bonncologne

Reiner Ruthenbeck

Galerie Klein; Galerie Tanja Grunert

Baudelaire, one of the first apologists of Modernism, demanded the unexpected of an artwork. But when technology becomes as innovative as art, the new loses that oppositional strength that was so dear to Baudelaire’s heart. Reiner Ruthenbeck’s contrary strategy is slowness. In 1978 he created Weisses Dreieck (White Triangle), a metal staff inserted into a cloth ring, which is attached to the wall by a bolt; the bolt and the weight of the staff create the triangular shape of the cloth. Now, ten years later, he has created Rotes Dreieck mit verbogener Grundlinie III (Red triangle with twisted base line III, 1988). Comparing this piece with the 1978 work, one can see that apart from the different color of the cloth ring, and the addition of irregular twists in the metal staff, the causal relationship between the determinant (the staff) and the determined (the cloth) remains the same in both

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