Art_Market__December_2022

Ressurection
Billelis © All rights reserved.

is your impression of this Many of us emerged in the Medusa #2
still-evolving field? (It's a world of social media with Billelis © All rights reserved.
common opinion in the art our artwork feeding the
field that the NFT bubble will algorithms with nothing ART MARKET MAGAZINE:
eventually collapse). in return, our work being Your NFT is mainly combined with
stolen, and no way to sell an original, unique soundbyte. Do
BILLELIS: The same was said purely digital artwork. The you create the audio yourself, or is
for the internet back in the NFT space has helped in it made in collaboration with audio
day...haha. With every new so many of these aspects; experts in the field?
technology, there will be let's not focus on animal
denial and opposition. profile pictures and all that BILLELIS: I have had the pleasure
The most important thing for shit. Instead, we need to get to work with a couple of friends on
me is that it has opened so educated about the fantastic audio and some I created by myself.
many possibilities for digital steps digital artists take to For my NFT, audio is a subtle blanket
artists, especially those elevate modern art, and the of emotion over the art, something to
specializing in animation. NFT space has played compliment the visuals and combine
It has developed extremely a significant part in that. the story.
thanks to the NFT, which
didn't exist in the past.

Art Market Magazine 151

BALANCE II. NFT ΑΦΟΣIΩΣΗ. NFT
Billelis © All rights reserved. Billelis © All rights reserved.

ART MARKET MAGAZINE: as I was given complete Balance VI. NFT
Tell us about your creative freedom and Billelis © All rights reserved.
latest projects for room to work without
some of the leading external inputs. What
worldwide brands you started as a smaller-scale
are collaborating with. commission became
Which one was your the key visual and was a
favorite, and in which magnificent experience.
one you are most proud? Diablo would be most
proud as we worked on
BILLELIS: I have been the 4 key arts for over a
fortunate to work with year. Being a huge fan
some amazing brands of the games, it was an
over the last five years; honor to reimagine these
those that stand out iconic demons and give
have to be the John Wick them the essence of my
franchise and DIABLO by art while respecting their
Blizzard. John Wick was heritage and the fans of
the most fun to work on, the games.

152

Eve
Billelis © All rights reserved.

ART MARKET MAGAZINE: authentic to your fans,
Do you consider creating audience, and collectors.
physical sculptures based I understand I have been
on digital work at some fortunate and privileged
point? in the space, but few
people know I have spent
BILLELIS: Working on it... over a decade working on
haha. Prototypes are in... getting where I am today.
I like to create in many Years of making nothing
mediums, so that is coming from art, no commissions,
for sure. nothing. Don't believe
everything you see online;
ART MARKET MAGAZINE: how everyone portrays
What advice do you have themselves as the ugly
for young digital artists truth isn't inspiring. But
who wish to start their way there is always space for
in the NFT market? unique art and exceptional
artists. Keep expressing
BILLELIS: Don't get yourself, diversify,
addicted to the headlines collaborate and connect.
and what everyone is doing It takes time and work, but
around you. Focus on rewards exist.
honing your craft and being

Billelis

Website: billelis.com | Instagram: @billelis
| Twitter: @billelis | Facebook: Billelis

NFT
niftygateway.com/@billelis/collections

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YOU INSPIRED ME. (Detail)
Billelis © All rights reserved.

CHRISTO AND
JEANNE-CLAUDE:

EPHEMERAL NATURE

Hexton Gallery is honored to present the upcoming exhibition, “Christo and Jeanne-
Claude: Ephemeral Nature,” a curated unveiling of many never-before-seen works
from their private collection. Christo and his wife and collaborator Jeanne-Claude
have fascinated the world for decades with their larger-than-life wrappings of iconic
public monuments and environmental spaces. Now Hexton Gallery will be making
available an extensive selection of Christo’s original drawings, collages, and wrapped
objects from their private collection, many of which have never been shown to the
public until now.

Surrounded Islands (Project for Biscayne
Bay, Greater Miami, Florida), 1983
Hexton and Christo and Jeanne-Claude ©
All rights reserved.

CHRISTO AND JEANNE-CLAUDE

SURROUNDED ISLANDS (Project for Biscayne Bay,

Greater Miami, Florida), 1983

On May 7, 1983, the installation colors of the shallow waters of
of Surrounded Islands was Biscayne Bay.
completed in Biscayne Bay, Since April 1981, attorneys
between the city of Miami, Joseph Z. Fleming, Joseph W.
North Miami, the Village of Landers, marine biologist Anitra
Miami Shores, and Miami Thorhaug, ornithologists Oscar
Beach. Eleven of the islands Owre and Meri Cummings,
situated in the area of Bakers mammal expert Daniel Odell,
Haulover Cut, Broad Causeway, marine engineer John Michel,
79th Street Causeway, Julia four consulting engineers,
Tuttle Causeway, and Venetian and builder-contractor Ted
Causeway were surrounded Dougherty of A and H Builders,
by 603,870 square meters (6.5 Inc. had been working on the
million square feet) of floating preparation of the Surrounded
pink woven polypropylene Islands. The marine and land
fabric covering the surface of crews picked up debris from the
the water and extending out eleven islands, putting refuse
61 meters (200 feet) from each in bags and carting it away
island into the bay. The fabric after they had removed some
was sewn into 79 patterns forty tons of varied garbage:
to follow the contours of the refrigerator doors, tires, kitchen
eleven islands. sinks, mattresses, and an
For two weeks, Surrounded abandoned boat.
Islands, spreading over 11.3 Permits were obtained from
kilometers (7 miles), was seen, the following governmental
approached, and enjoyed by the agencies: The Governor of
public, from the causeways, the Florida and the Cabinet; the
land, the water, and the air. The Dade County Commission; the
luminous pink color of the shiny Department of Environmental
fabric was in harmony with Regulation; the City of Miami
the tropical vegetation of the Commission; the City of North
uninhabited verdant islands, the Miami; the Village of Miami
light of the Miami sky, and the Shores; the U.S. Army Corps

