Almine Rech Gallery is pleased to announce the solo exhibition of Anselm Reyle Construction of Harmony.
Jens Asthoff: In the 80’s and early 90’s artists became increasingly interested in appropriating historical styles. Do you see this as something close to your recourse to the pictorial forms of modernism?
Anselm Reyle: I think that I am interested in it from a quite different point of view. I don’t just want to take something up and present it as an available form. I deal with it more like objets trouvés that I come across because they fascinate me and then I intensify this fascination, and so want to show it. And I’m partly interested in styles as well because they are so well-worn, as in case of the stripe paintings. It’s such a simple principle, every art student must have used it at some time. And you’re usually told that it’s over and done with, that it was around in the 60’s and wasn’t even new then. And in the 90’s stripe paintings were taken up again, ironically, by people like Heimo Zobernig. But the irony isn’t the only thing I find interesting about it.
JA: When you appropriate things like this you exploit the quality of materials and color thoroughly, aiming at effect and alienating these traditional paradigms by raising the overall color temperature. You shift the adaptive element, the reference that can still be recognized or at least sensed, into a mixture of vagueness, emptiness and intensity. This leads to a quite specific, unique smoothness and neutrality that in its turn takes on the character of a personal style, your style.
AR: Yes, I am interested in a certain neutrality, on the one hand, but it has to be opened up and charged subjectively as well. I don’t see what I am doing as cold Neo-Geo art…