February 5 - March 26, 2016. Bischoff Projects Frankfurt/M.
Opening reception: Thursday, February 4th, from 7:00 to 9:00 pm
Hanauer Landstrasse 20 - 22
D-60314 Frankfurt am Main
Hours: Tue - Fri 1 - 6:30, Sat 11 - 2 & by appointment
Bischoff Projects is pleased to present an exhibition of work by Michael Riedel. While mimicry is a key facet of Riedel’s work, through the use of recording, labeling, and playback, his aim is to highlight the channels themselves through which these works are distributed. Riedel reflects on how art functions in our current systems: institutions, the press, the art market, even the collective narrative behind the careers of artists. He then takes the resulting found content such as texts, websites, conversations, exhibition architecture, and the ephemera of art events. By changing and even translating this content through his own system, Riedel recycles the art world to produce self-referential loops of it.
This presentation features part of his recent three-part exhibition held over the course of three years at the Palais de Tokyo (Paris), for which he repurposed seating areas, a bar, and a stage as interactive installations. In these installations, the copying of various elements of production is layered. Each of the three parts was inscribed with a different text that factors into the reading of the space. For example, in Jacques comité [Giacometti] (2013), the text, titled “o,” was based on a sound recording that documented the dismantling of an exhibition entitled Giacometti –The Playing Fields at the Hamburger Kunsthalle in 2013. These sounds were then transformed into text by speech recognition software, resulting in gibberish that was emblazoned on the walls of the makeshift space. Riedel points to the recording techniques– both of the metaphorical record of installation/de-installation as well as the literal digital technology– as displacements where slippage and faulty translations can and do occur. The following works in the series, Dual Air [Dürer] similarly used the recording from install/de-installs, while EFFJ KNOOS [JEFF KOONS], used the previous texts as material and reproduced them in alphabetical order EFFJ KNOOS [JEFF KOONS] also had a shop inside, a gesture toward that artist’s work as well as to the art market’s merchandising tactics. This current exhibition comes out of the exhibition architecture from these exact shows and texts that refer to the installation.
Riedel attempts to examine the importance behind each aspect that surrounds the artist when exhibited: how the work is presented, sold, celebrated, or even thrown away, while also encompassing how many people, and which people, are involved in this process, from the museum directors, to the curators, to the viewers, to the art handlers, to the raw material producers. The focus on this chain of command for him reflects the choices that lead to how art history develops and how its borders shift.