Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05

 
Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05 Stefan Rinck / Abstracción bárbara en la casa de los excéntricos / 20.03 - 15.05

Stefan Rinck / MATERIAL Art Fair 2019 / Mexico City

 
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Humberto Poblete-Bustamante + Stefan Rinck / CODE Art Fair 2018 / Copenhagen

 
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Stefan Rinck / Fresh meat in the shark Pool / 23.06 / 2017 / Mallorca

 
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Stefan Rinck + Wolfgang Voegele / Feria ARCO 2017 / Madrid

 
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Stefan Rinck / 12.09 - 07.11 / 2015

 
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Stefan Rinck / Abstración bárbara en la casa de los excéntricos / 20.03 - 15.05

 

The strange man is all that exists, treading the long and lonely road. But who is he? A magician who turns everything into nothing, no-one into someone, nothing into everything. Is he a philosophy? A history? A drama, or a novel? A religion? An art? Nobody knows. He doesn't know either. All I know is that he's done something right, despite the crushing weight of futility. He's someone new, special, someone who doesn't only disintegrate trees, evil beasts, giants and dwarves: above all, he disintegrates himself.

What is the psychology of savage abstraction? Abstraction, here, means exaltation and detachment. Psychology becomes distanced from the subject, and it takes on greater objective meaning. Matters of psychology are no longer a mere human ingredient, but rather an objective function of the physical artwork, of sculpture. Psychology moves from the specific to the general, from interpretation to the purely material. The pendulum swings between savageness and abstraction. They are not mutually exclusive. They become one. Detached psychology, inherent to abstraction, joins them by means of a magical connection. Even before the great outdoors gives these stone images a semblance of scenic obviousness, the connection must already have been there.

What is time? It never actually appears anywhere. Nobody even denies this. It simply does not appear; it is not taken into consideration. Today is like yesterday, like tomorrow and like today.

In its pure state, time is spellbound. In this state, savage sculpture emerges. Without any friction. Savage sculpture does not engage with time; time engages with it. It is not affected by the pace of historical process. It does not float in the river. It stays on the riverbank, motionless, watching on.

 

Stefan Rinck

 

 

Stefan Rinck (Germany, 1973) returns to Galería Alegría to present his exhibition Abstracción bárbara en la casa de los excéntricos. Joined by his characteristic cohort of stone figures and inscrutable idols, the artist takes over our main exhibition space with a new collection of sculptures that show striking originality and a bold central conceit. This exhibition further bolsters Rinck's position as a unique voice in contemporary international sculpture.

In this new show, Stefan Rinck explores the concept he calls "savage abstraction", a term he uses to try and identify that hazy area where history, psychology, ritual, fantasy, magic, aesthetics and manual skill all converge, those different approaches which bring to the surface all the mutant offspring and wondrous beasts that we have sought to hide away in the corners of our collective subconscious. Rinck, like a kind of modern shaman, throws himself into savage and unbiased sculpture, one which is capable of summoning supernatural creatures. The German artist revisits, as such, a recurring theme in his work: the persistence of the monster and the divine beast in the contemporary mindset. This time, however, he does not limit himself to exploring the mere concrete form of the idol, but rather its capacity to act as an echo chamber for more abstract concepts.

As a result, the analytical forms of contemporary life are called into question, given the frustrating survival of all those impulses that progress itself seems unable to quash. From these impulses, Rinck extracts his own peculiar and carnivalesque theogony. Furthermore, the idol's stony ruthlessness is joined, this time, by the contrasting nature of those "eccentrics", who could in fact be any one of us, as the powerless, confounded spectators we are. The present relevance of this work, which is both acutely amusing and disturbing, lies in its reverential fear of the unknown and the sublime ridiculousness of what is overly human.

