Rudolf Polanszky

Chimera


Brussels

  • , Sitting pictures, red series n°2, 1984
    Acrylic and various types of colored paint, glue, photopaper mounted on wood in artist frame
    102,7 x 162,5 cm (framed)
    40 3/8 x 64 inches (framed)
  • , Sitting pictures, blue series n°3, 1984
    Acrylic and various types of colored paint, glue, photopaper, mounted on wood, in artist frame
    102,9 x 152,6 cm (framed)
    40 1/2 x 60 1/8 inches (framed)
  • , Sitting picture, blue series n° 4, 1983-85
    Sitting picture, blue series n° 4, 1983 - 85
    Acrylic and various types of colored paint, glue, photopaper mounted on wood, in artist frame
    102,9 x 162,2 cm (framed)
    40 1/2 x 63 7/8 inches (framed)
  • , Coma, 1984
    Acrylic on paper - in eight parts - photopaper mounted on wood, in artist frame
    233,1 x 143,4 cm (framed)
    91 3/4 x 56 1/2 inches (framed)
  • , Coil spring drawings, 1983
    Acrylic on paper, photopaper, glue, mounted on wood in artist frame
    107,3 x 187,2 cm (framed)
    42 1/4 x 73 3/4 inches (framed)
  • , Coil spring drawings, 1983
    Acrylic on paper, photopaper, glue, mounted on wood, in artist frame
    107,3 x 187 cm (framed)
    42 1/4 x 73 5/8 inches (framed)
  • , Reconstructions / Archeotopics, 2009
    Acrylic glass, plastic, aluminium foil, pigments, resin, silicone, glue, feathers, leaves, plastic foam mounted on wood, in artist frame
    147,8 x 202,4 cm
    58 1/4 x 79 5/8 inches
  • , Reconstructions / Cyclomedric transformation, 2008
    Cardboard, acrylic glass, acrylic paint, pugments, aluminium foil, glue, silicone, resin on molino canvas, in artist frame
    175 x 253,2 cm
    68 7/8 x 99 5/8 inches
  • , Reconstructions / Rorschach transformations, 2010
    AluminuAluminium foil, reflective foil, resin, acrylic glass, acrylic paint, glue, silicone on molino canvas, in artist frame
    123,8 x 143,7 cm
    48 3/4 x 56 5/8 inches
  • , Reconstructions / Rorschach transformations, 2010
    Aluminium foil, reflective foil, resin, acrylic glass, acrylic paint, glue, silicone on molino canvas, in artist frame
    124,4 x 142,9 cm
    49 x 56 1/4 inches
  • , Reconstructions / Rorschach transformations, 2010
    Aluminium foil, reflective foil, resin, acrylic glass, acrylic paint, glue, silicone on molino canvas, in artist frame
    124,1 x 141,6 cm
    48 7/8 x 55 3/4 inches
  • , Rohrschach Transformations, 2011
    Mixed media
    125 x 141 x 3 cm (framed)
    49 1/4 x 55 1/2 x 1 1/8 inches (framed)
  • , Reconstructions, 2005
    Aluminium foil, plastic, acrylic glass, silicone, glue, resin, feathers, leaves, plastic foil, giments on molino canvas, in artist frame
    188,4 x 266,6 cm
    74 1/8 x 105 inches
  • , Reconstructions, 2004
    Aluminium foil, plastic, acrylic glass, silicone, glue, resin, pigments on molino canvas, in artist frame
    151,6 x 96,1 cm
    59 5/8 x 37 7/8 inches
  • , Reconstructions, 2004
    Aluminium foil, plastic, acrylic glass, silicone, glue, resin, pigments, feathers on molino, in artist frame
    151,9 x 96,2 cm
    59 3/4 x 37 7/8 inches
  • , Reconstructions, 2013
    Aluminium foil, plastic, acrylic glass, silicone, resin, pigments on molino canvas, in artist frame
    151,8 x 116,4 cm
    59 3/4 x 45 7/8 inches
  • , Reconstructions / Translinear Structures, 2015
    Aluminium, mirrored foil, fibreglass, resin, acrylic on linen, in artist frame
    158,5 x 134,9 x 3,2 cm (framed)
    62 3/8 x 53 1/8 x 1 1/4 inches (framed)
  • , Reconstructions / cardboard series n°5, 2009
    Aluminium foil, plastic, acrylic glass, silicone, resin, cardboard, glue on molino canvas, in artist frame
    152 x 141,4 cm
    59 7/8 x 55 5/8 inches
  • , Reconstructions / cardboard series n°6, 2009
    Aluminium foil, plastic, acrylic glass, silicone, resin, cardboard, glue on molino canvas, in artist frame
    151,7 x 141,7 cm
    59 3/4 x 55 3/4 inches
  • , Stills from “Memory and Music, 1985 - 89 and Spiral object, 1985
    Photopaper mounted on wood, in artist frame, sculpture:
    metalwire on metalstand
    161,3 x 222,6 cm - 63 1/2 x 87 5/8 inches (framed)
