ANSELM REYLE FOR DIOR Exclusive interview with Anselm Reyle for Canvas. ANSELM REYLE FOR DIOR Exclusive interview with Anselm Reyle for Canvas. Anselm Reyle in his Berlin studio working on Mauve Earth, one of two artworks created for the House of Dior. The worlds of fashion and art converged in Miami at the unveiling of German- born artist Anselm Reyle’s accessory designs for the House of Dior on 29 November 2011. Glitterati from the two worlds descended on the eve of Anselm Reyle. Untitled. 2011. Art Basel Miami Beach’s vernissage to Q&A with Mixed media on view over 50 accessories designed by canvas, neon, cable When the Dior team came to Berlin to see how I work in my and acrylic glass. the Berlin-based artist. Represented 87 x 61 x 21 cm. studio, together we developed the idea to create two all-over Anselm Reyle by Paris’s Galerie Almine Rech and designs based on my own artistic style, including materials, Gagosian Gallery, Reyle’s career has forms and colours of Dior. Over the past few years, different seen him exhibit all over the world, textures, haptic surfaces and neon colours have become an Andre Saraiva and Sam Keller. including the Kunsthalle in Zurich, important language for my own work. I tilted the classical Modern Institute in Glasgow, Tate signature of Dior – the Cannage, which might be considered as Anselm Reyle and China Chow. Modern in London, Palazzo Grassi in Fashion and art have long been inspired by one another. a kind of intervention and deconstruction of their traditional Venice and Gavin Brown’s Enterprise How do you feel this collaboration between your art and heritage. As I am interested in psychedelic and dissonant colour in New York. His works can also be the House of Dior merges these two realms? combinations, I chose the neon stitching to underline the pattern found in esteemed collections such as and to put it in contrast to the shape of the bag and its colour. the Saatchi Gallery in London, Daimler It’s quite untypical for an artist to work for a fashion house or a Collection in Berlin, the Fondation design project even if this restriction did not exist in the past, if Pinault in Venice and the Rubell Family Collection in Miami. Reyle’s Dior project, you look at the Bauhaus for example. That’s why I first had to think about it. But I had some Anselm Reyle at his Berlin studio while working on the Dior project. “I found it amazing that such a big conceived two years ago, saw the 41 ideas very soon, so I thought this could year-old artist apply his trademark make sense. For me, it was an interest- approach of gathering everyday objects fashion label ing challenge to make something that and whipping them up in a frenzy exists outside of the traditional art field. of bright colours, neon stitching and However, it turned out that the process camouflage print. And as if that were not enough, the luxury House set was quite similar. In my own work, as well as here, I use found things that are develops its ideas up a pop-up store in Miami’s Design District which displayed Reyle’s designs, further developed and modified, espe- cially regarding their surface and effect. similarly to the way including his remake of the classic Dior chair, much to the delight of many an How did your approach differ for this an artist does in the studio.” art enthusiast who repeatedly asked collaboration in comparison to your how they could acquire one. A limited approach when creating artwork? Michael and Eva Chow. number of the chairs will be on display in select Dior boutiques around the I often work with found objects from world. Two artworks created especially everyday life, for example elements of You are known to give banal objects an [artistic] function. for the House were also on show – a subculture, architecture and design. It is How did it feel to offer your art a function that entered the foil work with ‘Dior’ in neon lettering, a starting point and this process is often realm of fashion? and a mixed media piece incorporating based on a simple idea and intervention. Delphine Arnault, Deputy General fabric. A replica of a portion of Reyle’s During the cooperation, I discovered an Manager of Christian Dior and Camille Miceli and I think these two fields, fashion and art, have a lot in common, Berlin studio was also set up, featuring Anselm Reyle. Pharrell Williams. echo between the palette of elements, Anselm Reyle. Mauve Earth. 2011. but at the same time they are quite different as well. They a three-column shelf lined with bottles the research into materials and the Mixed media on patterned fabric. are not based on the same motivations and intentions. 242 x 191 x 8 cm. and buckets of bright acrylic paint. colours that Dior craftsmanship involves, Art usually functions in another way than fashion. It Reyle’s accessories hit select Dior stores and my own artistic research. I found requires a message, a kind of general validity. Maybe around the world on 9 January. it amazing that such a big fashion label there is another difference, as I usually find things that Aaron Young and Laure Heriard Dubreuil. An exclusive dinner, hosted by develops its ideas similarly to the way an artist does in the are fascinating to me for some reason. I come across them Delphine Arnault, Deputy General For more information visit www.dior.com studio. Their archive was inspiring to me. often by chance, unexpectedly. However, the bags here are an Manager of Christian Dior, and important, pre-existing part of the design project itself. Stefano Tonchi, Editor-in-Chief of Mathilde Meyer, Diana Picasso and A lot of the accessories include the camouflage pattern. W Magazine was held in the Design Klaus Biesenbach. What attracted you to this? You had mentioned in an interview with Art Review District to celebrate the unveiling that the paint blot which became a signature of your work of Reyle’s accessories for the House I took the camouflage motif because I was interested in how was accidental but seemed to “loosen up the strictness”. From of Dior. it has been adapted by the world of Pop from its military the Dior project’s inception to the finished products, were background and how it has lost its original meaning. It remains they any such accidental encounters? a kind of empty surface. Usually the camouflage hides something, but here it’s the opposite – it is very visible because No, this did not happen that much during the cooperation. We of the signal neon colours. did indeed try out a lot of things, but there were no accidental elements included in the final product. However, because we How did the incorporation of the neon stitching come Zaha Hadid and Craig Robbins. worked in a team, some unexpected things happened, which about and what do you feel it adds to the final products? spurred us into a new direction. All images courtesy Christian Dior. Stefano Tonchi, Delphine Arnault, Almine Rech and Larry Gagosian. Dasha Zhukova, Wendi Murdoch and Misha Zhukova. Anselm Reyle in his Berlin studio working on Mauve Earth, one of two artworks created for the House of Dior.
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