contexts become more visible and understandable. This enables the draftsman and all those involved to view their own system and its blind spots from different angles. Ute Reeh uses her drawings to make it clear that the structures surrounding us can be moved and designed.
781 characters about drawing
“Ute Reeh's drawings are activated set pieces of performances, in which the artist first turns herself (personare) into a recording instrument of energetic constellations that are formed as form-forming fields with every complex, social interaction. Intermediate forms of interaction that remain unconscious in the communicative process, but are nevertheless effective, inarticulate, are physically visualized by her and quickly recorded with both hands, in large numbers, then correlated and synchronized. When the individual drawings come together, a performative meta-drawing is created, whose communicative potential is further used by the performance artist in order to let the examined constellations become three-dimensional . ” Georg Mallitz, 2013.
Open outcome and indeterminacy
Relationship and demarcation to Extreme Programming and Design Thinking : In 2006, in discussions with the mathematician Daniel Speicher, University of Bonn, Ute Reeh discovered the relationship between her way of working and Extreme Programming and, in particular, its cooperative structure, the importance of visual representations of complex structures and working with open Output. Like Extreme Programming, Design Thinking is based on the assumption that problems can be solved better “when people from different disciplines work together in an environment that promotes creativity, jointly develop a question that takes into account the needs and motivations of people and then develop concepts that are repeated The Hasso Plattner Institute in Potsdam is in charge of Design Thinking in Germany. On its website it defines: “Design thinkers look at the problem through the user's glasses and thus assume the role of the user.” In contrast to both processes, the impulses in Ute Reeh's artistic method always come from those affected, often children who are the first idea generators and remain in charge until the projects are completed. Experts accompany the idea development and implementation processes, artists take on the design of the form of the processes and their dynamics.
Form and social processes
A basic element in Ute Reeh's more recent work is to understand systems and the form of processes as a kind of virtual sculpture. Designed form is a defining characteristic of every artistic form of expression, through which content is revealed. The artist identifies and creates - as she calls it - "holes in the system" that make it possible to reverse routine processes or to find alternative approaches. From this she concludes that there are no definite safeguards, no finite routines, and that people agree on concepts and rules to deal with the complexity of the world. The 'holes in the system' represent free spaces - unoccupied cavities, so to speak - in these more or less firmly established structures that hold intellectual and practical potential, spaces for culture to develop.
The method used by the artist for socially related projects is to bring affected people of different generations together with students and professionals. This project development, which is designed as a process, increases the acceptance among the population, brings about lasting commitment even after completion and fulfills social and cultural integration and education. At the beginning of each of these processes there is creative input from children, whose ideas are further developed. Participation is not primarily seen as a social measure, but as added value that advances and perfects the projects.
A current example of Reeh's processes “from within” is the Wiesencafé project on Wittenberger Weg in Düsseldorf-Garath, a meeting place since 2017: Although the foundations are only in place, many activities and events have taken place there. Children and young people from different parts of the city designed a. a. common furniture and dishes. Together with students from Düsseldorf University of Applied Sciences, they built chairs in different shapes according to their own designs. Changing artists have been working as scholarship holders at the Center for Periphery on Wittenberger Weg since 2017 . The Wiesencafé is planned as an open meeting place that is shaped by the citizens themselves, a participatory architecture.
Art in architecture as a process
From 1998 to 2008 Ute Reeh accompanied a large comprehensive school as an artist in Düsseldorf and defined her form of artistic-systemic work as school art - art changes schools . In 2009 Ute Reeh initiated Art in Architecture as a process as a holistic and participatory approach to project development. In 2013, its reference project, A Terrace for the Alfred Herrhausen School , was awarded the NRW 2013 School Building Prize. In 2008 and 2015 Reeh published two titles on this experiment in artistic school and urban development in Beltz-Verlag.