of Engineers; the Dade County width and from 122 to 183 meters Artworks: Surrounded Islands (Project for Biscayne Bay,
Department of Environmental (400 to 600 feet) in length, were Greater Miami), 1983
Resources Management. towed through the bay to each Pencil, photograph by Wolfgang Volz, enamel paint, wax
The outer edge of the floating fabric island. There were eleven islands, crayon, and tape. 14 x 11 in
was attached to a 30.5 centimeter but on two occasions, two islands Christo and Jeanne-Claude Foundation © All rights reserved.
(12 inches) diameter octagonal were surrounded together as one
boom, in sections, of the same configuration.
color as the fabric. The boom was As with Christo and Jeanne-Claude's
connected to the radial anchor previous art projects, Surrounded
lines, which extended from the Islands was entirely financed by
anchors at the island to the 610 the artists through the sale of
specially made anchors, spaced preparatory drawings, collages,
at 15.2 meters (50 foot) intervals, and early works. The artists did not
76.2 meters (250 feet) beyond the accept sponsorship of any kind.
perimeter of each island, driven On May 4, 1983, out of a total
into the limestone at the bottom of workforce of 430, the unfurling crew
the bay. Earth anchors were driven began to blossom the pink fabric.
into the land, near the foot of the Surrounded Islands was tended
trees, to secure the inland edge of day and night by 120 monitors in
the fabric, covering the surface of inflatable boats. Surrounded Islands
the beach and disappearing under was a work of art underlining the
the vegetation. The floating rafts various elements and ways in which
of fabric and booms, varying from the people of Miami live, between
3.7 to 6.7 meters (12 to 22 feet) in land and water.

158 Art Market Magazine

Christo and Jeanne-Claude at the Arkansas River
in Colorado, 1999, the proposed site for Over
The River, Project for the Arkansas River, State of
Colorado. Photo by Wolfgang Volz. Christo and
Jeanne-Claude Foundation © All rights reserved.

EXTON GALLERY ANNOUNCES MAJOR
EXHIBITION OF PRIVATE CHRISTO
COLLECTION:
Hexton, in collaboration with the Aspen
Institute and the Christo and Jeanne-Claude
Foundation, will be launching a year-long program
focused on the artists’ pioneering impact on
environmental art while specifically celebrating the
50th anniversary of their 1972 Valley Curtain project in
Rifle, Colorado.
Hexton Gallery is honored to present the upcoming
exhibition, “Christo and Jeanne-Claude: Ephemeral
Nature,” a curated unveiling of many never-before-seen
works from their private collection. Christo and his wife
and collaborator Jeanne-Claude have fascinated the
world for decades with their larger-than-life wrappings
of iconic public monuments and environmental
spaces. Now Hexton Gallery will be making available
an extensive selection of Christo’s original drawings,
collages, and wrapped objects from their private
collection, many of which have never been shown to
the public until now.

Art Market Magazine

CHRISTO AND Christo in his New York
JEANNE-CLAUDE: Studio. Photo by Wolfgang
Volz. 2004. Christo and
EPHEMERAL NATURE Jeanne-Claude Foundation
© All rights reserved.

160 The exhibit, sure to draw the rapt interest and
awe of the art world at large, is the first major
U.S. gallery exhibition in collaboration with
the Christo and Jeanne-Claude Foundation
since Christo’s passing in May 2020 and is furthermore,
one of the largest gallery exhibitions in America in the
past 10 years. Bob Chase, the owner of Hexton Gallery,
explains:
“Christo and Jeanne-Claude’s legacy in Colorado is
incredibly meaningful to us as an Aspen gallery with
deep roots in this community. Two major projects were
conceived here, the Valley Curtain and Over The River,
and Aspen sits almost directly between those two sites.”
In celebration of the Valley Curtain’s 50th anniversary,
the exhibition covers 6 of the most important
environmental projects staged or proposed in America.

Left: Valley Curtain (Project for Colorado), 1971
Pencil, fabric, wax crayon, hand-drawn technical data, fabric
sample, tape and staples. 71.1 x 55.9 cm (28 x 22 in)
Christo and Jeanne-Claude Foundation © All rights reserved.

Art Market Magazine

CHRISTO AND JEANNE-CLAUDE

VALLEY CURTAIN (Project for Colorado), 1972

On August 10, 1972, in Rifle, An outer cocoon enclosed Artworks: Valley Curtain
Colorado, between Grand the fully fitted curtain for (Project for Colorado), 1972
Junction and Glenwood protection during transit Fabric, staples, paint,
Springs in the Grand Hogback and at the time of its raising wax crayon, pencil, and
Mountain Range, at 11 am into position and securing ballpoint pen
a group of 35 construction to the eleven cable-clamps 28 x 22 in. Christo and
workers and 64 temporary connections at the four main Jeanne-Claude Foundation
helpers, art-school and college upper cables. The cables © All rights reserved.
students, and itinerant art spanned 417 meters (1,368
workers tied down the last feet), weighed 61 tons and 161
of 27 ropes that secured the were anchored to 864 tons of
18,600 square meters (200,200 concrete foundations.
square feet) of woven nylon
fabric orange curtain to its An inner cocoon, integral to
moorings at Rifle Gap, 11.3 the curtain, provided added
km (7 miles) north of Rifle, on insurance. The bottom of
Highway 325. the curtain was laced to a
7.6-centimeter-(3-inch)-
Valley Curtain was designed diameter Dacron rope from
by Dimiter Zagoroff and John which the control and tie-down
Thomson of Unipolycon of lines ran to the 27 anchors.
Lynn, Massachusetts, and Dr.
Ernest C. Harris of Ken R. White The Valley Curtain project took
Company, Denver, Colorado. 28 months to complete.
It was built by A and H Builders,
Inc. of Boulder, Colorado, Christo and Jeanne-Claude's
President Theodore Dougherty, temporary work of art was
under the site supervision of financed by the Valley Curtain
Henry B. Leininger. Corporation (Jeanne-Claude
Because the curtain was Christo-Javacheff, President)
suspended at a width of 381 through the sale of the studies,
meters (1,250 feet) and a preparatory drawings and
height curving from 111 meters collages, scale models, early
(365 feet) at each end to 55.5 works and original lithographs.
meters (182 feet) at the center, The artists did not accept
the curtain remained clear sponsorship of any kind.
of the slopes and the valley
bottom. On August 11, 1972, 28 hours
A 3-meter (10-foot) skirt after completion of the Valley
attached to the lower part of Curtain, a gale estimated in
the curtain visually completed excess of 96.6 kph (60 mph)
the area between the thimbles made it necessary to start the
and the ground. removal.

