was born in Tübingen, Germany in 1970. He currently lives and works in Berlin.
Reyle’s stripe paintings are instantly recognizable 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.
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. By removing these materials from their contexts and masking their original function, Reyle varies the degree to which each retains its respective visual reference. Utilizing formulas of appropriation the work lets the viewer shift between moments of identification of individual elements within the work, and periods of alienation due to their new context. Even the exhibition and work titles are very often citations from different fields, such as song texts; they function as objets-trouvés of the artist´s repertoire.
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.
The artist’s past solo exhibitions include shows at the Modern Institute in Glasgow (2007) and Galerie Almine Rech, Paris; one of new sculptures and paintings at Kunsthalle Zurich (2006); Galerie Giti Nourbakhsch, Berlin and Gavin Brown’s Enterprise, New York. He has also participated in numerous international group exhibitions including ones at Tate Modern, London and the Palazzo Grassi, Venice, Italy.