GERHARDSEN GERNER

Berlin Oslo Artists Artfairs


MATTHEW RITCHIE

Biography

Bibliography

Previous Shows


Previous Shows

Matthew Ritchie – The Need-fire (2009)

Matthew Ritchie – After The Father Costume (2003)


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Installation view, c/o – Gerhardsen Gerner, 2009



Installation view, c/o – Gerhardsen Gerner, 2009



Installation view, c/o – Gerhardsen Gerner, 2009



Installation view, c/o – Gerhardsen Gerner, 2009



Installation view, c/o – Gerhardsen Gerner, 2009



Installation view, c/o – Gerhardsen Gerner, 2009



The Four Forces (The Weak Force), 2008
Oil and marker on linen, 223.5 x 195.5 cm (88 x 77 in)



The Four Forces (The Light Force), 2008
Oil and marker on linen, 223.5 x 195.5 cm (88 x 77 in)



The Four Forces (The Heavy Force), 2008
Oil and marker on linen, 223.5 x 195.5 cm (88 x 77 in)



The Four Forces (The Strong Force), 2008
Oil and marker on linen, 223.5 x 195.5 cm (88 x 77 in)



Scattering III, 2009
Ink on Denril, Sheet: 27,9 x 35,6 cm (11 x 14 in); Frame:40,5 x 49,5 cm



Scattering II, 2009
Ink on Denril, Sheet: 35,6 x 27,9 cm (14 x 11 in); Framed 49,5 x 40,5 cm



Scattering IV, 2009
Ink on Denril, Sheet: 35,6 x 27,9 cm (14 x 11 in); Framed 49,5 x 40,5 cm



Scattering I, 2009
Ink on Denril, Sheet: 22,9 x 30,5 cm (9 x 12 in), Framed:



Matthew Ritchie
The Need-fire

Exhibition duration: May 1–July, 2009


It is a great pleasure to announce a new exhibition with Matthew Ritchie on the occasion of the fourth Berlin Gallery Weekend at c/o – Gerhardsen Gerner (formerly known as
c/o – Atle Gerhardsen).

The tradition of the Need-Fire (or Wild-Fire, such as the Midsummer’s Eve bonfire) dates back to the 8th century. In this custom the beginning of spring or summer is marked by building a great bonfire to clear the air of contaminating spirits.
With “The Need-fire” Matthew Ritchie will be presenting four large paintings, a collection of drawings as well as a multimedia installation and sculpture.

The four paintings in the series “The Four Forces” not only form a unity through the mythical tradition of numerology ; they are also thematically linked. They embody the four fundamental energies of the universe: “the light force, the heavy force (gravity), the strong force & the weak force”.

The four energies reveal a parallel to the various states in the antique theory of four humors, in which the health of the human relies on the four bodily fluids being in harmonic balance. If one of the substances is unbalanced, it results in a shift of humor, which in turn also influences the state of mind. However there remains the possibility to restore the ideal balance of humors in the body – in theory at least – by, for example, building a cleansing spring fire.

The theme of cleansing and rediscovery is also taken up in the multimedia installation in the small gallery space, which alters the architecture of the place. A sculptural screen creates the opening towards the front, on which and through which a video work is projected showing the cyclical birth, construction and collapse of a civilization, accompanied by spoken narrative and music composed by Bryce Dessner and Evan Ziporyn.

Matthew Ritchie says about his work: "In other words, for me, the original idea that any sufficiently complex system would acquire its own internal meaning [...] has mutated into an omnivorous visualization system constantly generating multiple meanings. This system is not really being generated by me; it is a story by, for, and about everyone and everything. And so [...] my project has taken on an internal life. It has escaped." (The artist in an interview with Thyrza Nichols Goodeve).

Since the 1990s Matthew Ritchie has been creating his own fictitious world order in both his artistic and literary work. The artist's work is concerned with the unfathomable breadth of the universe and our various attempts to understand the things that are beyond our grasp. At the core of his work is "information" as a kind of raw data, from which the works develop, and are later charted and measured in diagrams according to their own systems of colour, lines, material and light.

Ritchie takes recourse to science, history, philosophy, economy, the great mythologies from across the globe, religious traditions as well as gleaning from popular culture. His works and installations can be seen as part of his cosmology, as part of a Gesamtkunstwerk, spanning the limits of any particular medium, becoming trans-medial due to its sheer complexity.

Matthew Ritchie was born in 1964 in England and currently lives and works in New York City. This is his fourth solo exhibition with Atle Gerhardsen and Nicolai Gerner-Mathisen.

Further exhibitions and projects in 2009:
The Morning Line, CAAC, Sevilla (solo)
International Biennial of Contemporary Art of Seville, Sevilla (October 2–January 11, 2009; group)
The Kaleidoscopic Eye, Mori Art Museum, Tokyo (April 5–June 26, 2009; group)
Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection, MoMA, New York (April 22, 2009–July 27, 2009; group)
Between Art and Life, SFMoMA, San Francisco (May 10, 2009–January 3, 2010; group)
Hypermusic Prologue; Centre Pompidou, Paris, in collaboration with Harvard physicist Lisa Randall and composer Hector Parra (opening June 14, 2009; performance)
The Last Scattering, Arup AGU, London (June 2009; solo)
Automatic Cities: The Architectural Imaginary in Contemporary Art, Museum of Contemporary Art San Diego, San Diego (October 10, 2009–January 31, 2010; group)
The Long Count, Brooklyn Academy of Music, Brooklyn (October 28–31, 2009; performance)
Andrea Rosen Gallery, New York (forthcoming; solo)
Confines, IVAM, Valencia (forthcoming 2009)
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Matthew Ritchie
The Need-fire

Ausstellungsdauer: 1. Mai–Juli 2009


Es ist uns eine große Freude, eine neue Ausstellung mit Matthew Ritchie bei c/o – Gerhardsen Gerner (ehemals c/o – Atle Gerhardsen) anlässlich des vierten Berliner Galerienwochenendes ankündigen zu können.

