Galerie Barbara Weiss
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Artforum, October 2015
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Thomas Bayrle
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GALERIE BARBARA WEISS
IN PRINT
DIARY
500 WORDS
PICKS
NEWS
PREVIEWS
VIDEO
BOOKFORUM
FILM
PASSAGES
中文版
A&E
SLANT
Berlin Reviews
INPRINT
REVIEWS
Thomas Bayrle
GALERIE BARBARA WEISS
OCTOBER 2015
New York
Barry Schwabsky on Ida
Applebroog
REVIEWS
Robert Pincus-Witten on
Gilbert & George
View of “Thomas Bayrle,”
2015. From left: São
Paulo/church, 2015;
Donezk, 2015; Brescia,
2014; Mexico City, 2014;
Gerano Pavesi/church,
2015.
Jeffrey Kastner on
Philippe
OCTOBER
2015 Parreno
Lauren O’Neill-Butler on
New YorkMaria Nordman
Barry Schwabsky on Ida
Phyllis Tuchman on
Applebroog
Malcolm Morley
Robert Pincus-Witten on
David Frankel on Beverly
Gilbert & George
View of “Thomas Bayrle,”
A simple tire perched on the wall of Thomas Bayrle’s recent show
“Gerano/Pavesi”
2015.
From left: São (Geraniums/Pavesi)
Paulo/church,
2015;
recalled the elementary forms of Kazimir Malevich’s most austere
Suprematist
canvases: black circle, white
Donezk,
2015;
Brescia,
field, end of story. But just as Malevich’s pared-down images are,
in fact,
richly
differentiated material
Root
Lauren O’Neill-Butler on
2014; Mexico City, 2014;
constructions in which, the artist claimed, one can see “the face of God,” so Bayrle’s tire—or more
Maria Nordman
Gerano Pavesi/church,
Alex Kitnick on Aaron
precisely, his Santa Maria, Madre di Dio, prega per noi peccatori,
adesso e nell’ora della nostra morte,
2015.
Phyllis Tuchman
on
Flint Jamison
2009—is much more than a dumb, tacked-up rubber disk. It isn’t rubber, for one thing, but impeccably
Malcolm Morley
Lloyd Wise on Tina
carved wood, with the opening words of the rosary replacing FIRESTONE on its side as well as giving the
David Frankel
on Beverly
Barney
A simple tire work
perched
on thesubtly
wall ofarticulated
Thomas Bayrle’s
recent
show
“Gerano/Pavesi”
its title;
crosses
serve
as tread.
Mounted (Geraniums/Pavesi)
on an integrated flange mechanism, the tire
Buchanan
Donald Kuspit on Piotr recalled the elementary forms of Kazimir Malevich’s most austere Suprematist canvases: black circle, white
is, however, still made to spin, and does so with a light tap, the visual and aural blur of its action echoing
Prudence Peiffer on Ruth
Uklański
field, end of story. But just as Malevich’s pared-down images are, in fact, richly differentiated material
Root
both Tibetan prayer wheels and the incantatory drone of assembled supplicants, effectively dissolving any
constructions in which, the artist claimed, one can see “the face of God,” so Bayrle’s tire—or more
Rachel Churner on Harry
Alex Kitnick on Aaron
distinction between the work’s religious and automotive symbolism.
Buchanan
Jeffrey Kastner on
Prudence Peiffer on Ruth
Philippe Parreno
Dodge
Flint Jamison
precisely, his Santa Maria, Madre di Dio, prega per noi peccatori, adesso e nell’ora della nostra morte,
2009—is much
more
than form
a dumb,
tacked-up
rubber
disk.diIt Dio
isn’t appeared
rubber, for to
one
but impeccably
The
circular
of Santa
Maria,
Madre
bething,
a watchful
godlike eye overlooking the rest
Lloyd WiseMichael
on Tina Wilson on Rosa
carved wood, with the opening words of the rosary replacing FIRESTONE on its side as well as giving the
Barney Aiello
of Bayrle’s show (whose title cites Mario Pavesi, the founder of the Autogrill chain of roadside restaurants).
Donald Kuspit
on Piotr
Jennifer
W. Leung on
Uklański Michael Mandiberg
Rachel Churner on Harry
Dodge Detroit
work its title; subtly articulated crosses serve as tread. Mounted on an integrated flange mechanism, the tire
And this seemed appropriate, for the exhibition was a kind of showcase for symbolic transmutations and
is, however, still made to spin, and does so with a light tap, the visual and aural blur of its action echoing
with
and the
road
throughout.
In effectively
the worksdissolving
on display—including
a handful of
both Tibetan interweavings,
prayer wheels and
theChrist
incantatory
drone
of primary
assembled
supplicants,
any
1987 stamp
paintings
asand
wellautomotive
as more recent
sculptures and relief drawings—geraniums became highways,
distinction between
the work’s
religious
symbolism.
highways became the flesh of Jesus, and crystalline forms became nuns, television sets, and VW logos in
Jeffrey
on Rob The circular form of Santa Maria, Madre di Dio appeared to be a watchful godlike eye overlooking the rest
Michael Wilson
on Saletnik
Rosa
turn. Altogether, Bayrle’s objects and images displayed something akin to the childhood capacity for
Aiello
Pruitt
of Bayrle’s show (whose title cites Mario Pavesi, the founder of the Autogrill chain of roadside restaurants).
mimetic inhabitation as described by Walter Benjamin, in which such cross-pollination lets one “wander
Jennifer W. Leung on
And this seemed appropriate, for the exhibition was a kind of showcase for symbolic transmutations and
through the world of things like the stations of a journey of whose extent we can form no conception.”
