UNTITLED, Art Miami Beach 2018
re.riddle is excited to announce the gallery's participation in UNTITLED, Art Miami Beach 2018 at Ocean Drive and 12th Street, South Beach, Miami from December 4 - 9, 2018.
Come visit us at Booth B28, where select works by artist Patricia Reinhart (Paris, Vienna) will be exhibited.
Included are a few highlights of the show. Please feel free to contact us if you have questions or would like more information about a specific work.
Image: Patricia Reinhart, Cut Outs (Paradise), 2018, Watercolor, marker on linen, 67” x 59”.
Patricia Reinhart's (Paris, Austria) artistic practice focuses on video (installation), photography within/and the public space, and painting. The three mediums complement one another by generating a subtle dialogue between the distinct artworks.
Reinhart approaches her painting through the notion of an active moment. There is an immediate need to paint directly with color and brush without pre-sketching on the white canvas. The active moment of “doing” underscores this body of work, which constructs a guiding principle and structure to her practice. Reinhart refuses to retract a single brushstroke or mark, and as such if an idea fails, the image is destroyed; a false line ruins the entire composition. Thus, the color compositions and lines are and may be as they are, which produces a dynamic coalescence of tones and shades without a deliberate color order.
In the painting series Patience begun in 2015, Reinhart paints exclusively with watercolor on linen, a technique which requires a very special approach. The artist works in several phases, every gesture is meticulous and repetitive, almost hypnotic, until the moment Reinhart knows she has to stop.
Throughout the painting process, Reinhart will rotate the linen canvas and paint. This practice creates various layers of depth and compositions, and more importantly, perspective and the picture plane become multiplied. Moreover, the act of rotating the canvas prevents the color from accidentally dripping into another color line and is consciously controlled by creating a moment of a clash or a non-clash. The collision of the colors is never hidden, the evidence of the encounter of colors is always visible. Areas are never painted over, thus the possibility that one color does not harmonize with the other color represents the risk the painter embraces and explores in the process.
In the recent series The Cut-Outs, Reinhart is even taking a bigger risk by cutting directly into painted fields of a composition. The Cut-Outs present erratic, seemingly uncontrollable compositions of polychromatic lines together with deliberate, precise cut-out and detached areas of the composition. Reinhart perceives the cutting and painting as parallels, inevitability enhancing the painting into a sculptural object.
Photocredit: Holger Schmidhuber
the self portraits / portraits to questions of femininity
Chromogenic prints, 24 x 36 cm, 2001-2018
Images taken from various Photomaton booths in Paris: Pont Marie, Pont Neuf, St. Paul, Hôtel de Ville, Sully Morland, Arts et Métiers, Poissonnière, Cardinal Lemoine, Cité, Porte des Lilas, Châtelet, St. Michel, Porte de Vincennes, Ècole Militaire.
Patricia Reinhart’s self-portrait series entitled THE SELF PORTRAITS / PORTRAITS TO QUESTIONS OF FEMININITY employed the Photomaton booth in the Parisian subway stations as a platform to perform different identities as a woman. This series begun 2001, when Reinhart first moved to Paris and it is an ongoing project. The photographic double portraits reflect an intimate sensibility and implicit symbolism, and function as indexes of the artist’s emancipatory gesture performed in these Photomaton booths. The various gestures and poses portrayed in the self-portraits explore female identity, confronting and critiquing the insidious and naturalized ideologies about women, and experiences women go through subconsciously to comply with the stereotypes that are dictated and perpetuated by the society.
cine collage, multi channel HDV-installation, bw and color, loop, sound, 9:57 min., 2015-2017.
Showcased: Nuit Blanche, Paris, France, October 2018.
The film installation recalls Reinhart’s former video works, in which her visual language encompassed architectural elements, buildings, gardens and public spaces that were montaged and arranged together to present a destroyed, post-apocalyptic world. By using the bilateral symmetry of a building and its surroundings, manipulated elements of vegetation, water, fire and air, as seen in the Rorschach Test, perspectives change and the world reflects itself, and it seems to break and collapse.
The main theme of the work is the symbol of the woman in the garden. Sparked from an interrogation of psychoanalyst Arno Gruen’s theories regarding the ways in which power through stoic values such as of "strength" and "invulnerability" (pervasive in our current society) would eventually lead towards a path of dehumanization, Reinhart considers alternative models of power through an embrace of human and humanity, and the notion of the feminine.