Submission
Stefan Reiterer

Displacement

Solo exhibition by Austrian artist Stefan Reiterer at Galerie CRONE in Vienna.


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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer Template 5, 2020, Oil on MDF, 276 x 140 x 2 cm
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer Untitled (from the series 'images'), 2020, Oiland paper on MDF, 55 x 35 cm
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer Template 4, 2020 Oil on MDF 255 x 213 x 2 cm
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer Untitled (from the series 'texture mapping'), 2020, Oil on fabric, Dimensions variable
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer Template 6, 2020 Oil on MDF 274 x 180 cm
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Stefan Reiterer Untitled (from the series 'images'), 2020 Oil and paper on MDF 30 x 21 cm
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020
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Stefan Reiterer, installation view, Galerie Crone, Vienna 2020

Stefan Reiterer’s artistic practice is characterized by an
intensive examination of digital image creation processes
and their potential to depict and manipulate threedimensional
spaces. For his exhibition Displacement
he is developing a walk-through installation that runs
through all of the gallery rooms. Meter-long strips of
canvas stretch from the ceiling to the floor. Some of them
adapt to the surrounding architectural conditions, some
of them resist this by running through walls, protrusions,
and windows. Reiterer’s installation plays with the spaces
and redefines them. It stands in the way of visitors and
at the same time opens up new directions, lines of sight,
and perspectives. They direct the way of walking without
giving a clear goal—orientation, disorientation, and
reorientation alternate.
Reiterer’s room installation is part of the Texture Mapping
series that he has been following for several years. In
3-D computer graphics, the term describes a process in
which spatial models are provided with two-dimensional
images, so-called textures. These digital textures are now
transferred into real space by Reiterer in the form of strips
of fabric and covered with the simplest painterly means:
lines or hatching.
The surfaces that are used in “texture mapping” to
digitally synthesize spatiality are now physically placed
in the exhibition space. In this way, the digital space is
expanded into the architectural space, so to speak. The
supposed three-dimensionality in the digital gives way
to a “real,” tangible, and accessible space that gets by
without any illusionism. Nothing is hidden or embellished.
The properties of the canvas as well as the wooden
construction are emphasized, the topicality and presence
of the materials highlighted.
Reiterer’s illusionistic paintings, which also deal with
the manipulation of space, are in tension with the
undulating forms of the installation. For the works
from the Templates series, Reiterer draws on already
completed paintings and collages. They show abstract
structures, spontaneously applied markings, but also
detailed rendered aerial and satellite photos of Earth (the
latter generated and downloaded with the Google Earth
software). These mostly small-format works on MDF
boards are scanned three-dimensionally and processed
digitally.
In the virtual space of the computer it is possible to
change the work as desired. They are bent, overlaid with
new image data, or distorted. They seem to change into
a different state of aggregation and then consolidate
again in a new form. The back of the panel might bend
forward, and the painted surface suddenly disappears or
the image carrier arches in various directions. In this way,
the flat paintings in the digital become expansive objects.
From the almost infinite variety of possibilities and views,
Reiterer then selects a variant, which he in turn captures
with the classic means of painting on wood. The bends,
heights, and depressions are rendered illusionistically on
the flat plate.
Just as orientation and disorientation alternate in the
labyrinth of fabric panels, clarity and ambiguity, stability
and chaos are intertwined in Reiterer’s paintings. Whole
cities and regions seem to merge with one another and
to blur before our eyes. Rock formations and streets are
distorted almost beyond recognition or overlaid with
monochrome colored areas. When looking at it, one gets
caught in a vortex of structures flowing into one another
that seem to swallow themselves. One is seized by a
dizziness, the world begins to lurch and slips from our
view. In this way, Reiterer’s digitally manipulated and
painterly recorded compositions become an impressive
image of our world, which seems to be getting more and
more out of joint.
Stefan Reiterer (*1988, Waidhofen/Thaya) studied
“Extended Painterly Space” at the Academy of Fine Arts
in Vienna and the Faculdade de Belas Artes in Portugal.
His works have been shown in numerous international
solo and group exhibitions, including in London, New
York, Berlin, São Paulo, Prague, and Los Angeles. His
works are represented in the Austrian Belvedere Gallery,
the Lower Austria State Collection, the MUSA City
Collection of Vienna and the Collection CCA Andratx,
Mallorca.