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11/6/2014

Ulrich Riedel

Berlinartprojects - BAP Istanbul, Istanbul

THE INVERSION OF THE PROXIMATE ARRANGEMENT*

“A divine inspiration! And idea with horns. It was just like Him from whom it came, the Invisible and Spiritual One, to whom the world belonged and who, although He had especially selected out the blood kin down below, was the Lord of the whole earth. So with his head afire, Moses, borrowing loosely from the people of the Sinai and using his graver, tried out on the rocky wall the signs for the babbling, banging, and bursting, the popping and hopping, slurring and purring sounds, and when he had artfully assembled the distinctive signs together – lo and behold, you could write the whole world with them, whatever occupied a space and whatever occupied no space what was made and what was made up absolutely everything.

We cannot know whether Ulrich Riedel felt the same unbridled joy about his invention of a special form for the alphabet that Moses did in Thomas Mann’s Old Testament story. He probably wouldn’t be the type to bring it up anyway – he did, after all, title his masters’ thesis project for the Tony Cragg/ Florian Slotawa class ICH HABE NICHTS ZU SAGEN/ I HAVE NOTHING TO SAY.

It is no coincidence that this attitude of refusal regarding the audience’s desire for personal expression and authentic testimony places Riedel in the tradition of concrete and minimal art, which also eluded these demands. Besides the use of quasi-industrial means of production, Riedel’s art also shares minimal and concrete art’s reduction of personal handwriting, modular design and seriality.

*From Dr. Heinz Stahlhut' text on Ulrich Riedel's work in recent years

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