Anselm Reyle

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

Life / Biography

After training as a Landschäftsgärtner Reyle studied at the State Academy of Fine Arts in Stuttgart and at the State Academy of Fine Arts in Karlsruhe. 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 for operation with Claus Andersen and Dirk Bell, the producer Galleries " Andersen's apartment " and " Montparnasse " together with Dirk Bell and Thilo Heinzmann. After visiting professor at the State Academy of Fine Arts, Karlsruhe, the University of Arts Berlin and the University of Fine Arts Hamburg Reyle was appointed in 2009 as Professor of Painting / Drawing to Hamburg.

Early 2014 declared Reyle to retire from the art world. The reason he said that the time-consuming operation of his studio almost resulted in the financial crisis from 2007 to enormous pressure. At weddings cost his art production around 800,000 euros a month. After the crisis he was able to push these costs to around 150,000 a month. Under these conditions, " faded " by his own admission the " experimental nature " of his work. The art was commissioned for production on request by collectors: " And these questions have become increasingly one-dimensional lately. They have focused more and more on my hallmark, especially on film images. "

Reyle anticipates that he will return after a break of indeterminate length back to art.

Work

Characteristic of the works of Anselm Reyle is the use of artefacts from different contexts, which are removed from their original function, visually altered and placed in a new context. Reyle works primarily in the media of painting, sculpture, installation and used for his work a variety of materials, such as films of window dressing, color pastes, car paints, civilization waste from urban spaces, remnants of neon lights of the commercial city illumination as well as the use of stolen, functionless that have become waste, construction - and electronic waste. The degree of alienation from the partial visibility of the respective references back to the transformation of the particular material varies. The title of the exhibition are often quotes from the field of music, title corpus of objets trouvé from the source of material.

Among his well-known work groups include the covered with foil and built- in colored Plexiglas boxes "foil paintings", whose moving, wrinkle- rich - fissured surface their object character and the space presence underscores. Characteristic are also the stripe images in some dissonant color combinations. In addition to acrylic paint used for this Reyle silver foil, colored mirror, structure pastes and varnishes.

In his recently developed work he favors figurative and representational motifs whose templates paint-by - numbers are based on the known principle. Serial blocks comparable the individual fields are filled with materials and colors again, the viewer knows from previous work ( strip images, Otto- friendly images). Evokes the impression of a plastic relief with a wide range of surface textures that appeal to look and feel like the sense of touch of the recipient directly.

Part of his sculptural work are the African sculptures. You are borrowed tourist flea market pieces and remember in their formal conception of abstract sculptors of the modern movement, such as, inter alia, Hans Arp, Alexander Archipenko and Henry Moore. Reyle takes up traditional techniques by allowing larger cast in bronze the models, but then mirrored and glazed, so an exciting ambiguity is generated. The traditional sculptor process is a highly technologized labor process from the industry opposed, under which the precious bronze can only be guessed yet. Prerequisite for the development of this artistic intended paradox is the knowledge of the observer about the backgrounds of the emergence.

In addition to this examination of a non-artistic repertoire for his own visual language and a concomitant change in the contextual meaning of his work by reference to art historical currents of abstraction of modernism as informal art, Cubism, Op Art, Minimalism and Pop Art are marked. The type of appropriation does not follow the Appropriation thoughts such as in Louise Lawler or Elaine Sturtevant, but questioned in a moment of exaltation the various " dead ends of Modernism" in terms of their design language and updated, this at the same time with new colors or materials. His fascination with high-gloss effects, the provocation of emptiness and simplicity, its reflection on the prevailing cliché and kitsch term ends in a " balancing act, which can hurt quite ".

This critical reflection of established codes and flavor implicit negation of bourgeois ideals formulate a social comment without moral appeal, partly broken ironic. Reyle questioned in his serially structured, abstract plant groups, the tradition of the singular panel painting with his classical composition. The discrepancy between the originally noble ideals of abstraction and decorative seemingly provocative, primarily visual orientation of his work an ambivalent tension is generated. Form and content are no longer congruent. The spontaneity of conception and dynamic gestures contrasted with the complex technical implementation, such as a bronze or aluminum casting, which is mirrored in cooperation with external companies by means of complex multilayer process and glazed color. This professionalized approach and partial outsourcing of the artistic process is also reflected in his studio structure. Since 2001 he works in his studio in Kreuzberg with a team of up to 50 assistants. The interest in industrial materials and diverse, effective surface structures, references from the "low -culture " influences from music and architecture are also used in site-specific, space scale installations, expressed as, inter alia, most recently in the exhibition " Acid Mothers Temple " at the Kunsthalle Tübingen ( 2009) or in the Belgian Museum Dhondt Dhaenens occasion of the exhibition " Elemental Threshold" (2010).

Exhibitions (selection)

• 2012: Anselm Reyle - Mystic Silver, Deichtorhallen, Hamburg
• 2011: Anselm Reyle, Andersen S Contemporary, Copenhagen
• 2009: Acid Mothers Temple, Kunsthalle Tübingen
• 2009: Monochrome Age, Gagosian Gallery, New York City
• 2008: White Earth, Galerie Almine Rech, Brussels
• 2007: Anselm Reyle, Modern Institute, Glasgow
• 2006: Anselm Reyle, Andersen S Contemporary, Copenhagen
• 2005: Life Enigma, Galerie Giti Nourbakhsch, Berlin