Prof. Bernhard Chiquet, University of Applied Sciences Northwestern Switzerland , wrote in 2015: “ At the end of the book, three art theorists, Raimar Stange, Heinz Schütz and Georg Mallitz place Reeh's school art historically in the development of participatory art since the Baroque, as a further development of the funding system“ Art in Architecture ”. since the crisis years at the beginning of the 20th century and, philosophically, against the background of a current interpretation of the ancient term “chora”, a kind of enabling space, as we would say today. (...) In and between the stories of successful projects, sentences flash up again and again that have a lot to offer: “Basically, the project is a fundamental criticism of the system”, says the teacher Otto Seydel, who is a member of the diverse advisory board of Reehs Projects accompanied. Elsewhere, the musician and architecture theorist Christopher Dell thinks about how children and young people are not “functionalized” in school art projects, but develop a role in the social and creative structure, something that they would normally neither be trusted nor allowed to do. "
Center for peripherals
In 2014 Ute Reeh founded the Center for Periphery . Under this heading, she initiated the series of modules for a theory of the periphery and a number of events and project processes in Brandenburg and North Rhine-Westphalia. The artistic principle is to work with an open outcome - and that every project process begins with the concerns of people on site. Their advantage enables them to express and express their own perceptions and ideas. With their ideas, they enter into a dialogue with artists, planners and craftsmen. According to this principle, you remain involved in the further planning and implementation. This procedure can be transferred to all groups that normally have little say in decision-making processes. The strength of this artistic principle lies in the fact that forms, structures and innovations arise that neither laypeople nor specialists would have found alone. Since 2018, Ute Reeh has created a format with the Artists in Wittenberger Weg scholarship in Düsseldorf that networks artists who work with processes. In the format of meadow talks in the small village of Nebelin in Brandenburg, it brings people of all ages in the region into exchange with planners, scientists and artists. Fold up nature protection - a noise protection wall made of clay : In June 2020, a test noise protection wall made of clay was inaugurated in Nebelin, a project of the Center for Periphery (Karstädt, Brandenburg) in cooperation with the Building Department of the Lübeck University of Technology.
Publications
- Muster , Ute Reeh, contribution to the Muster project , 1996–1997 in Munich, Hanover, Berlin, Leipzig, Cologne, Düsseldorf and at 3SAT, 1996.
- Reise , Ute Reeh, Ed. And Verlag Edition Hundertmark, Cologne 2000. ISBN 3-00-003909-0
- Tree Discs , Ed. Ute Reeh, contribution to the exhibition Tree Disc Office , Galerie Borgmann Nathusius, Cologne 2002.
- Cityfiction , Ed. Kunstakademie Münster, Verlag der Kunstakademie Münster, 2008. ISBN 978-3-928682-61-9
- School art - art changes school , Ute Reeh, Verlag Weinheim, Basel 2008. ISBN 978-3-407-62632-5
- Everything can be different , Ute Reeh, contribution to the exhibition City Relationship , Meschede 2010. City Relationship was part of the exhibition project BLICKWECHSEL , which took place in 2010 in 42 cities in North Rhine-Westphalia. The curator and project manager was Dr. Bernd Apke, Kultursekretariat NRW Gütersloh.
- Therapeutical Sculptures , Ute Reeh, Art Academy Münster, 2013. ISBN 978-3-928682-95-4
- Conversation with Ute Reeh in: With rough edges. Art lessons as a question of attitude , Ed. Tanja Wetzel / Sabine Lenk, Kopaed Verlagsgmbh, Munich 2013. ISBN 978-3-86736-290-0
- dekfa manual , Ute Reeh, Edition & Verlag Kloster Bentlage, Rheine, 2014. ISBN 978-3-939812-37-1
- What art can do - art in building as a process and as a catalyst for school development , Ed. Ute Reeh, Verlag Weinheim, Basel 2015. ISBN 978-3-407-62898-5
- Ute Reeh: Claims to art, concept and world , art pedagogical positions 38, publisher University of Cologne, 2017. ISBN 978-3-943694-17-8
- Artists in Wittenberger Weg 2018 , Ed. Ute Reeh, Verlag Zentrum für Peripherie, Düsseldorf 2019. ISBN 978-3-9820473-0-0
- Ute Reeh: Holes in the system , contribution in Open spaces of relationship and cognition, aesthetic perception in art, education and research , series Didactic Logics of the Unspecified , Eds. Birgit Engel and Katja Böhme, Vol. IV, kopaed, Munich 2020, ISBN 978-3-86736-570-3 , pp. 203-221.
