folgen Sie uns auf Facebook!
Print
Museum Ritter Museum Ritter
Deutsche Version
Newsletter
The Marli Hoppe-Ritter Collection
in Schwäbisch Gmünd
Antonio Calderara
(22.05.-18.09.2011)
In Focus: The 1950s to the 1970s
Works from the Marli Hoppe-Ritter Collection
Caution colour!
(10.10.2010 - 01.05.2011)
Regine Schumann - black box
(10.10.2010 - 01.05.2011)
Timm Ulrichs (08.05. - 19.09.2010)
Camille Graeser (08.05. - 19.09.2010)
Homage to the Square
(18.10.2009 - 11.04.2010)
MUSEUM RITTER on tour
(28.05.2009 - 25.06.2009)
Pictures opening-ceremony 28.05.09
Installation in situ from Michael Reiter
François Morellet (17.05. - 27.09.2009)
Alighiero Boetti
(26.10.08 - 26.04.09)
Gastspiel
(26.10.08 - 26.04.09)
Bildertausch 3
(18.05.08 - 28.09.08)
Geneviève Claisse
(28.10.2007 - 20.04.08)
Werner Bauer
(18.05.08 - 28.09.08)
Bildertausch 2
(06.05. - 30.09.2007)
New Friends
(28.10.07 - 20.04.08)
George Pusenkoff
(06.05. - 30.09.2007)
Bewegung im Quadrat
(22.10.2006 - 15.04.2007)
Marcello Morandini
(21.05. - 03.10.2006)
Bildertausch 1
(21.05. - 03.10.2006)
SQUARE
(18.09.2005 - 23.04.2006)
Installation by Michael Reiter
Michael Reiter
*1952, lives in Frankfurt am Main

246 YDS, 2009
Laquered wood, tensile bands
150 x 2100 cm
Michael Reiter’s material of preference is fabric. Already some years ago the Frankfurt artist swapped his brush and paint for fabric and sewing machine. A distinguishing feature in his oeuvre has become ribbons sewn together from various fabrics, which are then stretched criss-cross through space, or along the surface of walls, or are twisted round corners to form wall containers.
And the foremost constitutional principle in these works is tension – as in his installation for the Landesvertretung Baden-Württemberg in Berlin. The artist was invited by MUSEUM RITTER to devise a piece specially for this location – but with the difficult stipulation that the work should in no way harm the surface of the walls.

Reiter responded with the installation 246 YDS, which one only first discovers after passing through the foyer into the airy, 13 meter-tall space between the main hall and the gallery. A look upwards reveals the square windows at either end of the lengthways axes of the space, which are arranged in two vertical rows. The artist has placed two wooden panels done in striking colours behind two windows facing opposite one another, 21 metres apart, and held them in place solely by means of tensile bands. The result is a bundle of brightly coloured ribbons that spans the space up above and links the two levels of the gallery in a minimalist, reduced manner. This is an architectural intervention that cannot fail to impress by its airy linearity and economical elegance.