Rudolf Polanszky

Apeiron


Shanghai

For the safety of our visitors and staff, masks must be worn by all visitors upon entrance, and hand sanitizer will be provided at the door and throughout the gallery.

Inquire about the exhibition:
inquiries@alminerech.com

The gallery is open from 11 am until 7 pm.

  • , Reconstructions / Dark Mirrors, 2018
    Reconstructions / Dark Mirrors, 2018
    Mirror foil, resin, silicone, acrylic mounted on wood, in artist frame
    246 x 190 cm
    96 7/8 x 74 3/4 in
  • , Reconstructions / Dark Mirrors, 2018
    Reconstructions / Dark Mirrors , 2018
    Mirror foil, resin, silicone, acrylic glass, aluminium, acrylic mounted on wood, in artist frame
    245 x 190.8 cm
    96 1/2 x 75 1/8 in
  • , Reconstructions / Choros, 2021
    Reconstructions / Choros, 2021
    Copper foil, cardboard, mirror foil, aluminium, resin, silicone, acrylic glass, pigments mounted on wood, in artist frame
    172 x 220 cm
    67 3/4 x 86 5/8 in
  • Reconstructions / Choros, 2021
    Reconstructions / Choros, 2021
    Copper foil, cardboard, mirror foil, aluminium, resin, silicone, acrylic glass, pigments mounted on wood, in artist frame
    155 x 172 cm
    61 1/8 x 67 3/4 in
  • , Reconstructions / Choros, 2021
    Reconstructions / Choros, 2021
    Copper foil, cardboard, mirror foil, aluminium, resin, silicone, acrylic glass, pigments mounted on cardboard, in artist frame
    151.1 x 171.5 cm
    59 1/2 x 67 1/2 in
  • , Reconstructions / Choros, 2021
    Reconstructions / Choros, 2021
    Copper foil, mirror foil, aluminium, resin, silicone, acrylic glass, pigments, pigments mounted on cardboard, in artist frame
    151 x 166.9 cm
    59 1/2 x 65 3/4 in
  • , Reconstructions, 2018 - 2021
    Reconstructions, 2018 - 2021
    Aluminium, resin, silicone, cardboard, acrylic glass, pigments, acrylic mounted on canvas, in artist frame
    165.7 x 151.6 cm
    65 1/4 x 59 3/4 in
  • , Reconstructions / Twin Structures, 2019
    Reconstructions / Twin Structures, 2019
    Aluminium, resin, silicone, mirror foil, acrylic glass, pigments, acrylic mounted on canvas, in artist frame
    133.1 x 156.4 cm
    52 3/8 x 61 5/8 in
  • , Reconstructions, 2018
    Reconstructions, 2018
    Aluminium, resin, silicone, mirror foil, acrylic glass, pigments, acrylic mounted on canvas, in artist frame
    123.6 x 144 cm
    48 5/8 x 56 3/4 in
  • , Reconstructions / Twin Structures, 2018 - 2021
    Reconstructions / Twin Structures, 2018 - 2021
    Aluminium, resin, silicone, copper foil, acrylic glass, pigments, acrylic mounted on canvas, in artist frame
    102.2 x 110.4 cm
    40 1/4 x 43 1/2 in
  • , Reconstructions / Rorschach Transformations, 2010
    Reconstructions / Rorschach Transformations, 2010
    Aluminium, resin, silicone, acrylic glass, pigments, acrylic mounted on wood, in artist frame
    123.4 x 142 cm
    48 5/8 x 55 7/8 in
  • , Coil Spring drawing, 1983
    Coil Spring drawing, 1983
    Acrylic on paper, photographs mounted on wood, in artist frame
    109.8 x 189.6 cm
    43 1/4 x 74 5/8 in
  • , Sitting Picture, 1985
    Sitting Picture, 1985
    Acrylic on paper, photographs mounted on wood, in artist frame
    105 x 155 cm
    41 3/8 x 61 1/8 in

Press release

Almine Rech Shanghai is pleased to present Rudolf Polanszkys second solo exhibition at the gallery, on view from December 10, 2021 to January 27, 2022.

APEIRON

"What is free in a work of art, is only the moment in which it is not yet comprehended."

Rudolf Polanszky

 

Apeiron, the title of Rudolf Polanszky’s exhibition, mirrors his "ad hoc synthesis approach" of building and dissolving purely abstract forms. With a selection of recent works, drawn from his Reconstructions series, Polansky further implodes the Modernist palimpsest via his hybrid paintings and sculpture. Along with his films, music and documented performances, Polansky’s body of work finds inspiration from mathematical metaphysics, rather than the canon of art history.

Apeiron, according to the Greek philosopher Anaximander, is the source of everything, a boundless force which having emerged from nothing, is inevitably drawn to reconciliation in the guise of the infinite void of its origin. Experiencing Polanszky’s work brings an awareness of perceptual balancing, provoked by its relative elusive visualization or adherence towards any "adapted meaning".

By consciously bypassing Modernist influences, these methodologies affect his choice of scrap materials, picked from the flotsam and jetsam of Polanszky’s studio environment in Vienna. Artificial compounds including acrylic mirrors, silicone, industrial glue, epoxy, resins, copper foil and gossamer mesh, are also subjected to chance patina by exposure to the elements, encounters with animals or organic matter.

Enhanced by chiaroscuro reflections from the silver, copper & dark mirrors, the parts are distinguishable by their decoded status and hesitant assignment. The strata of the Reconstructions, their material disarray subject to alchemic states, refract light in other ways than reflection. Liquid transformations of a transparent nature are recorded by spectral zones of solidified resins, glue and insular pigments, all semi-isolated, transforming unstable structures into a temporality that by their inherent self-referential formation alludes to a potential state of rest or stability. The parameters of the work’s Philosophical Reductivism could result in an inhibiting Minimalism, but encountering the Reconstructions is a paramount experience, via Polansky’s exposition of non-oriented diverseness of Phenomena.

- Steven Pollock, curator and writer