Solo exhibitions and actions
- 1987: Les attouchements d'Ute , EBA Toulouse, France. Final exhibition of her scholarship in Toulouse (first prize at the Première Biennale des Écoles d´Art d´Europe , Toulouse, France)
- 1996: The 'German Cities Reklame' posters samples in 9 large cities for four weeks. Pattern as an intervention is shown in the Sprengel Museum, Hanover, and in the Neue Galerie, Kassel. Samples as an exhibition: Galerie von der Tann, Berlin; Bochynek Gallery, Düsseldorf; Galerie Rupert Walser, Munich; Gallery and Edition Hundertmark, Cologne
- 1997: Muster in Kulturzeit, 3Sat, daily for one week.
- 1997: Sample in the Leipzig Gallery for Contemporary Art, Leipzig.
- 1997: Samples : The Fischbacher company produces sample bed linen.
- 1997: Samples : The Bally shoe store produces sample prototypes for women and men.
- 1999: Reise und Vasen , Galerie und Edition Hundertmark, Cologne.
- 1999: Vases , Room X, Düsseldorf.
- 2002: Tree grate office, Borgmann Nathusius Gallery, plan02, Cologne.
- 2004: Liebesraumbar , Hallmackenreuther, Cologne.
- 2006: Men and Women , Tanzhaus NRW, Düsseldorf.
- 2007: Clots , Atelier am Eck, Düsseldorf.
- 2010 City relationship, urban space and abbey, Meschede, as part of the national project 'Blickwechsel'
- 2012: Therapeutical Sculptures , Wewerka Pavillon, Münster
- 2013: dekfa , Bentlage Monastery, Rheine
- 2016: Every avant-garde comes from the periphery , Bentlage Monastery, Rheine
- 2018: Cooperation , Wewerka Pavilion, Münster
- 2018: Holes in the concept , Kyotobar, Cologne
- 2019: Body , Villa Waldfrieden, Wuppertal
Participation in exhibitions (selection)
- 1986: Performance , Women's Museum, Bonn
- 1990: Performance , VIP Film Festival, Berlin
- 1990: Film performance , AVE Festival, Arnhem, Netherlands
- 1996: Sample in the Renate Kammer Gallery, Hamburg
- 1997: Shoes , Neue Galerie Dachau, Bally Munich, and Süddeutsche Zeitung
- 1997: patterns in the reconstruction space, Künstlerhaus Stuttgart
- 1998: Photo collages , gallery and Edition Hundertmark, Cologne
- 2000: Vases , Back to Kassel, Kasseler Kunstverein, Kassel
- 2001: Patterns of Life , Museum Schloss Hardenberg, Neviges
- 2002 Vases , Interiors Dornbracht, Milan, Italy.
- 2002 TONIGHT , editing room, Cologne.
- 2003: Baumscheibe , Euroga 2002plus and Decentralized State Garden Show 2002, Wülfrath
- 2004: Stadtlicht - light art , simulation of a tree slice for the museum park, Wilhelm Lehmbruck Museum, Duisburg
- 2005: Drawing , projection, artists' association Malkasten, Düsseldorf
- 2006: pattern project , symposium and exhibition, Mannheim
- 2008: Tree tongue , first prize and realization, sculpture competition of the Volksbank Detmold, Detmold
Art in architecture / art in public space / competitions
- 1998–2008: School art , accompaniment of the Dieter Forte comprehensive school, Düsseldorf
- 2001: Fountain of youth for Ludwigslust , purchase, City of Ludwigslust
- 2003: Tree grate , purchase and realization, City of Wülfrath
- 2005: Tree tongue , purchase and realization, City of Detmold.
- 2009–2012 model experiment for school art, art in architecture as a process at schools in Düsseldorf.