Art Market Magazine

Christo, Jeanne-Claude, and
their team at the Arkansas
River in Colorado, 1999, the
proposed site for Over The
River, Project for the Arkansas
River, State of Colorado. Photo
by Wolfgang Volz. 1999. Christo
and Jeanne-Claude Foundation
© All rights reserved.

Christo in his New York Studio.
Photo by Wolfgang Volz © 1975
Christo and Jeanne-Claude
Foundation

CHRISTO AND Christo, Jeanne-Claude, and
JEANNE-CLAUDE: their team at the Arkansas
River in Colorado, 1999, the
EPHEMERAL NATURE proposed site for Over The
River, Project for the Arkansas
River, State of Colorado.
Photo by Wolfgang Volz © 1999
Christo and Jeanne

Over a career that spanned five decades, They believed that the entire journey to completing
Christo and Jeanne-Claude conceived each work, permits and government negotiations
and executed transformative outdoor included, was just as much a part of the artistic process
installations that encouraged their as the finished impact itself.
viewers to feel, question, and often physically interact Many of the works selected for this show held significant
with the work they saw. With an artistic mission that personal value for the couple, and the very nature of
offered “revelation through concealment,” they were their never being exposed to the public before also
legendary for their large-scale environmental projects provides the unique opportunity to experience the
such as “The Gates,” in which they transformed New pieces in even more vivid color (several of them have
York’s Central Park, and “Floating Piers,” a 1.9-mile- been exposed to little or no sunlight).
long walkway across the water of Lake Iseo, Italy, In addition to the “Wrapped Objects”, which includes
among other feats. For their massive art projects, a wrapped flower bouquet that Christo once gifted
many of which took several years to complete and Jeanne-Claude and kept in their private home until his
included the carefully orchestrated convincing of death, the works presented will also be representative
government officials, judges, environmental groups, and of “The Umbrellas: Project for USA and Japan,” “Over
landowners, Christo and Jeanne-Claude never accepted the River,” “The Gates Project,” “Floating Piers,”
grant funding and always returned their projects’ spaces “Running Fence,” and “Valley Curtain.”
in pristine condition once the temporary exhibitions
came to a close. The exhibition, “Christo and Jeanne-Claude:
Ephemeral Nature,” will open on August 1st, 2022.

162 Art Market Magazine

CHRISTO AND JEANNE-CLAUDE Bottom: The Umbrellas (Joint Project
for Japan and U.S.A.), 1990. Pencil,
THE UMBRELLAS fabric, charcoal, wax crayon, enamel
paint, and topographic map Collage
(Joint Project for Japan and U.S.A.), 1984-91 in two parts: 26 1/4 x 12 1/2 in and 26
1/4 x 30 1/2 in.
At sunrise on October 9, 1991, Christo and Christo and Jeanne-Claude
Jeanne-Claude's 1,880 workers began to Foundation © All rights reserved.
open the 3,100 umbrellas in Ibaraki and
California in the presence of the artists at
both sites. This Japan—U.S.A. temporary
work of art reflected the similarities and
differences in the ways of life and the use
of the land in two inland valleys, one 19
kilometers (12 miles) long in Japan and the
other 29 kilometers (18 miles) long in the
U.S.A.
In Japan, the valley is located north of
Hitachiota and south of Satomi, 120
kilometers (75 miles) north of Tokyo,
around Route 349 and the Sato River, in the
Prefecture of Ibaraki, on the properties of
459 private landowners and governmental
agencies. In the U.S.A., the valley is
located 96.5 kilometers (60 miles) north
of Los Angeles, along Interstate 5 and the
Tejon Pass, between south of Gorman
and Grapevine, on the properties of Tejon

Art Market Magazine

Christo and Jeanne-Claude Art Market Magazine
Foundation © All rights reserved.

164

Ranch, 25 private landowners as well as Vince Davenport in the U.S.A. The sitting entirely financed by the artists through
governmental agencies. platform-based covers were placed their "The Umbrellas, Joint Project for
Eleven manufacturers in Japan, the during August and September 1991. Japan and U.S.A. Corporation" (Jeanne-
U.S.A., Germany, and Canada prepared From September 19 to October 7, 1991, Claude Christo-Javacheff, President).
the various elements of the umbrellas: an additional construction workforce The artists did not accept sponsorship.
fabric, aluminum superstructure, began transporting the umbrellas to All previous projects by Christo and
steel frame bases, anchors, wooden their assigned bases, bolted them to Jeanne-Claude have been financed in
base supports, bags, and molded the receiving sleeves, and elevated the a similar manner through the sale of the
base covers. All 3,100 umbrellas were umbrellas to an upright closed position. studies, preparatory drawings, collages,
assembled in Bakersfield, California, On October 4, students, agricultural scale models, early works, and original
from where the 1,340 blue umbrellas workers, and friends, 960 in U.S.A. and lithographs.
were shipped to Japan. 920 in Japan, joined the workforce The removal started on October 27, and
Starting in December 1990, with a total to complete the installation of The the land was restored to its original
workforce of 500, Muto Construction Co. Umbrellas. Each umbrella was 6 meters condition. The umbrellas were taken
Ltd. in Ibaraki and A. L. Huber & Son in (19 feet 8 inches) high and 8.66 meters apart, and most of the elements were
California installed the earth anchors (28 feet 5 inches) in diameter. recycled.
and steel bases under the supervision of Christo and Jeanne-Claude's 26 million
Site Managers Akira Kato in Japan and dollars temporary work of art was Foundation © All rights reserved.

