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Life and Work

Chris Reinecke © Ricarda Niks

»Despite more than five decades of artistic work, Chris Reinecke is still largely unknown to a wider audience. This is partly due to the fact that institutions have been hesitant to discover her work so far. Chris Reinecke is one of Germany’s ›most important living artists‹.« (H.-J. Hafner, FRIEZE 4/2017)

Chris Reinecke's work in the 1960s was characterized by a participatory principle: it initiated open processes that made the public aware of the possibilities of their own actions and sensitized them to surrounding conditions. This was also intended to abolish the hierarchy between artist and audience. Her work sets groundbreaking precedents for exploring the relationship of individuals to their socio-political structure, illuminating working conditions and work processes, and questioning traditional gender roles. In 1968 she and her then husband Jörg Immedorff initiated the LIDL project in Düsseldorf, a loose association of artists who garnered attention for their political art actions. The LIDL project was soon characterized by increasing political radicalization, while Reinecke and Immendorff moved ever further apart, both artistically and privately, and the group eventually broke apart. Reinecke withdrew from the art world and got involved in social projects such as »Mietersolidarität« in Düsseldorf. In the mid-1970s, Reinecke returned to object-based artistic practice and began focussing on painting. Her work still centers on the precise observation of the world around her, but in addition to political and social questions, natural and cultural studies have also grown in importance. In her classical role as a painter, her works became more personal and intimate. At the beginning of the 90s, her repertoire expanded to include sculptural objects and installations. In her paintinga, Reinecke increasingly works with collage, which enables her to simultaneously process newspaper clippings, photographers, as well as her own notes and sketches. Eventually, she turned away from panel painting as a medium that limits both form and content. The resulting paper collages, some of them large in size, which make up an important part of her work today, combine painterly and conceptual approaches. They develop over the course of a long processes, sometimes over years, and are composed of different temporal and thematic contexts, which grow and become layered in all directions. This openness in form and content, the renunciation of stringent narratives in favor of free, associative moments, continues to challenge viewers to formulate their own point of view.

Chris Reinecke has never let her attitude become a posture. To this day, she has maintained a healthy mistrust of institutionalized systems—including not only socio-political systems but also those of the art establishment. She has consistently withdrawn her work from external expectations, appropriations, and demands. As a result of the uncompromising artistic freedom that she has created for herself, her work possesses a radical dimension to this day.

Chris Reinecke was born in Potsdam in 1936. After the war, the family ended up in Düsseldorf. In 1959 she then went to Paris and began studying at the École des Beaux-Arts, which she continued from 1961-65 at the Kunstakademie Düsseldorf under Karl Otto Götz and Gerhard Hoehme. With her actions and exhibitions, she became increasingly present in the Rhineland. From 1968, she was part of the LIDL collective with Jörg Immendorf and others, which also attracted international attention (Copenhagen, Antwerp). After withdrawing from the art scene during the 1970s, she would resume participating in individual and group exhibitions in Germany, Sweden, Japan, and other countries in the 1980s.

Works by the artist can be found in the collections of the Deutsche Bank, the Stiftung Museum Kunstpalast in Düsseldorf, the Museum Ostwall im Dortmunder U, and the Museum Abteiberg in Mönchengladbach.

Chris Reinecke lives and works in Düsseldorf.

Biography

1936 born in Potsdam, DE
1951 Family moves to Duesseldorf, DE
1959/60 Visit of the Atelier de Dessin et d’Arts Décoratifs in Paris, FR
1960/61 Studies at the École Nationale Supérieure des Beaux Arts in Paris, FR
1961 – 1965 Studies at the Kunstakademie Düsseldorf, DE, at Prof. Gerhard Hoehme and Prof. K. O. Götz
1968 – 1970 works and actions within the context of the Neo-Dadaist art intervention LIDL
1998 the first »Mappa Mundi« works were created
lives und works in Duesseldorf, DE

Prizes and Awards

2006 Kunstpreis der Künstler, DIE GROSSE Kunstausstellung NRW Düsseldorf, Verein zur Veranstaltung von Kunstausstellungen e.V., Dusseldorf, DE

Works (Selection)