- 2013: School building award NRW for: A terrace for the Alfred Herrhausen School , Düsseldorf, process and result of the reference project model experiment for school art
- 2013–2021: poor or rich? Change process from the inside on Perleberger and Wittenberger Weg in Düsseldorf (Funding: Aktion Mensch, Stadt Düsseldorf Ikea Foundation, Wübben Foundation, Albert Sevinc Foundation, Baukultur Nordrhein Westfalen, Holcim AG, Chamber of Architects NRW)
- 2015–2016: Perspektiven 2030 - Competition City of the Future of the BMBF. The Center for Periphery accompanies Perleberg and Wittenberge
Scholarships
- 1987: Scholarship in Toulouse (first prize at the Première Biennale des Écoles d´Art d´Europe , Toulouse, France)
- 1989: –1990 ERASMUS scholarship for Madrid, Spain, and Porto, Portugal
- 1992: Scholarship from the Fondacion Noesis, Calaceite, Spain
- 1996: Promotion of samples by the Ministry for Urban Development, Culture and Sport NRW and others
- 1998: Project grant from the Kunstfonds eV Bonn
- 2006: Studio grant from the city of Düsseldorf, Ein Hod, Israel
- 2008–2009: Promotion of Visual Therapies , Filmlaboratorium Studio for contemporary film and video art, Filmwerkstatt Düsseldorf
Teaching assignments
- Drawing , University of Cologne, winter semester 2001
- Cityfiction , Art Academy Münster, winter semester 2005/2006 and summer semester 2007
- School art , University of Siegen, summer semester 2007 and winter semester 2007/2008
- Projections , Art Academy Münster, winter semester 2009/2010
- Was Kunst Kann , University of Halle, summer semester 2009 and 2012
- Visual Therapies , Art Academy Münster, summer semester 2012
- School different! , University of Cologne, summer semester 2014 to winter semester 2017/2018
- Right in the middle of the Center for Periphery , Vienna University of Technology, Kunst1, summer semester 2018
Web links
- Website from Ute Reeh
- School art - art changes schools
- Center for peripherals
- Perspectives 2030 - Center for Periphery Karstädt
Individual evidence
- ↑ A sample ..., ART magazine No. 4 1997
- ↑ Martina Funck: "The focus of the shoe exhibition, however, is the Düsseldorf performance artist Ute Reeh, who has given the company a tailor-made corporate identity. She designed a sample shoe, part of her sample collection, which the artist uses as an ornamental enrichment of the dreary everyday life has already smuggled onto billboards, carpets, television screens and the Internet. Reeh's uniform pattern shoe is present in the greater Munich area in several ways: as a photo floor covering in the entrance area of the Neue Galerie, on invitation cards, posters and catalogs for the exhibition, as an advertisement in the magazine of the Süddeutsche Zeitung and finally in a Munich branch of the shoe store Bally (...) ", in: On high heels. Dachau: Shoes in the Museum , art newspaper, January 1998
- ↑ Hanne Loreck: Muster alsfigur, in: Catalog 'MUSTER', 1996
- ^ REISE , Ute Reeh, ed. And Verlag Galerie und Edition Hundertmark, 1998. ISBN 3-00-003909-0
- ↑ Ortlos. Ute Reeh: Project "Reise" , by Jörg Restorff, Kunstzeitung, Nov. 1998
- ↑ Ute Reeh, tree discs
- ↑ Ute Reeh, Baumzungen, 2008 - 2012
- ↑ Ute Reeh, Therapeutical Sculptures, 2010-2015
- ↑ Ute Reeh - dekfa (film, trial, exhibition), Critical Mass - Art and Energy in the Münsterland , Bentlage Monastery, 2013
- ↑ Ute Reeh: Claims on art, concept and world - viewed from the side, from above and over time Art pedagogical positions, Issue 38, published by University of Cologne, Institute for Art & Art Theory, 2017, ISBN 978-3-943694-17-8
- ^ Center for Periphery - Drawings by Ute Reeh explain and visually accompany processes.
