In “Eight Miles High,” his first one-man show at König Galerie, Anselm Reyle created a shining sculptural trinity of geometrical abstraction, beautifully combining processes of secularization and re-sacralization. In the gallery’s central exhibition space––the converted nave of the former Saint Agnes Kirche––he placed three free-hanging large-scale aluminum sculptures: Windspiel (Diamond), Windspiel (Square), and Windspiel (Circle) (all works 2017). The setting is both ambitious and demanding: a vast room, forty feet high and more than four thousand square feet in size, whose walls are covered in gray-beige roughcast.
Reyle keeps returning to the visual languages of modernism: its utopian forms, its poignancy, and what often can be seen with hindsight as its strange wrong turnings and idiosyncratic paths. He takes up these visual languages in his work, affirmatively appropriating
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