Michael Chicago
Mandiberg
interweavings, with Christ and the road primary throughout. In the works on display—including a handful of
Zachary Cahill on
1987 stamp paintings
astinkering
well as more
sculptures
and reliefby
drawings—geraniums
became
Rec-room
wasrecent
immediately
suggested
the worktable display
that highways,
opened the show: five recent
highways became the flesh of Jesus, and crystalline forms became nuns, television sets, and VW logos in
sculptures made from modular cardboard elements and metal shelving materials. Each one consists of a
turn. Altogether, Bayrle’s objects and images displayed something akin to the childhood capacity for
contorted figure of the crucified Christ seemingly nailed to, and occasionally constructed from, neatly
mimetic inhabitation as described by Walter Benjamin, in which such cross-pollination lets one “wander
divided
highway lanes—complete, in a few cases, with toy cars chugging along. The culminating work of
of things like the stations of a journey of whose extent we can form no conception.”
Chicago Erin Kimmel on James through the world
the bunch was Gerano Pavesi/church, 2015, in which highway, church, and cross-bound Christ form a
Benning
Zachary Cahill
on
Rec-room tinkering
immediately
suggested by
the worktable
displayfaced
that opened
the show:
five recent
single was
integrated
superstructure.
These
constructions
off against
Bayrle’s
tire and VW-Kristall, 1987,
Frances Stark
sculptures made
from
modularwall,
cardboard
elements flanked
and metal
materials.
Each one
of a series, 2015. In
Los Angeles
on the
opposite
an encounter
onshelving
both sides
by images
fromconsists
his “Gerana”
contorted figure of the crucified Christ seemingly nailed to, and occasionally constructed from, neatly
Marfa, Texas
Natilee Harren on Rachel
these intimately rendered images, raised roadway segments cobbled together from cardboard (think
divided highway lanes—complete, in a few cases, with toy cars chugging along. The culminating work of
Erin Kimmel
on James
Harrison
homemade Hot Wheels) merge with delicate gouache flora to form highway pinwheels at once fluid and
the bunch was Gerano Pavesi/church, 2015, in which highway, church, and cross-bound Christ form a
Benning
rhizomatic: the autobahn as tree of life.
Kavior Moon on “Let
single integrated superstructure. These constructions faced off against Bayrle’s tire and VW-Kristall, 1987,
Power Take a Female on the opposite wall, an encounter flanked on both sides by images from his “Gerana” series, 2015. In
Los Angeles
Cars have been central to Bayrle’s repertoire since his earliest “super-forms”—in which a single emblem is
Form”
Natilee Harren on Rachel
these intimately rendered images, raised roadway segments cobbled together from cardboard (think
built from thousands of pictographic cells, often of its own image—as the recent High Line billboard
Suzanne
Hudson
on
Harrison
homemade Hot Wheels) merge with delicate gouache flora to form highway pinwheels at once fluid and
installation of American Dream, 1970, put on vivid display. His more recent automotive works, in moving
Martin
Basher
rhizomatic: the autobahn as tree of life.
Kavior Moon
on “Let
Detroit Frances Stark
Jeffrey Saletnik on Rob
Pruitt Marfa, Texas
Power Take a Female
Form” London
from the simulacral force of seemingly infinite reproduction to the simple intensities of handmade organic
Cars have been
to Bayrle’ssymbolism,
repertoire since
his aearliest
“super-forms”—in
a single
emblemimportance
is
formcentral
and Christian
betray
renewed
concern with which
the car’s
generative
to
built from thousands
of pictographic
often of itsBayrle
own image—as
the recent
High
Line billboard
contemporary
life. Thecells,
automobile,
once remarked
to an
interviewer,
was a consequence of
RichardonTaws on Ian
Suzanne Hudson
installation ofChristianity,
American Dream,
1970,
put on vivid
His
more recent automotive
works,
in moving
Martin Basher
Hamilton Finlay
“closely
connected
to .display.
. . inner
disengagement
and what
happened
800 years ago.” In his most
from the simulacral force of seemingly infinite reproduction to the simple intensities of handmade organic
recent work, he appears to be exploring Christianity, along with much else, as today a product of the
Kathy Noble on Yto
London
form and Christian symbolism, betray a renewed concern with the car’s generative importance to
Barrada
car—its forms, processes, and structures of comfort and belief.
Richard Taws on Ian
contemporary life. The automobile, Bayrle once remarked to an interviewer, was a consequence of
Elisa Schaar on Peter Christianity, “closely connected to . . . inner disengagement and what happened 800 years ago.” In his most
Hamilton Finlay
—Graham Bader
Coffin
recent work, he appears to be exploring Christianity, along with much else, as today a product of the
Kathy Noble
on Yto
Barrada Sherman Sam on Ann car—its forms, processes, and structures of comfort and belief.
Craven
Elisa Schaar
on Peter
PERMALINK COMMENTS
—Graham Bader
Coffin
ShermanParis
Sam on Ann
Craven Mara Hoberman on Jim
PERMALINK
COMMENTS
Paris
Mara Hoberman on Jim
Kohlfurther Strasse 41/43
10999 Berlin
Tel +49-30-262 42 84
www.galeriebarbaraweiss.de