- ^ Texts on Center for Periphery by Gregor Jansen (Kunsthalle Düsseldorf), Raimar Stange (curator and art journalist), Jasmin Grande (Heinrich Heine University, Düsseldorf) , in: Artists in Wittenberger Weg 2018 , publisher: Zentrum für Peripherie, Düsseldorf, ISBN 978-3-9820473-0-0
- ↑ Georg Mallitz, 2013, about Ute Reeh's view of drawing (written for Ute Reeh's website and published there)
- ↑ George Mallitz in: What art can - architectural art as a process and as a catalyst for school development , ed Ute Reeh, Verlag Weinheim, Basel, 2015. ISBN 978-3-407-62898-5
- ^ Daniel Speicher, University of Bonn
- ^ Hasso Plattner Institute, Potsdam - Design Thinking
- ↑ Project example: It's your garden - it's me
- ↑ Processes with an open outcome , lecture and workshop by Ute Reeh at the 2nd Hamburg Cultural Summit, November 19, 2019
- ↑ Opening spaces for relationships and cognition while perceiving , conference, Kunstakademie Münster, 2017
- ↑ Ute Reeh: Holes in the system , in: 'Opening spaces for relationships and cognition in perception. Aesthetic Perception in Art, Education and Research ', Ed. Birgit Engel, et al., Kopaed, Munich, 2020
- ↑ Creativity of children for the design of public space , in: 'DAB Deutsches Architektenblatt', published by the Federal Chamber of Architects, 04.2020 North Rhine-Westphalia, p. 13
- ↑ "Where there are problems, there is also potential", Interview with Ute Reeh , In: Rheinische Post , Düsseldorf, April 24, 2019
- ↑ Abstract to the lecture by Christof Rose and Ute Reeh: Bauhaus goes to school! - Projects for young people & Bauhütte Wiesencafé , 2018
- ↑ A film about the poor or rich project ? / Meadow café
- ↑ Poor or Rich? Bauhütte of the planned Wiesencafé in Düsseldorf-Garath starts, StadtBauKultur NRW, 2019
- ↑ The project Bauhütte Meadow Café, Dusseldorf in: 'A building workshop for cathedrals of the 21st century', workshop week to 100 years Bauhaus, Simonskall, of 2019.
- ↑ Ute Reeh designs public spaces with young people, magazine of the LAG Children and Youth Culture Hamburg, autumn 2019
- ↑ Conference "freedom in public space" can involved in planning Like humans , by Andrea Röhrig, Rheinische Post, Dusseldorf, March 6, 2020
- ↑ The terrace is our high school graduation. A filmic project observation of the terrace construction at the Alfred Herrhausen School in Düsseldorf , 2012
- ↑ School building award NRW 2013: Learn better in better rooms
- ↑ What art can use - conversion processes , by Ute Reeh, Ed. And Verlag Beltz, Weinheim Basel, 2015
- ^ Art in building as a process , lecture by Ute Reeh at Art - Education - Quality , Symposium of the German Association of Artists, Kunstsammlung NRW, Düsseldorf, November 22, 2014
- ↑ What art can do , lecture by Ute Reeh , conference art as a catalyst for school development , University of Cologne, 2014, video on Vimeo
- ↑ Review of the book Ute Reeh. What art can do by Prof. Bernhard Chiquet, University of Applied Sciences Northwestern Switzerland, 2015
- ^ Center for Periphery, Building Blocks of a Theory of the Periphery, since 2014
- ↑ Perspectives 2030
- ↑ Montessori students build noise protection wall for the A14 near Wittenberge , Märkische Allgemeine Zeitung
- ^ Foreword by Nathalie Dimic and Ute Reeh in: Artists in Wittenberger Weg 2019, Eds. Nathalie Dimic and Ute Reeh, Verlag Zentrum für Peripherie, 2020, ISBN 978-3-9820473-1-7
- ^ Center for Periphery, Artists in Wittenberger Weg , Düsseldorf
- ^ Artists in Wittenberger Weg , night foyer, Kunsthalle Düsseldorf, 2018
- ^ Center for Periphery, Meadow Talks , Nebelin, Brandenburg
- ↑ Construction department of the TH Lübeck presented noise protection test wall
- ↑ Seldom has a wall been so enthusiastic , Prignitzer, 6/6/2020
- ↑ City Fiction, project seminar by Kay von Keitz and Ute Reeh, Kunstakademie Münster, 2007 in catalog: Plan07, Forum Current Architecture in Cologne, Sep. 2007
- ^ What art can do, book review, StadtBauKultur NRW
- ↑ Ute Reeh: Claims on art, concept and world - viewed from the side, from above and over time , Art Pedagogical Positions 38, published by the University of Cologne, 2017 (PDF)
- ↑ A model of versatility. The artist Ute Reeh and her unusual project , by Jochen Temsch, Süddeutsche Zeitung (Münchner Kultur), Dec. 4, 1997
- ↑ Muster moves from the white cube onto the streets, onto TV, onto the Internet, into unknown beds ... and thus becomes a performance with unrecognized performers.
