PATRICIA REINHART I
CV I
FILMWORK I
SELF PORTRAITS I
PAINTINGS I
INSTALLATIONS I
PUBLIC SCREENINGS I
EXHIBITION VIEWS I
TEXT I
CONTACT

 

// Text by Emmanuelle Day, 2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Movement is at the center of Patricia Reinhart’s new series of watercolor paintings. The movement of the paint along the surface of the canvas but also dramatic interior movements. The painting titles are allegories for the evolution of emotional states. The series of paintings which began in 2015 with Patience I – La Tempête / Tourmente continues into the present with Patience XV – Über die Notwendigkeit des Zerschmetterns.

The passage of color through light, the visible flows of water on the surface of the painting and the movements of the artist’s hand express the latent possibility of the organic form. In this matrix, shaped like a pattern of lines and space, arises a situation or a set of conditions in which something else develops. The weft of the linen canvas becomes visible with the pixilated grain that develops on the edges of the brushes of color.

The painting series Patience is a natural extension of Reinhart’s latest video project Anoir and the Woman in the Garden and features the same emotional landscapes and environments. The paintings in the Patience series are titled: L’Amour, L’Hiver, The Garden, La Forêt et le Ciel. Reinhart’s work is an intensely personal meditation on the figure of the woman embodied by the artist herself who is the actress in all her films. A meticulous layering of film stills, a technique she calls “ciné-collage” allows her to bind still images together and to color film stills.

The poet and art critic Charles Baudelaire remarked that a woman’s hand viewed under a magnifying glass would create a perfect harmony of grey tones, blues, browns, greens, oranges and whites warmed with a bit of yellow. A true colorist might be able to translate these shifts in scale between our microperceptions and visible reality.

The two latest paintings in the series which have been selected for this exhibition, Patience XIV – Attitude / Das weibliche Rückgrat and Patience XV – Über die Notwendigkeit des Zerschmetterns, speak to the need for embodiment and transcendence as well as the passage of time.

exhibition view “Leucadian Leap”, 2016, Rinomina, Paris/FR, Photo credit: Quentin Dubret

 

exhibition view “Leucadian Leap”, 2016, Rinomina, Paris/FR, "The Self Portraits, Portraits to Questions of Femininity", 2001-2016. Photo credit: Quentin Dubret



Daniela Baldelli:
Ta pratique artistique occupe deux domaines très différents, l’installation vidéo et la peinture. Selon toi, comment les zones communes ou les limites de ces deux modes d’expression se cristallisent-elles?

Patricia Reinhart:
Il s’agit de deux approches complètement différentes, qui ne sont pas vraiment comparables, mais se complètent l’une l’autre à la fin. Dans les vidéos, la complexité des relations entre les éléments vient du nombre important d’étapes au cours de la production, ainsi que de la durée qui les sépare parfois. Je conçois et réalise chaque élément, de la prise de vue au dispositif de l’installation, en passant par la postproduction, le montage (ou «ciné-collage»), etc. Avec la peinture, en revanche, les choses sont beaucoup plus immédiates.

D.B.
En observant ta nouvelle série qui s’intitule Patience, j’ai remarqué que, contrairement aux toiles antérieures, les peintures les plus récentes ne sont pas construites en plusieurs couches.

P.R.
C’est un besoin immédiat de peindre directement sur la toile, sans dessin préalable… En peinture, le geste domine. Ces conditions sont totalement différentes de celles du travail vidéo. Je ne peux pas faire deux pas en arrière comme avec la vidéo, par exemple. Si une idée ne fonctionne pas, l’image est détruite - une seule fausse note, une ligne incorrecte peut ruiner toute la composition.

D.B.
C’est comme si on pouvait ressentir ce risque en regardant ta peinture. Pour toi, y a-t-il des conditions qui sont nécessaires lors de l’exécution du geste pictural?

P.R.
Pour la nouvelle série Patience, j’ai peint exclusivement à l’aquarelle. Cette technique nécessite une approche très différente de la peinture à l’huile. La plupart du temps, je travaille en trois étapes. Chaque geste est méticuleux, presque hypnotique, jusqu’au moment où je réalise que je dois m’arrêter.

D.B.
Dans tes images, les mouvements sont clairement perceptibles. Aussi, on voit presque les zones où la ligne peut changer de direction.