Die Tradition der „Notfeuer“ (z.B. Johannisfeuer) reicht bis ins 8. Jahrhundert zurück. Mit diesem Brauch werden alljährlich zu Beginn des Frühjahrs bzw. Sommers große Feuer entzündet, um die Luft von schlechten Geistern zu reinigen.
Mit „The Need-fire“ präsentiert Matthew Ritchie in unseren Galerieräumen vier großformatige Malereien, eine Auswahl an Zeichnungen sowie eine multimediale Installation und Skulptur.

Die vier Gemälde der Serie „The Four Forces“ bilden nicht nur durch die Mythologie der Zahlen , sondern auch thematisch eine Einheit. Sie verkörpern die vier elementaren Energien des Universums: „the light force, the heavy force, the strong force & the weak force.“

Die vier Energien eröffnen eine Parallele zu den vier unterschiedlichen Zuständen der antiken Viersäftelehre, wonach das Gleichgewicht des menschlichen Körpers nur durch das harmonische Zusammenspiel von vier Körpersäften gegeben ist. Befindet sich einer dieser Säfte im Ungleichgewicht, zeigt sich das durch eine Gemütsverschiebung – es erfolgt eine Übertragung auf die seelische Verfassung. Jedoch bestünde die Möglichkeit, zum Beispiel durch ein reinigendes Frühlingsfeuer dieses Ideal des körperlichen Gleichgewichts – zumindest theoretisch – wiederzufinden.

Das Thema der Reinigung und Neuerfindung greift auch die multimediale Installation im kleinen Galerieraum auf, die in die Architektur des Ortes verändert. Ein skulpturaler Bildschirm schafft den Durchbruch nach vorne, auf und durch ihn hindurch ist eine Videoarbeit projiziert. Diese Videoanimation zeigt zyklisch Entstehung, Aufbau und Zusammenbruch einer Zivilisation, begleitet von Erzählung und Musik, welche von Bryce Dessner und Evan Ziporyn komponiert wurde.

Matthew Ritchie sagt über sein Werk: “In other words, for me, the original idea that any sufficiently complex system would acquire its own internal meaning [...] has mutated into an omnivorous visualization system constantly generating multiple meanings. This system is not really being generated by me; it is a story by, for, and about everyone and everything. And so [...] my project has taken on an internal life. It has escaped.“ (Der Künstler in einem Interview mit Thyrza Nichols Goodeve).

Seit den 1990er Jahren schafft Matthew Ritchie in seiner künstlerischen sowie schriftstellerischen Arbeit ein eigenes fiktives Weltgefüge. Das Werk des Künstlers setzt sich mit der unermesslichen Weite des Universums und unseren unterschiedlichen Versuchen, die Dinge, die sich jenseits unserer Erkenntnis befinden, zu begreifen. Das Kernstück seiner Kunst ist „Information“ als eine Art Rohmaterial, aus dem sich die Arbeiten entwickeln, diese wiederum kartographiert und in Diagramme übertragen in eigenen Systemen aus Farbe, Linie, Material und Licht.

Ritchie nimmt Rekurs auf Wissenschaft, Geschichte, Philosophie, Wirtschaft, die großen Mythologien der Welt und Religionen ebenso wie Trivialkultur, und seine Gemälde, Zeichnungen und Installationen sind als Teile seiner Kosmologie zu sehen. Matthew Ritchies Werk versteht sich als Gesamtkunstwerk, das in seiner Komplexität medienübergreifend vorgeht.

Matthew Ritchie wurde 1964 in England geboren und lebt und arbeitet heute in New York City. Es handelt sich um die vierte Einzelausstellung des Künstlers mit Atle Gerhardsen und Nicolai Gerner-Mathisen.

Weitere Ausstellungen und Projekte 2009:
The Morning Line, CAAC, Sevilla (solo)
International Biennial of Contemporary Art of Seville, Sevilla (October 2–January 11, 2009; group)
The Kaleidoscopic Eye, Mori Art Museum, Tokyo (April 5–June 26, 2009; group)
Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection, MoMA, New York (April 22, 2009–July 27, 2009; group)
Between Art and Life, SFMoMA, San Francisco (May 10, 2009–January 3, 2010; group)
Hypermusic Prologue; Centre Pompidou, Paris, in collaboration with Harvard physicist Lisa Randall and composer Hector Parra (opening June 14, 2009; performance)
The Last Scattering, Arup AGU, London (June 2009; solo)
Automatic Cities: The Architectural Imaginary in Contemporary Art, Museum of Contemporary Art San Diego, San Diego (October 10, 2009–January 31, 2010; group)
The Long Count, Brooklyn Academy of Music, Brooklyn (October 28–31, 2009; performance)
Andrea Rosen Gallery, New York (forthcoming; solo)
Confines, IVAM, Valencia (forthcoming 2009)