ANOTHER DAY TO GO NOWHERE
5 MARCH – 12 APRIL 2020
On the occasion of the exhibition Another Day To Go Nowhere at KÖNIG TOKIO the Berlin-based artist Anselm Reyle has created a site-specific installation, presenting pieces from his latest series of works. Alongside a selection of newly conceived paintings, the artist, who is well known for his playful use of materials, textures and colours, will also exhibit a group of new ceramics. The presentation is visually framed by the white gallery walls, which Reyle has roughly sprayed with black paint. Inspired by graffiti and tags, he took this type of artistic expression found in urban public spaces and transferred it into the exhibition space in an abstracted, reduced form.
In his series of new paintings, the artist has applied a canon of colours and materials he has developed over the years, comprised of elements such as neon colours, haptic textures, silver foil and found neon light tubes in free, abstract form. In recent years, the processual and gestural has increasingly gained importance in his work, with traces of the artistic process, errors and chance happenings deliberately prompted and integrated into the composition as formal elements. In terms of materiality, Reyle also draws on increasingly rougher materials such as burlap and thickly applied acrylic pastes to produce a visual-haptic effect.
Characteristic of Reyle’s work is the use of various found objects that have been removed from their original function, altered visually and recontextualized. This aspect remains of major importance, with scrap metal, silver foil and neon tubes incorporated as materials into his works. The group of ceramic vases, conceived several years ago in the style of Fat Lava ceramics from the 1970s, has now been further developed. By finishing them with shiny metallic glazes they now seamlessly integrate themselves into Reyle’s artistic oeuvre.
By focusing on gestural abstraction, the artist picks up on the origins of his artistic creativity, which is influenced by Informalism and Abstract Expressionism. Yet Reyle’s main themes remain painting and the work with found objects. By intertwining everyday consumables with ‘high art’, he poses questions around the worthiness of the banal as the subject of an image, and challenges socially established notions of taste. Frequently utilizing motifs that have become trademarks of the modernist canon, Reyle reworks them to invest them with new meaning and context, offering a critical reflection on common forms of art reception.