Art Market Magazine 165

CHRISTO AND JEANNE-CLAUDE

THE GATES (Project for Central Park, NYC), 2000

The installation in Central extended above the walkways. off-site, by seven manufacturers Top: Christo and Jeanne-
Park was completed with The gates and the fabric panels located on the East Coast of the Claude. The Gates, Central Park,
the blooming of the 7,503 could be seen from far away USA. The weaving and sewing New York City, 1979-2005. Photo
fabric panels on February 12, through the leafless branches of the fabric panels was done in by Wolfgang Volz.
2005. The 7,503 gates were of the trees. The work of art Germany. Christo and Jeanne-Claude
4.87 meters (16 feet) tall and remained for 16 days, then the Foundation © All rights
varied in width from 1.68 to gates were removed and the In teams of eight, 600 workers reserved.
5.48 meters (5 feet 6 inches materials recycled. wearing "The Gates" uniforms,
to 18 feet) according to the 25 The 12.7 cm (5 inch) square were responsible for installing Right Page: The Gates (Project
different widths of walkways, vertical and horizontal poles 100 gates per team. The for Central Park, NYC), 2000
on 37 kilometers (23 miles) of were extruded in 96.5 km monitoring and removal Pencil, fabric, charcoal, wax
walkways in Central Park. Free (60 miles) of saffron colored teams included an additional crayon, pastel, and aerial
hanging saffron colored fabric vinyl. The vertical poles were 300 uniformed workers. The photograph
panels, suspended from the secured by 15,006 narrow monitors assisted the public and Collage in two parts:
horizontal top part of the gates, steel base footings, 278 to 380 gave information. All workers 12 x 30 1/2 in and 26 1/4 x 30
came down to approximately kilograms (613 to 837 pounds) were financially compensated 1/2 in. Christo and Jeanne-
2.1 meters (7 feet) above the each, positioned on the paved and received breakfast and one Claude Foundation © All rights
ground. The gates were spaced surfaces. No holes were made hot meal a day. Professional reserved.
at 3.65 meter (12 foot) intervals, in the ground. The gates' security worked in the park after
except where low branches components were fabricated, dark.

166 Art Market Magazine

The Gates was entirely financed by Christo and Jeanne-Claude, Top: The Gates (Project for Central Park, New York City), 2001
as they have done for all their previous projects. The artists did Pencil, fabric, charcoal, wax crayon, pastel and aerial photograph
not accept sponsorship or donations. Collage in two parts: 12 x 30 1/2 in and 26 1/4 x 30 1/2 in.
Christo and Jeanne-Claude Foundation © All rights reserved.
The grid pattern of the city blocks surrounding Central Park
was reflected in the rectangular structure of the commanding 167
saffron colored poles while the serpentine design of the
walkways and the organic forms of the bare branches of the
trees were mirrored in the continuously changing rounded
and sensual movements of the free flowing fabric panels in the
wind.

The people of New York continued to use the park as usual. For
those who walked through The Gates, following the walkways,
the saffron colored fabric was a golden ceiling creating warm
shadows. When seen from the buildings surrounding Central
Park, The Gates seemed like a golden river appearing and
disappearing through the bare branches of the trees and
highlighting the shape of the meandering footpaths.

Art Market Magazine

Christo in his New York Studio. 2012.
Photo by Wolfgang Volz.
Christo and Jeanne-Claude
Foundation © All rights reserved.

ABOUT HEXTON GALLERY

Hexton Gallery in perspectives on the
Aspen, Colorado, environment in hopes
offers a contemporary that it heightens our
program that includes awareness of the
a select range of delicate balance in
paintings, drawings, which we live.
and sculptures from
today's leading mid- In addition to the
career and established contemporary voices
contemporary talent. working in this
Bob Chase, who arena, the gallery's
founded the gallery programming also
in 1995, has long extends to historic
admired Christo and Post-War and Pop
Jeanne-Claude and material via its art
has been inspired by advisory and private
the way they allowed sale business. The
people to see and gallery has featured
think differently about such unique voices
the world around as Agnes Martin,
them. As a result, Ellsworth Kelly, Keith
Hexton Gallery has a Haring, and Philip
particular interest in Guston, among others.
artists who offer new

447 E COOPER AVENUE. ASPEN, COLORADO 81611

VISIT: HEXTONGALLERY.COM | INSTAGRAM: @HEXTONGALLERY

erlin-based artist, Marco
Reichert (1979), uses a
broad range of materials

and imagery, natural

and technological, in his

unique work.

The conceptual framework fuses as

he reevaluates traditional painting

methods. His works project

complexity visàvis layers of space,

transitioning between exterior and
interior using raw materials and
his "painting machines." Marco
Reichert's pieces are diverse. His
painting machines are integral to
his presentation; each adheres to

geometric rules and allows Reichert

continuous access to the whole

piece. The machines form mere Marco
additions to the treated canvas. Reichert
He projects depth by the
juxtaposition of paint and glue
on the canvas. His machine
then supplies compositional
counterparts.

PAREIDOLIA

Untitled. 2022
Oil, acrylic, and ink on cotton,
150 x 200 cm, 59 x 78,7 inches,
Marco Reichert © Courtesy of Benoni gallery

PMAaRrcEo IRDeiOchLerItA

I am a painter, and DIY
robots have become
integral to my works in the
past ten years. These self-build devices
have a remarkable visual impact, but
their conceptual share is similarly
high.
It became common for visual artists
to use computers as a part of their
pictorial image-finding routines; the
physical intervention of machines
during the actual painting process,
in contrast, is still rare.
The intersection between painting
and robots leads to glitches and marks,
which affect the works deeply.
Besides the geeky and electronic
part and its imprint on the surface,
the process-based treatment of the
canvas with very classic materials and
methods alongside very experimental
routines leads to something new.
Even with machines and their script-
following movements, the actual
results are due to my "trial and error"
/ dilettantish way of engineering,
constructing, and programming not
being very predictable. That keeps the
devices in a row of my process-based
actions and reactions."

