• 9 SEP
  • 10 SEP , 12:00h - 20:00h
  • 11 SEP , 12:00h - 20:00h
  • 12 SEP , 12:00h - 20:00h
  • 13 SEP , 12:00h - 20:00h

Anselm Reyle, Untitled, 2018. Courtesy: The artist and KÖNIG GALERIE, Berlin, London, Tokio.
Peter Halley, Inside Game, 2019. © Peter Halley, courtesy Galerie Thomas Modern, Munich

Exhibition , Further events


10—13 SEP 2020

Johann König 
Dessauer Straße 6—7, 10963 Berlin
Thu—Sun 12—8pm

KÖNIG GALERIE is pleased to mark the Gallery Weekend from 10—13 SEP 2020 with an exhibition of works by Peter Halley and Anselm Reyle, in Dessauer Strasse 6—7 in Berlin-Kreuzberg.

Halley and Reyle have exchanged pictures and exhibited together in the past. United by a fascination with formal elements such as day-glo colours and relief-type surface structures, the two nonetheless pursue very different artistic strategies, evocative of the traditional categories of classical and romantic art. Whilst Halley’s paintings are characterised by geometric forms and vivid colours, Reyle has deliberately selected works in which the visual quality is determined by the materials, with foils and slivers of metal coloured by reflected light and further elements of colour integrated through the use of acrylic glass and fluorescent tubes.

Peter Halley’s works and essays form the foundation of neo-geo, but the artist clearly follows the tradition of constructivist colour field painting as well. He breaks up the two-dimensionality of the canvas by introducing variations in surface textures and suggests relief as an artistic option. It’s on this point that the works of Reyle and Halley converge, Reyle’s use of relief being even more demonstrative, foregrounding the sculptural aspect.

The two artists share a strong relation to the present — Halley through his representation of organisational structures, such as communication and travel networks, or circuit diagrams, and Reyle through his use of foils and metal scrap referencing contemporary consumer society. Taking his inspiration from window displays, among other things, Reyle raises questions around the relationship between art and kitsch, the image-worthiness of the banal, and the artistic quality of supposedly cheap materials. Both artists seem to keep the observer at arm’s length: for all their colourfulness, the clear-cut geometric forms of Halley’s works lend them an emphatically rational component, whereas Reyle’s foils leave the observer to their own devices more, rather than inviting them to lose themselves in the works. Only logical, given that both artists take their cues from external influences rather than from within.