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  • Provenance

    Galerie Giti Nourbakhsch, Berlin

  • Exhibited






    Neuer Aachener Kunstverein, Anselm Reyle, 7 March – 2 May, 2004; Berlin, Galerie Giti Nourbakhsch, Anselm Reyle, 7 May – 18 June, 2005

  • Catalogue Essay

    Silver foil, neon colours, mirrors, a chrome finish, neon tubes – Anselm Reyle’s works entangle the viewer in their surface and immerse him in an ambience of colour and light. For which Reyle produces stripe paintings, which quote the TV test picture as much as American Expressionism. He playfully skips through the art-historical pictorial versions of the monochrome that of the drip-and-pour paintings formulated by chance, as much as Pop fusions of high and lowbrow and the diverse typologies of sculpture. And naturally he does this in every format: handy dimensions for domestic consumption all the way to the oversized for the art or public context. All of which, in addition, is ‘fabricated’ in the seemingly dated context of an artist’s studio peopled by assistants. A practice that recalls the workshops of an historical type of artist, the serialism of Minimal Art, as well as the self-important airs of painting in the 1980s and the industrialised art production of the 1990s. In view of the works by Anselm Reyle and all his epoch-contradicting insignias we can hardly resist the disagreeable fascination that occurs because the discrediting of abstract art has so taken hold of our perception as much as has a general exhaustion with postmodern quotations which, exactly because of an intensified ambivalence, can now become productive for a present-day concept. Kunsthalle Zurich Review, Anselm Reyle «Ars Novo», January, 2006

103

Untitled

2004
Aluminium foil and oil on canvas in Plexiglas box.
234 x 199 cm. (92 1/8 x 78 3/8 in).

Estimate
£150,000 - 250,000 

Sold for £168,500

Contemporary Art Evening Sale

28 Feb 2008, 7pm
London