Ricoh Gerbl

How does a street determine where a person should go? Can I recognize from the constellations of a group of people how close the individuals are to each other? How can I, by erasing the details of a context, gain access to a purely associative space? How can I achieve the development of “complete” pictures in spite of this omission and elimination of place-specific and social information, and in spite of overexposing the pictures? With her photographs of bright cities, constellations of people and situations from the series “From Monday to Sunday,” Berlin artist Ricoh Gerbl presents us with minimalist views in which “light itself” seems to paint and where her vocabulary of visual signs is reduced to the absolute minimum necessary.

Couples, passersby

At first glance, Ricoh Gerbl's new work suggests its title - describing what is in sight. But what is seen and what has been seen belong in two different categories. Simply put, a differentiation can be made between the act of perception and the memory of this act. However, the difference only exists by default, because what we see is being stored in the form of a mental image. Something entirely different occurs when standing in front of Ricoh Gerbl’s photographs, though. From the onlooker’s perspective, the figures seemingly dissolve into the image – as if it actually were a memory. But the memory is two-pronged: one direction represents dissolution, and the other composition. We remember only because we want to remember. This duality of perception is evident when confronted with Gerbl’s photographs, as what we see emerges from the canvas. What is recognizable but not immediately apparent is clarified linguistically through text. For instance, the fine lines on the street are not a feature of the street, but instead shadows cast by a fence. Couples sit atop the barrier, allowing the viewer to put everything into context. Alongside this dissolution is composition - which can occur on the image’s surface to counteract the fragmentation. At the same time, composition emerges in the eye of the beholder. He or she does not approach perception with empty eyes, but instead references previous encounters to interpret new observations. In this way, every new sight is also a recognition of the past. This recognition is clarified through the work’s title. It refers to a play written by Botho Strauss – and Ricoh Gerbl’s photos are reminiscent of stage sets seen at Berlin Theater productions of Strauss’ works. Gerbl supplements her images with short texts. “She takes what is perceived as a backdrop to set the stage…” Image and text, at first independent, become intertwined to communicate with the audience: hold on or flee. Anything is possible – including both composition and dissolution – within the theater setting, much like in Ricoh Gerbl’s photographs.

Fast. Eine Regung plus Pfropfung. Mulitple. Kaltleimbindung, 2019

Theater der Zeit, 2013

SCORES 11/13, Vienna, 2013

Kunstforum, Vol. 204 October – November 2010

Leben im Luxus, Erzählungen, Mitteldeutscher Verlag, Halle, 2009

H.O.W., Art and Literatury Journal, New York, 2009

von hundert, Thomas Wulffen, “Thank you for judging”, 2009

von hundert, Barbara Buchmaier, “Gespräch mit Ricoh Gerbl”, 2008

Eikon #54, “Photographs for a Project by Eve Sussman”, 2007

Art in America, “Photographs for a Project by Eve Sussman”, 2007

Flash Art, Vol XXXIX No. 246, “Photographs for a Project by Eve Sussman”, 2006

Kind of, maybe, probably not, in: Bus Obscura / Road To Bath / How Beautiful Is the Truning Cabbage, 2006

Camera Austria, Issue 74, 2001

Camera Austria, Issue 64, 1998

Solo Exhibitions

2008	Thank you for judging, Medizinhistorisches Museum of the Charité, Berlin
2007	Mittwoch, Visite ma tante, Berlin
2004	The Mother and Apartmentgrafting, Smack Mellon, New York
	Expressgrafting, vier Apartments, New York
2000	Kimmst amoi wieda zu mia, Künstlerhaus Bethanien, Berlin
1999	Die Wohnungspfropfungen, acht Wohnungen, Berlin
1998	Die Wohnungspropfungen, vier Wohnungen, Berlin
1997	Verharren in Zwischenstopps, Annelies Diltschev, Berlin
1986	Ich muss mich nur noch fertig machen, dann bin ich fertig, Die der Art guten Freunde, Berlin

Group Exhibitions

2008	Existence in a Letter, Cluster, Berlin
2007	Photographs for Eve Sussman’s The Rape of the Sabine Women, Hamburger Bahnhof, Berlin (video/photos/notes)
2006	von der Angst, Kunstverein Tiergarten, Berlin
	Inselglück, Galerie Nord, Berlin
	Photographs for Eve Sussman’s The Rape of the Sabine Women, 89 seconds at Alcazar and other works, Thessaloniki Center for Arts and Culture, Thessaloniki
2005	ZBO – Subduktive Massnahmen - 1500 Jahre Sonderschutz für 50 Kunstwerke, Zentraler Bergungsort Oberried / Breisgau, Bundeskunsthalle Bonn
	Goldenes Zeitalter, Galerie Nord, Berlin
2002	Gehag Forum, Berlin
2001	Familienbild, NGBK, Berlin
1999	Iokaste 2000 – eine fotografische Exkursion entlang der Nabelschnur, Schloss Wolkersdorf
1998	Untersicht, Kunstamt Mitte, Berlin
	Fremde Welten, Wünsdorf
1996	casa  tua e casa mia, Amerikanische Akademie, Rom
1995	Bronwyn Keenan Gallery, New York
	“Sculpture Space,” Munson-Williams-Proctor Museum, Utica, USA, film/video, “Die Platzsünde,” by Eve Sussman und Ricoh Gerbl, Text by Ricoh Gerbl und Ivana Mestrovic.
1994	nicht nicht du, ich aber auch nicht, Galerie Acud, Berlin
	Werkschau 2, Neues Kunstquartier, Berlin
1993	bLICK fANG, Kulturhaus Treptow, Berlin
	Künstler in Moabit stellen sich vor, Waldenser Ateliers, Berlin
1992	Choice, Galerie A.I.R., New York
	Auszug, Waldenser Ateliers, Berlin
1990	Ausstellung im Atelier 1, Berlin