Chris Reinecke, 2 einfache Muster (2 simple patterns), 2022
Chris Reinecke, 2 einfache Muster (2 simple patterns), 2022
Chris Reinecke, Tierbilder, 1983
Chris Reinecke, Tierbilder, 1983
Chris Reinecke, Ähnliches, Differentes, Gleiches / Pferdebild, 1981
Chris Reinecke, Ähnliches, Differentes, Gleiches / Pferdebild, 1981
Chris Reinecke, Animali / Ober- und Unterstadt, 2008 – 2016
Chris Reinecke, Animali / Ober- und Unterstadt, 2008 – 2016
Chris Reinecke, Ansteigendes Wasser, 2006
Chris Reinecke, Gewölbe für alle. Unter der Kuppel., 2016/2017
Chris Reinecke, Globales – Nationales / Instruments (3-part), 2000, © Linda Inconi-Jansen/ Beck & Eggeling International Fine Art
Chris Reinecke, Globales – Nationales / Wege der Bewegung (3-part), 2000, © Linda Inconi-Jansen/ Beck & Eggeling International Fine Art
Chris Reinecke, Globales/Nationales (3), 1990-92/2020
Chris Reinecke, Graue Dreiecke (Deklination der Fläche), 2020
Chris Reinecke, Demonstration bei Nacht, 1989, © © Chris Reinecke, photo: Mareike Foecking
Chris Reinecke, Schutz vor Anfassen, 1969
Chris Reinecke, Nicht-Appetizer, 1969
Chris Reinecke, Wege der Bewegung. Marsroute., 2018, © Chris Reinecke
Chris Reinecke, Jagd mit verstärktem Restlicht, 2007 – 2008
Chris Reinecke, Deutschlandbilder No 1, 1989, © © Chris Reinecke, photo: Mareike Foecking
Chris Reinecke, Deutschlandbilder No 2, 1989, © © Chris Reinecke, photo: Mareike Foecking
Chris Reinecke, untitled, 1996, © Chris Reinecke
Chris Reinecke, Dosen, 1995
Chris Reinecke, Dosen, 1995
Chris Reinecke, Dosen, 1995
Chris Reinecke, Köpfe, 1995

Solo exhibitions (selection)

1967 Chris Reinecke. Cooperative, Galerie art intermedia, Cologne, DE

Group exhibitions (selection)

1967 Aktion 67, Rheinkai, Dusseldorf, DE

EXHIBITIONS AT BECK & EGGELING (SELECTION)

Publications

Chris Reinecke. Zeit und Arbeit. Momente.

Chris Reinecke. Zeit und Arbeit. Momente.

  • Artist: Chris Reinecke
    Editor: Susanne Rennert
    Text: Susanne Rennert
    Design: Beck & Eggeling (Antonia Eggeling)
  • English, German
    Hardcover, 28,5 x 24 cm
    128 pages, 68 illustrations
  • Beck & Eggeling Kunstverlag, 2016
    ISBN 978-3-94606304-9
  • 28 €
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BE Highlights 2020

BE Highlights 2020

  • Artists: Magdalena Abakanowicz, Aljoscha, Herbert Beck, Gehard Demetz, Bertozzi & Casoni, Joachim Brohm, Marc Chagall, Heribert C. Ottersbach, Kwang Young Chun, Lucien Clergue, Piero Dorazio, Gerhard Hoehme, Anselm Kiefer, Ernst Ludwig Kirchner, Heinz Mack, August Macke, Fausto Melotti, Giorgio Morandi, Edvard Munch, Emil Nolde, Pablo Picasso, Fabrizio Plessi, Rudolf Polanszky, Chris Reinecke, Gerhard Richter, Norbert Tadeusz, Manolo Valdés
    Editor: Michael Beck, Ute Eggeling
    Text: Aljoscha, Michael Beck, Jil Campisi, Ute Eggeling, Andrea Knop, Andrea Krause, Kirsten Nordahl, Katja Ott, Heribert C. Ottersbach, Sebastian Schemann, Miriam Walgate
    Design: Antonia Eggeling
  • English, German
    Softcover, 25 x 21 cm
    120 pages, 92 illustrations
  • Beck & Eggeling Kunstverlag, 2020
    ISBN 978-3-94606324-7
  • 20 €
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Further publications