    sculpture: 141 x 140 x 58 cm - 55 7/8 x 55 1/8 x 22 7/8 inches
    161,3 x 222,6 cm (framed)
    63 1/2 x 87 5/8 inches (framed)
  • , Hypertransformation sculpture, 2000 - 2008
    Copper, plastic foil, silicone, plastic, resin, metal wire, plastic foam, feathers, on metal stands, on metal table - variable dimensions
    187 x 99 x 45 cm
    73 5/8 x 39 x 17 3/4 inches
  • , Hypertransformation sculpture, 2000 - 2008
    Copper, plastic foil, silicone, plastic, resin, metal wire, plastic foam, feathers, on metal stands, on metal table - variable dimensions
    187 x 99 x 45 cm
    73 5/8 x 39 x 17 3/4 inches
  • , Hypertransformation sculpture, 2000 - 2008
    Copper, plastic foil, silicone, plastic, resin, metal wire, plastic foam, feathers, on metal stands, on metal table - variable dimensions
    187 x 99 x 45 cm
    73 5/8 x 39 x 17 3/4 inches
  • , Hypertransformation sculpture, 2000 - 2008
    Copper, plastic foil, silicone, plastic, resin, metal wire, plastic foam, feathers, on metal stands, on metal table - variable dimensions
    187 x 99 x 45 cm
    73 5/8 x 39 x 17 3/4 inches
  • , Hypertransformations sculpture / Hanging series, 2005
    Acrylic glass, resin, metal wire, silicone, glue, plastic, with metal hooks, on metal stand
    193,5 x 218,2 x 127,2 cm
    76 1/8 x 85 7/8 x 50 1/8 inches
  • , Hypertransformations sculpture / Hanging series, 2005
    Acrylic glass, resin, metal wire, silicone, glue, plastic, with metal hooks, on metal stand
    193,5 x 218,2 x 127,2 cm
    76 1/8 x 85 7/8 x 50 1/8 inches
  • , Hypertransformations sculpture / Hanging series, 2005
    Acrylic glass, resin, metal wire, silicone, glue, plastic, with metal hooks, on metal stand
    193,5 x 218,2 x 127,2 cm
    76 1/8 x 85 7/8 x 50 1/8 inches
  • , Hypertransformations sculpture / Hanging series, 2005
    Acrylic glass, resin, metal wire, silicone, glue, plastic, with metal hooks, on metal stand
    193,5 x 218,2 x 127,2 cm
    76 1/8 x 85 7/8 x 50 1/8 inches
  • , Hyperbolic, 2015
    Copper, plastic foil, resin, silicone, glue, on metal stand - Variable dimensions
    215,5 x 218 x 80 cm
    84 7/8 x 85 7/8 x 31 1/2 inches
  • , Hyperbolic, 2015
    Copper, plastic foil, resin, silicone, glue, on metal stand - Variable dimensions
    215,5 x 218 x 80 cm
    84 7/8 x 85 7/8 x 31 1/2 inches
  • , Hyperbolic, 2015
    Copper, plastic foil, resin, silicone, glue, on metal stand - Variable dimensions
    215,5 x 218 x 80 cm
    84 7/8 x 85 7/8 x 31 1/2 inches
  • , Hyperbolic, 2015
    Copper, plastic foil, resin, silicone, glue, on metal stand - Variable dimensions
    215,5 x 218 x 80 cm
    84 7/8 x 85 7/8 x 31 1/2 inches
  • , Hypertransformations sculpture / folding sculpture, 2005
    Cardboard, acrylic paint, resin, plastic foil, silicone, resin, glue, on metal stand
    191 x 172,2 x 112 cm
    75 1/4 x 67 3/4 x 44 1/8 inches
  • , Hypertransformations sculpture / folding sculpture, 2005
    Cardboard, acrylic paint, resin, plastic foil, silicone, resin, glue, on metal stand
    191 x 172,2 x 112 cm
    75 1/4 x 67 3/4 x 44 1/8 inches
  • , Hypertransformations sculpture / folding sculpture, 2005
    Cardboard, acrylic paint, resin, plastic foil, silicone, resin, glue, on metal stand
    191 x 172,2 x 112 cm
    75 1/4 x 67 3/4 x 44 1/8 inches
  • , Hypertransformations sculpture / folding sculpture, 2005
    Cardboard, acrylic paint, resin, plastic foil, silicone, resin, glue, on metal stand
    191 x 172,2 x 112 cm
    75 1/4 x 67 3/4 x 44 1/8 inches
  • , Folding Sculpture, Flying Series No. 1, 2018
    Copper and steel pedestal
    204,5 x 163 x 75 cm
    80 1/2 x 64 1/8 x 29 1/2 inches
  • , Folding Sculpture, Flying Series No. 1, 2018
    Copper and steel pedestal
    204,5 x 163 x 75 cm
    80 1/2 x 64 1/8 x 29 1/2 inches
  • , Folding Sculpture, Flying Series No. 1, 2018
    Copper and steel pedestal
    204,5 x 163 x 75 cm
    80 1/2 x 64 1/8 x 29 1/2 inches
  • , Folding Sculpture, Flying Series No. 1, 2018
    Copper and steel pedestal
    204,5 x 163 x 75 cm
    80 1/2 x 64 1/8 x 29 1/2 inches