- Marco Reichert

Untitled. 2022
Oil, acrylic, and spray paint on partially
metalized canvas, 200 x 150 cm, 78,7 x 59 inches.
Marco Reichert © Courtesy of Benoni gallery

Left: Untitled. 2022 Right: Untitled. 2022
Oil on partially metalized cotton, 135x 100 cm, Oil on partially metalized cotton, 135x 100 cm,
53,15 x 39,37 inches, Marco Reichert © 53,15 x 39,37 inches, Marco Reichert ©
Courtesy of Benoni gallery Courtesy of Benoni gallery

Marco The linear shape creates a The interventions change
Reichert moiré effect, which makes and expand the surface of
the artworks flicker and the canvas. Matt, shiny and
PAREIDOLIA thus sets them in motion. partially reflective surfaces
It involves the viewers in are created, which interact
For his most recent works, Marco Reichert uses a the works and directs their with the canvas's original
self-built machine with which he creates a new, gaze to the surface of the material, the machine's
technologized approach to classical painting. canvas. linear pattern, and the
In an open system, the artist uses a computer to artist's interventions.
enter coordinates that give the painting machine line Reichert additionally works The layers of images
progressions, which are then applied to the canvas on the canvases himself. created by the material
with oil paint. The collective of black lines results in Sometimes he enhances overlays evoke a
an organic block form in the paintings. However, its them with colored areas. physicality and spatiality of
shape remains purely abstract and leaves room for Sometimes he metallizes the works, which influence
associations. parts with the help of the effect of the materials
chemical chrome plating. Reichert uses and which
174 Sometimes he adds can be directly experienced
different lines. by the viewer.

Art Market Magazine

In an open system,
Reichert uses a
computer to enter
coordinates that
give the painting
machine line
progressions, which
are then applied to
the canvas with oil
paint. The collective
of black lines
results in an organic
block form in the
paintings. However,
its shape remains
purely abstract and
leaves room for
associations.

Top: Exhibition view
Marco Reichert © Courtesy of Benoni gallery

Left: Untitled. 2022
Oil on partially metalized cotton, 135x 100 cm,
53,15 x 39,37 inches, Marco Reichert © Courtesy
of Benoni gallery

175

The chemical reaction processes and the Top: Untitled. 2021 Untitled. 2022
interaction with the machine lead to Oil, acrylic and ink on linen, Oil, acrylic, and spray paint on
interferences in the artworks. Therefore, the 160 x 120 cm, 63,00 x 47,24 inches partially metalized canvas,
line is not always straight. The color gradient is Marco Reichert © Courtesy of 200 x 150 cm, 78,7 x 59 inches,
not always perfect. Benoni gallery Marco Reichert © Courtesy of
The metallization is not always applied entirely. Benoni gallery
This results in visual effects such as oxidation.
As a painting tool, the machine, in particular, Art Market Magazine
represents a component in the artwork's artistic
creation process, giving the work's creation an
unplannable momentum over which the artist has
no influence. The painting robot executes the artist's
commands independently and thus acts as an image
generator.
An interrelationship between man and machine
is created, fundamentally influencing Reichert's
paintings. Consequently, each work underlies a
technical and sometimes also a chemical process.
The artist's activity experiences a moment of passivity
and creates space for a coincidence.
- Written by Peggy Schoenegge

176

Untitled. 2022
Oil, acrylic, and spray paint on
partially metalized canvas,
200 x 150 cm, 78,7 x 59 inches,
Marco Reichert © Courtesy of
Benoni gallery

Untitled. 2022
Oil on partially metalized cotton, 135x 100 cm,
53,15 x 39,37 inches,
Marco Reichert © Courtesy of Benoni gallery

New Generation Art

Written by Federico Brauer

The paintings by Berlin-based artist Marco
Reichert are abstract but maintain a
figurative character. Someone could guess
a face or fingerprint behind the form, which
consists of many fine lines in the center of the
canvas. This phenomenon, called pareidolia,
causes people to consciously or unconsciously
interpret random objects as familiar patterns.
The human brain tries to fill in missing parts
in incomplete structures; this effect can be
experienced by multiple persons simultaneously.
However, Marco Reichert is not interested in
figurative depiction but has his focuses on the
construction of different surfaces.
The origin of his work is not excluded from the art
of painting, but he also has a technical feature to
it, especially from informatics. This way, the artist
links two of his personal interests together.
In 2001, Marco started to study computer science
and changed his field to art studies in 2004.
Marco scans surfaces, for example, like a
forest floor with the LIDAR-Technology in his
smartphone's camera to capture its organic
structures. The scanner targets an object with
a laser and measures the time for the reflected
light to return to the receiver, used to create a
3D-Model with depth perception of areas on the
earthˋs surface. Then, using a computer program,
the artist draws up a map with hundreds to
thousands of dots as coordinates for a robot to
track along two axes.
This program is not artificial intelligence but
calculates how the tip of the oil paint-filled tube
on the machine has to trace the coordinates.