- ↑ NATURALLY DIGITAL. A rosy growth and swell, coolly calculated and funneled into public space as an art virus: the projects of Düsseldorf-based Ute Reeh , by Kay von Keitz, Stadtrevue, Cologne, October 2002
- ↑ Ute Reeh: Liebesraumbar im Hallmackenreuther , Stadtrevue, Cologne, Nov. 2004, page 105.
- ↑ The exhibition project BLICKWECHSEL brings from 12 Sep. to 24 Oct. Art in 42 NRW cities , LWL Pipermail, 6 Sep. 2010
- ↑ A look at Meschede , by Björn Theis, Sauerlandkurier, 22nd Sep. 2010
- ^ Artist Ute Reeh invites you to communicate on and in the Wewerka pavilion , In: Westfälische Nachrichten , May 21, 2012
- ↑ Ute Reeh - dekfa , Bentlage Monastery, Rheine, 2013
- ↑ Every avant-garde comes from the periphery , Bentlage Monastery, Rheine, 2016
- ^ Collaboration , Wewerka Pavillon, Münster, 2018
- ↑ Ute Reeh - Holes in the Concept , Kyotobar, Cologne, 2018
- ↑ Body , Villa Waldfrieden, Wuppertal, 2019
- ↑ Patterns of life: A cooperation project between Museum Schloss Hardenberg and Schloss Ringenberg , publisher: Stadt Velbert Museum, 2001, ISBN 3-926133-46-5
- ↑ Tree grate for Euroga 2002plus, "Kunstwege" in Wülfrath
- ↑ Invitation to Blickwechsel , by Sonja Schmitz, Rheinische Post, Wülfrath / Düsseldorf, June 19, 2003.
- ↑ Stadtlicht - Lichtkunst , Wilhelm Lehmbruck Museum Duisburg Foundation, StadtBauKultur NRW, 2004–2005
- ↑ Pattern Project , Mannheim - Ute Reeh, 2006
- ^ Dieter Forte comprehensive school - projects
- ↑ Review of the book Ute Reeh: School Art. Art changes schools , Beltz Verlag, 2008
- ↑ A round piece of furniture for residents , Rheinische Post, Wülfrath / Düsseldorf, June 16, 2003.
- ↑ Baumzunge, sculpture competition on the water mile, first prize, City of Detmold
- ↑ Documentation of the Fachtag Schulkunst , Düsseldorf, 2012
- ↑ Brochure of the School Construction Award NRW 2013 (PDF)
- ↑ poor or rich? , a project by School Art - Art Changes School, 2013-2021
- ^ Website of the city of Wittenberge: Perspectives 2030 - So that we can stay!
- ↑ 1st Biennale of European Art Schools, Toulouse: First Prize for Ute Reeh, Kunstforum International, June 1987
| personal data | |
|---|---|
| SURNAME | Reeh, Ute |
| BRIEF DESCRIPTION | German visual artist |
| DATE OF BIRTH | 1958 |
| PLACE OF BIRTH | Munich |