The sheer mastery and undeniable quality of the sculptural work in Savage Abstraction in the House of the Eccentrics reveals a pantheon of cruel, parodic and inquisitive presences. The multiplicity of materials, the skill with which they have been handled and the overall sculptural calibre invite the spectator to become lost within the considered composition of these pieces, in all their emphatic presence. The work as a whole, full of detail, takes us back to our childhood obsessions with myths, monsters and marvellous beasts. As a new slant on this, and alongside beings that reflect the artist's own obsessions (crocodiles, skulls, gnomes and demons), we find new creatures defined by colder, more fearsome geometries. There is a certain chilling, mechanical quality to them, and there are also some more current and terrible gods... We witness new prophecies and new tensions: ultimately, these are new paths for such an extraordinary sculptor.

Stefan Rinck thus shows, in this new exhibition, that he can make stones talk, and he can bring to life those sardonic and sinister idols that we have long tried to forget, but which have managed to claw their way back to us, now in the form of his majestic sculptures. Therefore, it is a rare privilege for us that our gallery has become his "House of the Eccentrics", hosting work of such savage and uncanny abstraction.

 

 

Stefan Rinck / Fresh meat in the shark Pool / 23.06 / 2017 / Mallorca

 

 

Well, the title refers to Petra, a shop owner from Port Andratx. Fresh Meat is how she is considering me and shark pool is her metapher for Mallorca.

 

Tempted by the beauty of the pool of Guillermo Rubi we will bring a whole body of work to his fantastic house in the middle of nowhere. The focus will be his beautiful pool which he designed himself. It is 3m depth at the deepest and has an outstanding stairway.

 

Some of the sculptures will be displayed inside the water that they could only be discovered while swimming and diving. The visitor is asked to bring their swimming suits, their goggles and if they have their waterproof cameras.

 

Stefan Rinck / 12.09 - 07.11 / 2015

 


The Ethernal comedy of the creatures.

 

When we look at ancient sculptures, we expect them to talk to us, but the fact is that they do not even see us, they "ignore us". The "botany of death" cultivated by the West has turned these "mutilated traces" of bygone civilisations into lifeless museum pieces or "art of the flower-pot". These are words taken from the beautiful argument put forward by Chris Marker in Les statues meurent aussi, which takes us back to the times when these "severe dolls" that we call idols were the "guarantee of accord between man and the world".

 

The pieces by Stefan Rinck bear witness to the breaking of this pact between life and death. They are aware of the silence of the stone, of the profanation of their enigma over the centuries, of their subservience to Manichaean idolatry and demagoguery.

 

As an act of humility, though one imbued with a delicate irony, Rinck demonstrates, for example, the impossibility of interrogating an African mask: his subconscious mixes it with the vision of a GDR Stasi agent and a hipster from the Neukölln neighbourhood in Berlin (Observer).

 

He uses sandstone, the same type of stone employed in medieval capitals and gargoyles to reassign diabolical characters to the rich bestiary of Graeco-Roman and Byzantine times. He restores the signic ambivalence to these sly monsters (simians, dragons and the like).

 

He plays with ambiguity and misunderstanding by laying down a number of different strata of interpretation in a single icon: pointed hats are a reference to the Inquisition's hood but also to the headdress worn by fairies; ruffs elevate figures to the nobility, but other attributes betray their chimerical status (masks, jester's hats, etc.). Fable and history are inextricably intertwined.

 

His syncretic sculptures are the result of casting nets out over the history of forms and meanings, eventually joining Mayan pyramids with Brancusi's Endless Column. Both poetics of ascension, based on the belief that we transcend beyond death, are mocked by Pinocchios and other charlatans whose busts crown these perfect geometries.

 

Skulls are common in Rink's iconographic repertoire. However, far from representing "the roots of the living" (like the ancestors sculpted by Africans or revered by Mayans), they remind us of tragic fates (Orpheus and Eurydice, despotic rulers, etc.) or laughable beings such as Priapus after death, a skeleton with an erect phallus whose regenerative symbolism is cancelled out by its own fleshless condition.

 

The blind troglodyte led by a minotaur's mask sums up this struggle between instinctive violence and the spiritual aspirations that have always guided human beings, who are incapable of finding a way out of the labyrinth that they themselves have constructed using the bricks and mortar of superstition, deception and an urge to dominate.

 

Anna Adell