Top Right: Untitled. 2022 Right: Untitled. 2022
Oil on partially metalized cotton, Oil on partially metalized cotton,
200 x 150 cm, 78,7 x 59 inches, 200 x 150 cm, 78,7 x 59 inches,
Marco Reichert © Courtesy of Marco Reichert © Courtesy of Benoni
Benoni gallery gallery

Art Market Magazine 179

he paint follows Marco Reichert calls them destroy-lines, overpaints with contrasting color-
gravity and flows a term from graffiti and its subculture targeted spots on the abstract structure
about destroying an image with long with rough expressionistic or finer brush
Tdown the tube over continuous lines over it. Actually, with strokes so that the artist's handwriting
a small wheel on the the machine, there is a destructive is always over the industrially fabricated
already prepared canvas. process happening on the fabric. In work.
Unlike the interactive the rare case of total failure, the artist
drawing machines by Jean has to intervene against the chaos with Top: Untitled. 2022
Tinguely (1925-1991), which great care so that everything works in Oil, acrylic, and spray paint on partially metalized
appeared for the first time order again. In the final stage, Marco canvas, 200 x 150 cm, 78,7 x 59 inches,
in 1955, the apparatus Marco Reichert © Courtesy of Benoni gallery
is only a tool to create
the paintings for Marco Art Market Magazine
Reichert.
Different textures appear on
the surface while applying
multiple layers on the
canvas, which can cause
errors in drawing the lines
by the machine.
Gaps occur, or the thickness
of the outline is irregular.
Those errors make the
mechanical process appear
more natural and the
overall picture organic,
which Marco Reichert
intentionally did. The
machine has to surprise the
artist - failure is a chance for
development. If it succeeds
perfectly, there is no reason
to repeat the process or to
create a whole series. Even
if you copy the same map,
there will be a different
outcome because the error
rate causes the linework's
aberrations and contributes
to a unique character.
The individual lines don't
take up much space on the
canvas; for this reason,
the optical impression
of the entire unit is more
significant.

180

Untitled. 2022
Oil on partially metalized cotton,
200 x 150 cm, 78,7 x 59 inches,
Marco Reichert © Courtesy of
Benoni gallery

Marco
Reichert

WEBSITE: MARCOREICHERT.ONUNIVERSE.COM
INSTAGRAM: @MARCO_REICHERT

An Exclusive Interview With

BY ARIEL SU

xpressed through sculpture and installation, supported by
experimental photography and painting, Gerd Paulicke's body
of work is filled with reflective fragments tied to humanity in
the broader sense. Yet, this universal subject is often shown
through figurative self-portraits in which he uses himself
as an archetype, referring to the closest point of human-
centered contemplation for every man: the self.
There is nothing narcissistic in these representations; on the contrary,
the artist's image is merely a neutral feature in the function of the work.
The viewer is invited to consider the sensations the pieces emit, questioning
his borders and limitations. The result is a highly inspiring physical and
psychological artwork that communicates uninterruptedly.

GOLD LIST AWARD ARTIST.
Featured in The Gold List
Special Edition #7.
Grau gegen Nichts. 2020
Oil on Wood. 100 x 150 cm
Gerd Paulicke © All rights reserved.

A ProfounIddQueenstitointOyf

With his works, GERD GERD PAULICKE
PAULICKE questions the
change of the world and SELF PORTRAIT / SPACE RELEASE. 2020
the resulting fragments oil on wood. 40 X 40 x 3 cm
of human existence and wisdom. To track, Gerd Paulicke © All rights reserved.
perceive, and illuminate the resulting
relics are key themes of his work. He
also attempts to guide the viewer to
search for the tracks of his identity and
to make him sensitive to the perception
of his environment. The topic of "burner
experience" is central in Gerd Paulick's
works.
The topic branches into the most different
areas of the human being. Be it visual,
acoustic, and also from physical and
mental aspects. His work expresses
questions about human existence, such as
Where are each individual's limits? Where
do we set our limits? When are boundaries
crossed?
Gerd Paulicke's work has been featured
in group and solo exhibitions worldwide,
including at the Vernissage Fondation
Silene Giannini Cevio-Maggiatal in
Switzerland and the House of Electronic
Arts Basel / CH.
In recent years, you could also view his
work at international art fairs, including at
the Discovery Art Fair Cologne. In addition,
his works of art were added to notable
public and private collections, including
at the Gallery of Modernity, Vienna,
Regierungspräsidium Freiburg, Germany,
and at the "QQTec" organization for "Art,
Culture, Technology" in Germany.

184

Every visitor has his own past and
way of thinking; hopefully, looking
at my art opens the door to more
profound thoughts.
With my work, I would like to create a unique
atmosphere in the room that electrifies
when you discover it. You can describe this
atmosphere as coolness and silence; each
visitor dives into his deeper feelings and his
own thoughts. " - Gerd Paulicke

Room Installation Stilt Walkers.
2010 Epoxy / Steel
5 Figures 1:2 / Approx. 100 cm
height variable 300 x 350 cm
Gerd Paulicke © All rights
reserved.

GERD PAULICKEAnExclusiveInterviewWith
BY ARIEL SU

ART MARKET MAGAZINE: Thank you, Gerd, for Until 2019 I focused on sculptures and
this interview. Your art is unique. I personally installations. I only returned to oil paintings
find the large-scale installations and your during the Corona lockdowns in spring 2020.
sculptures fascinating. Let's talk about how you I still see myself at the beginning of a journey.
were drowned in creating these installations I still need to explore the field of painting.
and in the art field in general. In 2010 you
graduated from the FIU in Hamburg, was ART MARKET MAGAZINE: In a description of
sculpture your primary field of study? your work by Ana Bambić Kostov, your work is
titled a 'Monochromatic World of Thought.'
GERD PAULICKE: First of all, thank you for the How did you start developing your current
invitation and the interest in my art. I started my artistic style, and how would you describe it?
studies with a passion for painting, but I found
the painting classes boring very quickly. GERD PAULICKE: My artistic direction
As a result, I lost interest and switched to developed mainly towards the end of my
focusing on sculpture after only one semester. studies. The impetus for this at the time was
My sculpture studies were fascinating. the question of the importance of a base for a
I had the pleasure to have teachers such as sculpture. And also the elevation of a figurative
Karin, Wolfgang Genoux, and Stephan Stüttgen form.
(Master students of Joseph Beuys). Another You put something on top of other things
influential teacher was the art historian Olaf because you consider it essential. After all, it is
Pascheit. It was a real privilege to study with also something humans strive for: to reach the
these great artists. top and be at the top.

