Curator: Goschka Gawlik
The upcoming exhibition in BWA Sokół Gallery will be Michael Riedel's first solo show in Poland. In the exhibition we can expect to see the already classic by now in the German artist's oeuvre, configurations of posters appropriated from local "picture reality". The desired effect of these works is one of creating distance between an original work and a recreated one. Amongst the most recognized works by Michael Riedel presented at BWA Sokół, will be "paintings" from his Proposals for Change series, which were created by using soft black fabrics from which the artist has cut-out the word "modern" into various shapes of institutional logotypes. As the artists loosely hangs up the different versions of the word on the gallery's walls, the fabric starts to loose shape, bending, folding, causing the letters to suddenly loose their readability, incorporating into the work a suggestive element of implied flux and change. The starting point for the present exhibition will be a black logo with the word: "BWA Sokół".
This playful manipulation of painterly conventions with which Michael Riedel expresses himself can be equally felt in the other works presented in the exhibition. In one of them, for example, he uses computer programs in order to remix Internet pages that contain texts either about himself as an artist, about his work, or any other activities that he may have been involved in, these texts often being either critical in nature or documentations of his oeuvre. Riedel then transfers printed versions of these Internet pages onto the given space of a canvas. Similarly as with the other works, his interest lies in the relationship between the intentional and the random, in its creation of polyphonic repetitions. With Poster Paintings, Michael Riedel presents paintings where the dominating motif is a series of black or colored wheels, as made famous by the Quark Express computer program, these warning wheels often appearing on computer screens during either computer failures or overloads.
First presented at the inaugurating Moscow Biennale in 2005 and now for a subsequent time at BWA Sokół, Michael Riedel's work One and Three Chairs, which stems originally from the famous and identically named work by artist Joseph Kosuth from 1965, differs from the American conceptualist nonetheless in that, by comparing the original with the copy, Riedel isn't interested in searching for a lasting relationship between the meanings of the works. Riedel however does claim that by copying or applying post-production, one can create new threads into any form of information and thus gives it new tonality. As exhibited in BWA Sokół, One and Three Chairs will comprise of a tapestry of large-sized photographs, rehashing Michael Riedel's earlier reproductions of the American conceptualist's work. Represented on the tapestry will be chairs used during performances in Moscow, London and Bern. Within the context of each performance, four people are chosen (these being art historians, curators and artists) and given the task to converse about Michael Riedel's work, or to refer to the specificity of the surrounding space. As it had been done with past recreations of Kosutha's original work, these conversations are recorded and subsequently utilized on the posters of the exhibitions. By transcribing the comments of the participants, the artist essentially recodes these conversations anew. In this way, Michael Riedel experiments with the history of the functionality of linguistic formulas, in terms of its processes of repetitions, as well as its possible combinations and transformations within the conversations of the individuals. In the case of the exhibition in BWA Sokół, we ask you to note down the conversations that will be exchanged during the performance of June 2013, as they later will be transcribed onto posters inside the gallery.
Michael Riedel (b.1972 in Rüsselsheim) – in 2002, graduated from Frankfurt's Städelschule, as well as l' École nationale supérieure des Beaux-Arts in Paris. Michael Riedel is one of the most interesting and resourceful artists from the contemporary art scene in Germany. A versatile artist, he's been recognized by the critic known as Digital Dandy (for the clarity in his creative approach towards digital representations of paintings), since 2005 he's also been part for the American art scene. He's been given public recognition for actions he's developed in a rented house near Oskar-von-Millerstrasse in Frankfurt, where, first along with his friends, and then subsequently with other artists, he's created a series of actions comprising of repetitions and re-productions of exhibitions, readings, concerts, film screenings and other culturally related activities within the city. A recognized critic, Roberto Ohrt has called Riedel's rented house "The saboteur's work space or the house of the shadows". Since 2004 - while still working and living in Frankfurt - Riedel has been the head of a culinary institute called Freitagsküche, where the eating of healthy and tasteful dishes is combined with art, music and other forms of collective interactions. In 2012 his body of work was recognized by a retrospective called Kunste zur Text (Art into Text) in the prestigious Schirn Kunsthalle in Frankfurt. Aside from that, Riedel has often exhibited at the David Zwirner Gallery in New York (recently in 2013), as well as at the Gabriele Senn Gallery in Vienna (2012), the Kunstverein in Hamburg (2010), the Francesca Pia Gallery in Zurich (2009) and the Städel Museum in Frankfurt (2008). Riedel has also taken part in group exhibitions at the Cicica d`Arte Gallery in Turin (2010), the Tate Modern in London (2009), the Vienna Secession (2003), the Biennale of Contemporary Art in Lyon (2003) and the Biennale in Moscow (2005).