Michael Riedel
29 Oct - 10 Dec 2011
MICHAEL RIEDEL
Club(b)ed Club
29 October – 10 December, 2011
For the past ten years or so, Michael Riedel has been exploring notions of identity and copy in the age of digital reproducibility, by constructing a system of replicas which takes on many different forms: sculptures, videos, sound recordings, books and posters, silkscreen prints on canvas, and events.
He thus produces invariably slanted reconstructions of exhibitions, objects and situations, adopting processes of reversal, distortion and duplication. Well removed from the simple, common-or-garden copy, his work can be situated alongside re-emergence, and puts time and context at the hub of his questioning. His essentially process-related works echo their motifs while giving them a continuity in the present. Whether he is identically reproducing the entrance corridor of a Rirkrit Tiravanija show at the 2007 Lyon Biennale or re-arranging the Neo Rauch exhibition with David Zwirner—their gallery in New York—based on life-size photos of the pictures, Michael Riedel translates as much as he transposes.
At Zoo Galerie, he is calling his show Club(b)ed Club, and proposing a re-creation of an evening that was held at the Club Rio in Berlin in 2006. And when the recording of the said evening, broadcast as a sonic backdrop, is combined with the noises of the October 2011 evening, time becomes concretion-like at the heart of the “décor” which mingles original club furnishings and things produced for the show. So there is something akin to a “time-frame of sculpture”, a time-based occupation of the space, but above all, and also, an interpretation of a moment with a both linguistic and musical sense to it, or a performance.
The elements of the installation, perforce disparate and fragmentary, in the end give more room to the absence of things missing than to their actual presence. They are there above all to render the void between them material, and get us to read between their lines. What is mainly involved here is the circulation of time and information, of the endless rebroadcasting of this latter, whether incarnated in the sound track or the posters covering the exhibition walls.
Club(b)ed Club
29 October – 10 December, 2011
For the past ten years or so, Michael Riedel has been exploring notions of identity and copy in the age of digital reproducibility, by constructing a system of replicas which takes on many different forms: sculptures, videos, sound recordings, books and posters, silkscreen prints on canvas, and events.
He thus produces invariably slanted reconstructions of exhibitions, objects and situations, adopting processes of reversal, distortion and duplication. Well removed from the simple, common-or-garden copy, his work can be situated alongside re-emergence, and puts time and context at the hub of his questioning. His essentially process-related works echo their motifs while giving them a continuity in the present. Whether he is identically reproducing the entrance corridor of a Rirkrit Tiravanija show at the 2007 Lyon Biennale or re-arranging the Neo Rauch exhibition with David Zwirner—their gallery in New York—based on life-size photos of the pictures, Michael Riedel translates as much as he transposes.
At Zoo Galerie, he is calling his show Club(b)ed Club, and proposing a re-creation of an evening that was held at the Club Rio in Berlin in 2006. And when the recording of the said evening, broadcast as a sonic backdrop, is combined with the noises of the October 2011 evening, time becomes concretion-like at the heart of the “décor” which mingles original club furnishings and things produced for the show. So there is something akin to a “time-frame of sculpture”, a time-based occupation of the space, but above all, and also, an interpretation of a moment with a both linguistic and musical sense to it, or a performance.
The elements of the installation, perforce disparate and fragmentary, in the end give more room to the absence of things missing than to their actual presence. They are there above all to render the void between them material, and get us to read between their lines. What is mainly involved here is the circulation of time and information, of the endless rebroadcasting of this latter, whether incarnated in the sound track or the posters covering the exhibition walls.