186

ow long does it take for someone's memory to be
forgotten? Some are remembered by a person because

Hthey became famous, and some are forgotten shortly
after their death. But it is a fact that every memory is
forgotten at a certain point in time. So the question is,
"How important is it to be remembered?"

-Gerd Paulicke

Continue in Grey O.T. 2020
Oil on Wood. 40 x 40 cm
Gerd Paulicke © All rights reserved.





Higher, further, faster. of 2020, which was the perfect
Standing on top of a platform time to explore and try
in focus. Just like a sculpture, something new.
with its solid stability. To extend a conceptual idea
But where do the healthy from sculpture to painting,
aspiration and the need for I renounce color and
achieving end? Where are the consciously only use white and
boundaries and the limitations grey to pass the concept to a
where greed and power take new platform.
over the striving? I also wrote The viewer can see the
and built my diploma thesis on center of my oil paintings
this topic. is concentrated in the
The main focus of my work is observation of light and
the need for human beings to shadow as in my sculptural
reach the highest, but they aim works. The focus is not on the
too high, which is a dangerous color but on the form.
position to be in. Eventually, it .
causes the figures to despair, ART MARKET MAGAZINE:
disappear, and merge into the I received the association
white space. of isolation from society in
your work. The self-portraits
ART MARKET MAGAZINE: are usually lonely figures,
In your work, mainly in your expressing profound thoughts,
painting and drawings, we can maybe desperation, and
see realistic figures floating on always alone on the surface.
the surface, the background is What is the philosophical idea
usually not defined, and you behind your work? Is it an
utilize a monochrome palette expression of your opinion on
of white and gray nuances. the relationship between the
Is it for creating an illusion of individual and society?
space, reality, or movement?
GERD PAULICKE: From my
GERD PAULICKE: Until point of view, my works of
the beginning of 2020, I art contain two philosophical
focused exclusively on issues. The first is expressed
three-dimensional figurative through oil paintings I
artworks and installations. painted during the lockdown,
That was until the Corona intended to describe the
Pandemic spread, and most human powerlessness and the
countries entered a lockdown. intangible danger in front of
I only started with the oil the Virus. We were powerless
paintings during the lockdown against the Virus, and no one

Figure 2015. Resin. 142 cm.
Gerd Paulicke © All rights reserved.

188

knew how long we would be isolated
or exposed to a threat.
I live right on the border of Germany
and Switzerland. The borders were
sealed here and could only be crossed
with special permission. It was an
extreme restriction of freedom for the
region, and there were also curfews.
So the situation was very depressive
and scary.
But the more profound philosophical
basis of my works is the question of
the lifespan of an identity. How long
does it take for someone's memory to
be forgotten?
Some are remembered by a person
because they became famous, and
some are forgotten shortly after
their death. But the fact is that every
memory is forgotten at a certain point
in time. But the question is, how
important is it to be remembered?

My art can also be connected to
memory loss diseases, such as those
caused by Alzheimer's or dementia.
In my work, I remove myself from the
canvas with a brush. So I erase myself
into nothing. Hence the monochrome
background on the painting. But the
central question of identity duration
arises in the painting.

In my Work "Selbstporetrait –
Leerraum-Raumfreigabe," I remove
myself from the canvas with a brush.
So I erase myself into nothing. Hence
the monochrome background on the
painting. But the central question of
identity duration arises.

Top Right: Self Portrait / Space Release
Nr.2. 2021 120 x 120 cm. Oil on Canvas.
Gerd Paulicke © All rights reserved.

Right: Self Portrait / Space Release Nr.3
. 2021 40 x 40 cm. Oil on Canvas. Gerd
Paulicke © All rights reserved.

189

In the installation "Stuhl," A chair that is Chair. 2014
not occupied is still lit. Work in an ongoing process
The memories linger on. However, the electrical installation / mixed media
personification in this work is very 88 x 40 x 48 cm. current quantity 15
anonymous, another aspect I love to feel Gerd Paulicke © all rights reserved.
through this installation.

ART MARKET MAGAZINE: In some of
your work, you use symbolic elements
for death. For example, in your work
"Memento mori" from 2012, or in your
work "Auf Die Plätze, Fertig, Los...Lassen"
from 2020.
Where does this need to express thoughts
of death and war come from? Is there a
connection to World War II? Or is it more
about the current situation in the world?

GERD PAULICKE: My "Memento mori"
works do not focus on the themes of war
or the current situation in the world,
but they focus on and express death
in general. In our society, this topic is
suppressed from our lives.
Human beings don't like uncomfortable
topics. Everyone must die for themselves.
Your closest partner may accompany you
to the edge if you're lucky.

190

"Ready, Set, Go...Let". 2020
Mixed media
185 x 40 x 41 cm
Gerd Paulicke © all rights reserved.

Memento mori. Join the Dance #2. 2012
Gerd Paulicke © all rights reserved.

You jump out of life without a Arnold Böcklin "Selbstporträt mit I Love You / Kruzifix Serie. 2018
return ticket. fiedelndem Tod", 1872, and Jean Mixed Media 63 X 60 X 21 cm
I think most people fear the Tinguely "Mengele Totentanz" Edition 8 . Gerd Paulicke ©
moment and the uncertainty of moving room installation, 1985. All rights reserved.
what comes after death.
Interestingly, I don't know anyone ART MARKET MAGAZINE: Art Market Magazine
who gets scared when they think What reaction would you like the
about the time before they were viewer to have while looking at
born. You weren't there either. your work? What thought would
This artistic examination of death you want to be raised?
also has a long tradition here in
my region around Basel. GERD PAULICKE:
When, at the age of 13, I visited I wouldn't call it a reaction.
the art museum in Basel alone The viewers' thoughts should
during the summer holidays, stay personal, and not all of them
and I discovered "Dead Christ should be shared.
in the Grave" by Hans Holbein Every visitor has his own past
the younger (Late Renaissance, and way of thinking; hopefully,
1521), I was fascinated by this looking at my art opens the door
atmosphere and also by this oil to more profound thoughts.
Lindenholz technique. With my work, I would like to
From that moment on, my create a unique atmosphere in
passion for art never left me. And the room that electrifies when
today, this painting impresses me you discover it. You can describe
as much as in my youth. But other this atmosphere as coolness and
masterpieces in Basel about death silence; each visitor dives into
also influenced me on this topic. his deeper feelings and his own
Such as Der Basler Totentanz ca. thoughts.
1440 (Artist unknow),

