Galerie Crystal Ball

Gabriele Regiert – Plan B

The exhibition of Gabriele Regiert is open to individual visitors during the usual opening hours from Friday 8 May.
Finissage: 16 August, 5 p.m.

The exhibition is open to the public again. You can now visit the gallery again during the usual opening hours. In view of the Corona Pandemic we have also published a 360 degree panorama including an interview with the artist.

Gabriele Regiert, Plan B, ca. 320 x 350 cm, Installation/ Detail, 2020

Plan B, Gabriele Regiert on her tiny planet

In the exhibition Plan B, Gabriele Regiert shows her installation of the same name, a large tableau of assembled drawings and canvases. Each work, and drawing stands on its own, but its own presence adds up to an overall effect. Gabriele Regiert’s drawings are processes; their sequence of events, her work that wants nothing but her actions, is her motif. In this way, very free, highly aesthetic sheets are created which do not want but become art. In Plan B., the sheets are hung on top of each other and partly on top of each other like emergency seats, parts of the picture disappear or appear to be brought together in an uncontrolled way. It is precisely this strategy of an unusual, succinct treatment that effectively produces the emanation of the pictures and is exemplary for the artist as an artistic attitude. Gabriele Regiert quotes and touches on visual universals such as in this case note boards, pinboards or the case collections known from crime novels – collections that resonate in this aesthetic. The interplay opens up to meaning – unexpected associations – it is about the moment. The artist keeps her drawings open. The handling of the unfinished, an unconscious drawing action whose lines are always on the way, whose patterns look for themselves elsewhere and are more committed to the tea stain than to a concrete goal, reinforce her present presence. The installation is always temporary in this way of working. When hung again, the presentation resembled a re-enactment rather than a precise repetition.
The working process is dynamic, the artistic products almost performative, lively in their creative context, not fixed. Some would certainly have disappeared because they continued working or became material again in the artist’s fund. This way of working is very committed to life, it democratizes the works among themselves and works on a new innovative attitude. Gabriele Regiert’s work contains a processual, superordinate understanding and thus shows that art is immediate liveliness.

On the occasion of the exhibition the edition „Pret A Manger“, framed, 18 x 12 x 5 cm, edition of 15, each 120,-

Pret A Manger 2/15 – Gabriele Regiert, Edition #1, framed/ signed, 120,- Crystal Ball, 2020

Gabriele Regiert – Großer Vorhang für kleine Bilder

Vernissage at Fr. 15th. July 2016 at 8 p.m.
to 26. August 2016, 8 p.m.: Finissage with performances by Lydia Karstadt, Rias in the evening, Oliver Voigt and a DJ set by Erochica Bambou

Late Curtain Box Gabriele Rules Gallery Crystal Ball Berlin
Late Curtain Box, Gabriele Regiert 2016

Gabriele Regierts Art shows a special presence, which is created by a virtuoso language of her objects. The artist’s installations, superstructures and objects create a free effect that also moves outside the classical art context. One could claim that they operate contrary to conventional conventions of attention and awareness or set counterpoints through their phenomenology. Their reading and reception is rather performative, because one seems to create a way of seeing the objects and in the installations. Some works sometimes seem unfinished or even accidental, and certain interventions allow us as viewers to wander into hypothetical assumptions. Has the built-in hardboard in the object been designed by the artist or has it been painted by a child before? Is it created or staged? The equality of materials as affect supports a special presence in limbo. It is the presence of the lapidary and the trivial, the forgotten, placed on the road, of the retired thing, which conquers its new meaning. This is precisely the creation, the talent of the artist governed to create a meaningful openness in a long-lasting work process. Contrary to the unambiguousness of an artist’s design, or even a stricter, market-oriented concept, it increases the freedom of works of art in an immanent manner and makes them disappear for us, partly materially. They show a lost functionality, a more reminiscent form, better establish an association, to something intangible, which nevertheless appears and appears. Things themselves are fleeting and unstable, almost spiritualized in their intermediate world. It is also unclear where the work ends or begins. Where is it unique? Where is it equivalent or belongs to something? Irretrievable original becomes material. Own and foreign painting is torn into stripes and weaved into new surfaces or pulled over wooden bodies and enters the room. Own and found. The collected, the left, the processed parts, the tracks and workpieces communicate. The old with the new. The secret and the obvious. The relationships, the connections of things. The archive says: “A big curtain for small pictures”. Gabriele Regiert is a responsible collector and archivist, a precise and unimpressed artist. Your things get to their ideal place at the right time. In the context of material, they occupy a place in this world that suits them and also explains it intuitively. Especially amusing and downright ingenious when a new series of works for the exhibition in Crystal Ball again play “works of art”. Some wooden parts, screwed together, screwed and sawn in, form a wooden body and reach into the room sculpturally. They are true performers. They are not only bodies, but they also embody.

Gabriele Regiert – Remise en Ordre, Installation

Crystal Ball Berlin