Anselm Reyle

Anselm Reyle (born 1970) is a German visual artist, based in Berlin. He is known for his often large-scale abstract paintings and found-object sculptures.

Biography Anselm Reyle was born in Tübingen, Germany in 1970. He studied at the State Academy of Fine Arts Stuttgart; followed by study at the Academy of Fine Arts, Karlsruhe, under artist Helmut Dorner.

From 1999 to 2001, Reyle has been working together with Claus Andersen and Dirk Bell for the artists' co-operative gallery "Andersen's Wohnung" and "Montparnasse" with Dirk Bell and Thilo Heinzmann. After having held a position as guest-professor at the Staatlichen Akademie der Bildenden Künste, Karlsruhe, Universität der Künste, Berlin and the University of Fine Arts of Hamburg (HFBK Hamburg). Reyle became a professor in drawing and painting at HFBK Hamburg in 2009.

Works Anselm Reyle took an early interest in landscape design and music before finally homing in on painting and sculpture. Characteristic of his work are various found objects that have been removed from their original function, altered visually and recontextualized. Reyle works in different media, utilizing strategies of painting, sculpture and installation and working in serial, structured work groups. The artist uses a vast and diverse group of materials taken from both traditional art and commercial milieus including colored foils from shop window displays, acrylic medium and pastes, automotive lacquer, and useless everyday garbage taken from urban areas.

Reyle's fascination for high gloss effects and decorative material taken from the merchandising world frames his critique of kitsch, and what the artist has described as “a tightrope walk that can be painful all the way.”. This critique deals frankly with the distinction between the normative categories of “high art” and “low-culture”, and questions where these extremes merge. By juxtaposing precious materials and trash, and by outsourcing his production, Reyle is able to make work that operates as a witness to our time and that prompts reflection on the prevailing values of our consumer culture. Despite its critique of bourgeois ideals, however, the work does not deliver simple alternative with genuine moral appeal and insists on sometimes retaining its ironic tone. By producing serial works Reyle is able to challenge the primacy of the single panel painting.

The discrepancy in his works between the primarily sublime ideal of abstraction and the seemingly provocative decorative visual orientation generates an ambivalent tension and it is in this space that the form and subject matter drift apart. The spontaneity of concept and dynamic vitality of this work stands in contrast to the complex technical transformation that is itself only achievable with the help of many sophisticated technical processes used by the artist in collaboration with specialized companies. The outsourcing of his artistic process is also found in his studio structure, where the artist has employed a team since 2001. In addition to his studio work, Reyle's interest in experimenting with unusual materials is also expressed in site-specific installations, such as his exhibition „Acid Mothers Temple“ in the Kunsthalle Tübingen (2009) or „Elemental Threshold“ (2010) in the Museum Dhondt Dhaenens, Belgium. In 2017 on the occasion of his solo exhibition "Eight Miles High" at the König Galerie Berlin, Reyle presented three hanging sculptures, which were inspired by geometric wind chimes made of metal, such as those found as handicrafts at fairs.

In his recent works, Reyle seems to incline even more to the intuitive and the sensual, developing his characteristic formal vocabulary and working with found objects. Here his ceramics play a key role, which he started to produce in 2016. These sculptures with their striking colours and encrusted surfaces, are inspired from flamboyant Fat Lava vases that appeared in the 1970s and ended up in flea markets as kitsch shortly after. Reyle takes this stylistic phenomenon as a motif, to experiment intensively with forms and glazes and develop a group of vase-like sculptures in large format. It was important to him to integrate chance more closely when working with the natural material clay — quite literally, you never know exactly what will come out of the oven. Random defects are often aesthetically interesting. Reyle is intentionally gestural; he spontaneously interferes in the process to allow some defects to happen, he even creates necessary conditions that would cause such defects: in this way, it is possible to open a space for aesthetical gesture and interpretation. For this end, Reyle gesturally maltreats the material before putting it into the oven, he adds scratches and cracks to the surface that often break open the closed form of the vessel. It is completed with the informal application of boiling lava paste and bright orange or cadmium yellow glazes or metallic monochrome surfaces. This is how Reyle creates style hybrids, which are rooted in both kitsch and traditional traits of contemporary art (think of Lucio Fontana, for example); he intuitively opens them up in his staging, while creating a certain ambivalence.

In his recent series of paintings the artist seeks to open up the very process of painting, like he does in his ceramics. Many of these works are painted on coarse burlap, the presence of materiality and free form play a strong role again. Those paintings are intense concentrations of contradicting dynamics; here Reyle plays out the dissonant colors and material canon that he developed over the years, in a free abstract form. All the pieces of his previously developed vocabulary - his signature gestures - can be found in these works while at the same time they are woven into a new complexity to gain new intensity and new visual effectiveness.

Exhibitions Reyle's past solo exhibitions include shows at König Galerie, Berlin (2023), Aranya Art Center Quinhuangdao (2020), König Galerie (2017), Galerie Almine Rech (2017), Gary Tatintsian Gallery (2013), Deichtorhallen Hamburg (2012), Kunsthalle Tübingen (2009); the Modern Institute in Glasgow (2007); one of new sculptures and paintings at Kunsthaus Zürich (2006); Galerie Giti Nourbakhsch, Berlin and Gavin Brown's Enterprise, New York. His first U.S. solo show was mounted by the Des Moines Art Center.

The artist is primarily represented in private collections such as The Saatchi Gallery, London, Daimler Collection, Berlin, Fondation Pinault, Venice, and Rubell Family Collection, Miami.

Public collections

Nationalgalerie, Staatliche Museen zu Berlin, Berlin, Germany Daimler Contemporary, Berlin, Germany Sammlung Boros, Berlin, Germany Sammlung Ingvild Goetz, Munich, Germany Collection Ringier, Zurich, Switzerland Pinault Collection, Venice, Italy Centre Pompidou, Paris, France Arken Museum of Modern Art, Ishøj, Denmark Leeum, Samsung Museum of Art, Seoul, South Korea Saatchi Gallery, London, UK Rubell Family Collection, Miami, USA