192

X-RAY-JESUS / I Love You.
KRUZIFIX SERIE. 2018 Bunker photo installation. 2022
MIXED MEDIA Crucifix series.
63 X 60 X 21 CM Gerd Paulicke © All rights reserved.
EDITION 8
Gerd Paulicke © All rights reserved. 193

Art Market Magazine

Emotional situation. Brush stitch. 2021
Oil on wood. 40 x 40 cm.
Gerd Paulicke © All rights reserved.

ART MARKET MAGAZINE: rather consider beforehand which for example, because parts of
Tell us about the materials and the materials are best for each work figures or material are lying around
process of creating an installation. of art. The possibilities of epoxy, in the studio by chance. In the case
What materials do you use for your concrete, bronze, steel, electronics, of a plastic figure, for example,
sculptures? wood ...etc. All in all, it's always a a steel frame is welded, and the
Can you describe the process of considerable effort. The idea phase plasticine figure is formed on it.
creating an artwork from the idea of an artwork is different, so each Then a silicone mold, negative, is
stage to the final outcome? creation of an artwork is unique. made. Finally, the negative form
There are ideas for works that is filled with epoxy, sanded, and
GERD PAULICKE: I prefer not to have to mature over two years. varnished. I now have larger-scale
commit to a specific process and Other ideas come instinctively or works made in an art foundry.
obligate myself to materials but accidentally during a work process,

194 Art Market Magazine

Remember #1. (Detail) ART MARKET MAGAZINE: Tell us about your latest
Figure. 2015. exhibition and participation at the Discovery Art
Resin. 142 cm. Fair Cologne. Was it successful? What were the
Gerd Paulicke © All viewer's reactions to your work?
rights reserved.
GERD PAULICKE: It was a privilege to take part
and exhibit my work at the Discovery Art Fair -
Cologne in April this year.
Because of the Corrona pandemic, It was the first
time I had exhibited in Cologne; before that, I had
already exhibited in three art events at Discovery
Art Fair Frankfurt.

The Discovery Art Fair team, conducted by
Jörgen Gloz, makes the fair a unique experience
for artists and galleries. Everything is perfectly
organized from the first step of the advertising to
the exhibition booth. The team will greet you with
a smile. You don't have to worry about anything
except your artworks and the visitors to your
booth. No doubt, I feel very comfortable exhibiting
at their fairs.

"Monument...!". (Think about it )
2017 (Detail)
Gerd Paulicke © All rights reserved.

"Monument...!".
(Think about it ) . 2017
Think bubbles Warehouse / 2017 Room
Installation Plastic / Steel Bladder
Size 125 x 130 x 90 cm
Gerd Paulicke © All rights reserved.

195

With the end of the corona But no matter what appears rather inconspicuous.
pandemic regulations reactions my works trigger, But I'm also very aware of
and the start of the war in the confrontation and the that and want it that way.
Ukraine, I came to the fair questions and the work of art So unobtrusiveness is also a
with mixed feelings. Will there touch the viewer. significant focus of my work.
be many visitors? What is Art has to ask questions, The confrontation between
the purchasing power of the even if these questions are the artwork and the visitor
visitors? But these doubts uncomfortable. arises more regarding content.
were unfounded. We had a lot Sometimes I deal with
of visitors on all fair days and uncomfortable questions with ART MARKET MAGAZINE: Top: To The Beginning.
some excellent sales. the help of a bit of humor. What does the future bring? Book 7. 2013
I like it when the feelings Where can we see your Epoxy / Steel / Concrete
The reactions to my swing from amusement to work? Are there any planned / Wood / Electrical
artworks are positive as thoughtfulness when looking exhibitions in the months to installation figure 1:1.5
well as negative, but always at it, and the work cannot be come? On concrete base
interesting! The adverse classified by emotion. 120 x 30 x 30 cm
responses come because Since my artwork only GERD PAULICKE: I've just Gerd Paulicke ©
I often ask uncomfortable contains white and grey, my come from an exhibition All Rights Reserved.
questions about life and fair booth initially appears in Switzerland, in Cevio
human behavior. For some very quiet in the middle of the near Locarno. This is a Right Page:
people, it's a complex issue to other colorful artworks in the group exhibition run with Memento mori.
deal with. exhibition hall and therefore the support of Fondation Join the Dance #2. 2012
Gerd Paulicke © all
196 rights reserved.

Art Market Magazine

Silene Giannini and is being featured until I also look forward to a group exhibition at
September 10, 2022. the Kunstverein Friedberg in Germany.
The exhibition's name is "DEATH – DISEASE
I am preparing for a solo exhibition at the – DEMOCRACY," and many influential artists
Kunsthaus BBK in Braunschweig, Germany, from all over the globe will present their
which will be open at the beginning of July. recent projects. Unfortunately, I can't
The exhibition's title is "Ich ...weiss...! "which share more details about it, but it will be
is a play of words in German. It is an allusion fascinating.
to the white color of my artwork and also to
the question of knowledge.
(Ich weiss – I am white/ Ich weiss- I know).
Philosophically led by Sokrates – I know that
I know nothing.

Remember 1 / Extended version. 2015
200 x 300 x 45 cm
Wood / steel / concrete / ceramic / epoxy
Gerd Paulicke © All rights reserved.