P.R.
Oui, la répétition du geste pictural est presque quelque chose d’obsessionnel dans ce travail. Les mouvements de rotation visent à donner une profondeur différente à l’ensemble de la composition. Je brise volontairement mon processus de travail pour prendre un nouveau départ, donner une nouvelle origine à l’image.

D.B.
Comment décris-tu le moment où ces parties se rencontrent dans l’image?

P.R.
Je tourne la toile afin d’éviter qu’une couleur ne coule accidentellement sur une autre. Si je souhaite que deux couleurs se rejoignent, il m’arrive parfois de contrôler délibérément ce mouvement.

D.B.
Un bon exemple de cette pratique particulière est ce qu’on peut observer dans la toile Patience III.

P.R.
Oui, en faisant seulement tourner la toile, la partie centrale de l’image n’est pas affectée. Quand je décide d’utiliser beaucoup d’eau, comme je peins à la verticale, j’accepte aussi les coulures. C’est inévitable.

D.B.
Tu vois toujours le point, la zone de rencontre, voire la collision entre les couleurs. Tu ne peins jamais plusieurs couches.

P.R.
En général, l’acte de peindre est accompagné d’un mouvement calme et harmonieux. La couleur est et doit être ce qu’elle est. Dans mon utilisation de la couleur, je ne cherche pas à produire d’effets dramatiques ou obtenir une peinture expressive. Les images se créent dans une certaine paix. Je dois pouvoir prendre mon temps et, au bon moment, décider de poursuivre telle ou telle partie.

D.B.
Il y a toujours la possibilité qu’une couleur ne soit pas en harmonie avec la couleur voisine. Néanmoins, à travers la technique que tu développes, tu ne caches jamais cette erreur potentielle, la possibilité d’un échec. Pour moi, c’est quelque chose de très important, cette notion de responsabilité que tu portes. Il semble que la zone de rencontre entre les couleurs est indirectement influencée par ton travail vidéo, dans lequel tu composes magistralement les scènes et les décors. Le point de collision est visible, le risque évident. C’est ce que j’aime
le plus dans ton travail.

Daniela Baldelli est artiste et Directrice de Rinomina, Paris/FR,
Entretien réalisé à Paris le 01.10.2016.

 
 
// Conversation avec Daniela Baldelli, 2016

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// About synchronicity



An acausal connection of a significant coincidence of physical and psychological phenomena (C. G. Jung).


SYNCHRONICITY is an ongoing art and exhibition project by artist Patricia Reinhart dealing with the phenomena of synchronicity in relation to an artwork's various medias and presentation. Consisting of several exhibition forms and taking place at various intervals, selected works of hers will be installed and shown in public space and other spaces.

The 1st event was a video installation with a public screening of the video work "Die ihr Brot mit Tränen aß (Requiem for an Unendurable Paradise)" at the Canal St. Martin in Paris (June 2014).
The 2nd event was a performative installation with multiple Versatzstücke in a private apartment in the 7th arrondissement in Paris (December 2014).
The 3rd event was a video installation with a found wood stick and fabrics in the cliffs of Cassis, FR (July 2015).
The 4th event was a video installation of an excerpt scene from the recent video work "apocalypse noir and the woman in the garden" (work in progress) on a book from and in the library of the Camargo Foundation in Cassis, FR (August 2015).

 

 

 

 


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// Text by Sini Rinne-Kanto, 2015

 

 

 

 

 

 

 

 

 

 

 

 

 

 




It was a late Sunday afternoon in the summer of 2014, when I met Patricia Reinhart for the first time. Introduced by a mutual friend of ours, we ended up spending a rainy afternoon together on the terrace of Palais de Tokyo, where a rather general conversation about Paris, art and relationships took place. At the end of the day, we exchanged smiles and phone numbers with our goodbyes.

The summer came and went. The next time when we saw each other was at a group exhibition entitled 48°28’39”N 2°12’47”E - Les pierres se battent entre elles, in which Patricia was participating with her video work Die ihr Brot mit Tränen aß (Requiem for an unendurable paradise). Yet the context for a screening sounded rather demanding, as the exhibition took place in direct sunlight in a middle of a forest, with no electricity on hand. Leaving the chance for the unexpected though, as she usually does in her work, Patricia had discovered an abandoned tent in the very same spot where the exhibition was bound to be. Screened inside the tent, this work revealed to be a combination of video material and still photographs. This technique entitled ciné-collage, developed by Patricia herself, allows the use of photographs as painterly layers, creating thus a singular texture for the work. In the video, a woman follows a desolate path, from rural to urban purgatory: the scenery changes from the pool to the stormy sea, from the garden to the burning city of Wien. Profound patterns of symbolism accumulate: antagonistic yet complimentary symbols of life and transformation - water and fire - are playing important roles in her work. While water in movement constitutes a symbol for a transitory state between different possibilities, those accomplished and those still to emerge, the fire stands for death and rebirth, purification and illumination. I still recall that afternoon very well; it was my first encounter with Patricia’s work, surrounded by a highly contrasting context.

