Untitled, 2024, 57 × 62 × 10 cm, LED 65 x 1,6 cm
Anselm Reyle born 1970, Tübingen, Germany. Lives and works in Berlin, Germany.
Reyle's stripe paintings are instantly recognisable as responses to the formalist vocabulary of Clement Greenberg that defined the art of the 1950s and 1960s. Reyle references iconic abstractionists ranging from Kenneth Noland to Otto Freundlich. Reyle's "objets-trouvés," a reference to his multi-media installations that include sculpture and found neon lights, are in constant dialogue about the role of modernism today.
Reyle's critique of painting extends to his exploration of the constantly shifting criteria required for a work to be considered complete. He is one of few contemporary German painters examining the lessons of abstraction and their place in contemporary painting at a moment when figurative painting has gained critical momentum.
Reyle’s works have been shown in numerous institutional solo exhibitions, including MoCA Westport, Connecticut, USA (2023), Kunsthalle Vogelmann, Heilbronn, Germany (2022), Aranya Art Centre, Qinhuangdao, China (2020), Deichtorhallen, Hamburg, Germany (2012), the Schinkel Pavillon, Berlin, Germany (2012); The Arken Museum of Modern Art, Ishoj, Denmark (2011), Des Moines ArtCenter, Iowa, USA (2011), Kunsthalle Tübingen, Tübingen, Germany (2009), and Kunsthalle Zürich, Zurich, Switzerland (2006).
Reyle’s works are part of numerous private and public collections worldwide, such as Centre Pompidou, Paris, France; Fondation Louis Vuitton, Paris, France; Pinault Collection, Venice, Italy; Saatchi Gallery, London, UK; Nationalgalerie / Staatliche Museen, Berlin, Germany; Sammlung Boros, Berlin, Germany; Collection Ringier, Zurich, Switzerland; Rubell Family Collection, Miami, USA; Des Moines Art Center, Iowa, USA; Arken Museum of Modern Art, Ishøj, Denmark; Leeum / Samsung Museum of Modern Art, Seoul, Korea; Museo Jumex, Mexico City, Mexico; Essl Museum – Kunst der Gegenwart, Klosterneuburg, Austria; among many others.
Reyle's stripe paintings are instantly recognisable as responses to the formalist vocabulary of Clement Greenberg that defined the art of the 1950s and 1960s. Reyle references iconic abstractionists ranging from Kenneth Noland to Otto Freundlich. Reyle's "objets-trouvés," a reference to his multi-media installations that include sculpture and found neon lights, are in constant dialogue about the role of modernism today.
Reyle's critique of painting extends to his exploration of the constantly shifting criteria required for a work to be considered complete. He is one of few contemporary German painters examining the lessons of abstraction and their place in contemporary painting at a moment when figurative painting has gained critical momentum.
Reyle’s works have been shown in numerous institutional solo exhibitions, including MoCA Westport, Connecticut, USA (2023), Kunsthalle Vogelmann, Heilbronn, Germany (2022), Aranya Art Centre, Qinhuangdao, China (2020), Deichtorhallen, Hamburg, Germany (2012), the Schinkel Pavillon, Berlin, Germany (2012); The Arken Museum of Modern Art, Ishoj, Denmark (2011), Des Moines ArtCenter, Iowa, USA (2011), Kunsthalle Tübingen, Tübingen, Germany (2009), and Kunsthalle Zürich, Zurich, Switzerland (2006).
Reyle’s works are part of numerous private and public collections worldwide, such as Centre Pompidou, Paris, France; Fondation Louis Vuitton, Paris, France; Pinault Collection, Venice, Italy; Saatchi Gallery, London, UK; Nationalgalerie / Staatliche Museen, Berlin, Germany; Sammlung Boros, Berlin, Germany; Collection Ringier, Zurich, Switzerland; Rubell Family Collection, Miami, USA; Des Moines Art Center, Iowa, USA; Arken Museum of Modern Art, Ishøj, Denmark; Leeum / Samsung Museum of Modern Art, Seoul, Korea; Museo Jumex, Mexico City, Mexico; Essl Museum – Kunst der Gegenwart, Klosterneuburg, Austria; among many others.
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