Press release

Rudolf Polanszky

The Art of Overcoming: The Unthinkable in the Thinkable 

Traces of Memory between the Fragment and Totality  
Polanszky sees his treatment of materials that in our economic system are usually seen as cheap, damaged goods from the hardware store as a refinement. His works thus seem like a parody of “refined” materials, while at the same time the formerly utilitarian materials are now free of use. The artist literally frees them from their previously intended relations of constraint and use. Polanszky thus seeks a value-free resistance to the adaptive. The artist creates assemblages in both a pictorial and a sculptural format that always bear the traces of the past of the materials used. The traces of everyday life, use, and wear and tear always link Polanszky’s works to the history of the object-like materials used that he transforms into something new, a “pseudo-geometric arrangement,”[1]  and that reflects the aesthetics of use. In the process, he transforms traces of histories into a new field of association and a new construction of meaning for these apparently artistically worthless materials. The creation of nature remains in the form of its traces, for example the leaves or other natural materials that are seemingly integrated by chance, lending the works a rather coincidental character. They also represent a contrast to the synthetic materials like Plexiglas, Styrofoam, foils, or foam rubber that form the main ingredients of Polanszky’s art.
[...]
In Polanszky’s works, the past always survives in the now as a trace of memory. Both in his assemblages, that attest to the lasting quality of endurance with the maintenance of weathered surfaces and broken materials and maintain the memory of how things once were, as well as in his sculptures and spaces in which the traces of the past are never deleted, but always preserved. Duration is preserved by Polanszky to continue memory and individual consciousness and to preserve it in a present with freed material. He considers the accidentally found, apparently worthless material and its form and texture as the material that culminates in his and our memory. The artist then brings together freed materials “that do not go together at all.”[2] In his artistic practice, he combines these “quasi random elements,” but he emphasizes, “There is no design aspect involved to make it a little better.”[3] In other words, he not only frees the material from its corset of use, but also liberates art from its traditional constraints.

-Dieter Buchhart

[1] A conversation with Rudolf Polanszky. February 11, 2015.
[2] “Late Bloomer: A Discussion between Rudolf Polanszky and Hans Ulrich Obrist,” in: Art Basel Miami Magazine (December 2018), 184–185
[3] Ibid., 186.