In December, I received a small handwritten envelope by mail, containing an exclusive invitation for Patricia’s solo show, a performative installation entitled Synchronicity Part 2, (The Black Velvet Room Paris), a follow-up for the installation and public screening organized at the Canal St. Martin the previous summer. The address was aptly to be found at Rue de l’Exposition, in a rather posh area of the 7th arrondissement: after being received by a blond vamp dressed in a fur coat, I was led into a private apartment enveloped entirely in black. A mixed scent of cigarettes and perfume was lingering in the apartment, while the guests were sipping wine and chattering in low voices. Reminiscent of a Freudian setup, the space was constructed in an intimate dialogue with her works: I had the impression as if the whole apartment was actually a stage with a mise-en-scène, and we, the guests, were the actors of this play. All the works on display were projected and installed in a non-classical way: a screening of her video Die ihr Brot mit Tränen aß (Requiem for an unendurable paradise) was projected from an open window on the wall of the neighboring building, a super 8 film projection of Ophelia was projected on the back of a painting, a paper with a handwritten love poem was rotating on a record player … The ensemble created surprising encounters in the exhibition space: the entity floated into an opaque gradual degradation of surroundings and eventually, allowing me to forget where I was.

Many things happened over the long winter months: we witnessed each other going through joys and hardships. During these months, when our friendship got deeper, I also discovered probably Patricia’s most intimate series of work: her self-portraits. This series started in 2001 when she arrived to Paris for the first time, and has been an ongoing project ever since: it is a way to record the past, yet actively to reconstruct a new paragraph. In this series, a form of double-portraits unfolds itself, and an image finds itself captured in another portrait. This self-reflective approach allows mirroring the subject both as familiar and as subconscious, while a self-narrative takes place within the framework. Despite the series’ intimacy, the photos nevertheless impose a distance, exactly because of their form: self-portraiture allows oneself being a tourist in one’s own reality with a hidden gaze, drifting away into a soft abstract pastness.

At this moment, when writing this text, almost one year has passed since our first encounter: our meeting, perhaps an arbitrary one, has become a meaningful narrative. It seems like an eligible way to conclude this text in presenting Patricia’s latest work. A shift towards new techniques and experimentations with her series entitled Patience, aquarelles on linen dating from 2015, can be observed. They enter in a constructive dialogue with her previous body of work - yet a clear shift in time and space can be observed. The new direction suggests that the chapter is about to reach its end, after having leafed through some torn pages. The figure of a woman is arriving at her destination after the apocalyptic series of events, and a moment of reconciliation reveals itself: a serene garden is looming out in the horizon, but still with the presence of gentle and soft shadows.

 

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// About patience

Patience I - La tempête / Tourmente
Patience II - La forêt et le ciel / Irony
Patience III - L’ amour / Liebe und Mitgefühl
Patience IV - Eine neue Zeit / Une nouvelle èpoque
Patience V - Warten auf den Tod / Death
Patience VI - L’ hiver / Die Erkenntnis im Kapitel Schnee
Patience VII - The garden / Wandlung
Patience VIII - Die Frau im Garten / Confiance
Patience IX - Miroirs / Antworten
Patience X - Sinn und Fügung
Patience XI - Au début / Das wahre Selbst
Patience XII - Cristallisation
Patience XIII - Phoenix / Revelation
Patience XIV - Attitude / Das weibliche Rückgrat
Patience XV - Über die Notwendigkeit des Zerschmetterns
Patience XVI - Deuxième cristallisation



 

 

 

 

// About love

1 Die Bewunderung / l’admiration
2 Welch Freude / Quel bonheur
3 Die Hoffnung / l’espérance
4 Die Liebe ist entstanden
5 Erste Kristallisation / Première cristallisation
6 Der Zweifel taucht auf / Ambiguité
7 Zweite Kristallisation / Deuxième cristallisation

 

 

 

 



/ all images are the property of the artist - PR/2017