bibliography

Raphael Rubinstein, Chris Reinecke, Posted on May 3, 2015, http: // thesilo.raphaelrubinstein.com/artists/reinecke
Susanne Rennert, »Mich hat ja das Phänomen interessiert.« Professor und Studenten, locker verbunden: Hoehme, Polke, Reinecke / »It was the phenomenon that interested me.« Professor and students in a loose affiliation: Hoehme, Polke Reinecke, in: Susanne Rennert (Hg./ed.), Gerhard Hoehme – Relationen, Werke 1964 bis 1986 und Hoehme im Kontext der Düsseldorfer Kunstakademie: Sigmar Polke und Chris Reinecke, Ausst.-Kat. / exh. cat Galerie Beck & Eggeling, Düsseldorf 2015, S. 18ff.
Astrid Mania, Die Arbeit irgendwo befestigen. Über Chris Reinecke in der Galerie Flor, Berlin, in: Texte zur Kunst, Heft 91, September 2013, S. 232 ff.
Myriam Kroll, Chris Reinecke, Umgebungskleid ,1967. Schattentasche, 1967, in: Nie wieder störungsfrei, Aachen Avantgarde seit 1964, Ausst.-Kat. / exh. cat. Ludwig Forum Aachen, Bielefeld 2011, S. / p. 220 ff.
Susanne Rennert, Freilassen, Machen, Deutsch-Dänische Tage (Jörg Immendorff, Chris Reinecke, Bjørn Nørgaard, Per Kirkeby), Galerie Aachen, 15.–22.4.1967, in: Nie wieder störungsfrei, Aachen Avantgarde seit 1964, Ausst.-Kat. / exh. cat. Ludwig Forum Aachen, Bielefeld 2011, S. / p. 72ff.
Renate Buschmann (Hg./ed.), Zeitsprung, Rebellisches Düsseldorf 1966-1972, Fotografien von Jörg Boström, Bielefeld 2007
Stephan von Wiese, Das Bild ist nichts, Es ist nur eine Tür, die zu einer anderen Tür führt, Gedanken zum künstlerischen Werk von Chris Reinecke, in: Verein zur Veranstaltung von Kunstausstellungen e.V. (Hg./ed.), Große Kunstausstellung NRW, Düsseldorf 2006/2007, Düsseldorf 2007, o.S.
Lena Ziese, Chris Reinecke: Kunst muss sein, 1959 bis heute / Chris Reinecke: Art Is Necessary, 1959 to Present, in: JET /Lena Ziese (Hg./ed.), Chris Reinecke: Kunst muss sein, 1959 bis heute / Art is Necessary, 1959 to Present, Berlin 2009, S./ p. 10ff.
Hans-Jürgen Hafner, Wenn´s anders nicht geht, dann wenigstens zu den eigenen Bedingungen: Über Chris Reinecke / On Her Own Terms, If Need Be: On Chris Reinecke, in: JET /Lena Ziese (Hg./ed.), Chris Reinecke: Kunst muss sein, 1959 bis heute / Art is Necessary, 1959 to Present, Berlin 2009, S. / p. 31ff.
Isabelle Graw, Niemand macht mit, in: Texte zur Kunst, Heft 37, März / March 2000, S. / p. 118ff.
Barbara John, KUNST MUSS SEIN. Chris Reinecke und die 60er Jahre, in: Barbara John, Susanne Rennert und / and Stephan von Wiese (Hg./ed.), Chris Reinecke, 60er Jahre, Lidl-Zeit, Ausst.-Kat. / exh. cat. Kunstmuseum Düsseldorf, Badischer Kunstverein Karlsruhe, Kunstraum München, 1999–2001, Cologne 1999, S./ p. 9ff.
Susanne Rennert, Ein doppelter Strang. Lidl, 1968-70. Konzepte, Aktionen, Strategien von Chris Reinecke und Jörg Immendorff, in: Barbara John, Susanne Rennert und / and Stephan von Wiese (Hg./ed.), Chris Reinecke, 60er Jahre, Lidl-Zeit, Ausst.-Kat. / exh. cat. Kunstmuseum Düsseldorf, Badischer Kunstverein Karlsruhe, Kunstraum München, 1999–2001, Cologne 1999, S./p. 35ff.
Stephan von Wiese, Veränderlich. Kunst und Politik bei Chris Reinecke, in: Barbara John, Susanne Rennert und / and Stephan von Wiese (Hg./ed.), Chris Reinecke, 60er Jahre, Lidl-Zeit, Ausst.-Kat. / exh. cat. Kunstmuseum Düsseldorf, Badischer Kunstverein Karlsruhe, Kunstraum München, 1999–2001, Cologne 1999, S./ p. 65ff.
Isabelle Graw, Im Nachhinein, Interview mit Chris Reinecke über Immendorff, Beuys und Lidl, in: Isabelle Graw (Hg./ed.), Silberblick, Texte zu Kunst und Politik, Berlin 1999, S./ p. 64ff.
Im Nachhinein, Ein Interview von Chris Reinecke mit Isabelle Graw, in: Texte zur Kunst Heft 15, September 1994, S. / p. 111ff.
Susanne Rennert, LIDL-Chronologie, in: Marie-Luise Syring (Hg./ed.), um 1968, konkrete utopien in kunst und gesellschaft, Ausst.-Kat. / exh. cat Kat. / cat. Städtische Kunsthalle Düsseldorf 1990, S. / p. 159ff.
Stephan von Wiese, Chris Reinecke, in: Brennpunkt Düsseldorf, Joseph Beuys, Die Akademie, Der allgemeine Aufbruch, Ausst.-Kat. / exh. cat Kunstmuseum Düsseldorf 1987, S. / p. 247 ff.

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