Peter Halley Livres

Already 30 years ago, Peter Halley (*1953) was far ahead of his time. With his 'Prison' and 'Cell' paintings, he manifested the reasoning, interdependencies and organizational forms of the artwork and the social space. Since the 1980s, Peter Halley examines in his geometrical abstract painting and site-specific installations the spatial as well as communication and organizational structures that dominate everyday life. In today's world, where our lives are influenced and modified by algorithms of the digital industry and by the surface appeal of the media world, we find ourselves, as it were, amidst a Halley-ian composition. In an installation exclusively developed for the free accessible Rotunda of the SCHIRN, Halley will work intensively with the quite specific spatial conditions. The combination of various motives from the spectrum of the artist oeuvre will create both an explosive energy field and an analytical map of his work. Halley will form a cell for a key work from his historical oeuvre; an art work that could hardly be any larger, more elaborate, or more expansive and which, in turn, feeds back to the original nucleus of the artist's creative power. Exhibition: Schirn Kunsthalle, Frankfurt, Germany (12.05-21.08.2016)

InhaltsverzeichnisBarbara Happe, Martin S. Fischer „Das verhängnisvolle Quadrat: Zum Verständnis der Arbeiten von Peter Halley“ 'The forlorn square - towards an understanding of the paintings of Peter Halley' Steffen Siegel „Peter Halley im Auge“ 'Peter Halley - In your eye' Peter Halley „Auswahl aus seinen Schriften“ 'Selections from his writings' Gunnar Brehm, Rainer Wächter „Wie stellt man einen Farbkatalog für Peter Halley her?“ 'How to make a catalogue for Peter Halley'

Over the past four decades, Peter Halley has pursued a rigorous, theoretical approach to painting that takes influence from structures of organisation and communication. The works in this book of the exhibition show development during this decade of relationships between flat and textured geometric elements that the artist refers to as 'cells', 'prisons' and 'conduits.' For Halley, these elements comprise a formal vocabularly that reflects the increasingly geometric divisions of social spaces of the world in which we live. Halley's work is consistently concerned with abstraction not only in art, but in broader terms of culture and human behaviour

As part of the 54th International Art Exhibition- la Biennale di Venezia, Personal Structures, presents 28 artists from 5 continents, representing 12 countries. The exhibition in 24 rooms, brings together an extraordinary combination of established artists next to artists whose oeuvre is less known. What they have in common is a dedication to the concepts Time - Space and Existence. The exhibition is curated by the Dutch curators Karlyn De Jongh and Sarah Gold. Personal Structures is held at Venice's prestigious Palazzo Bembo, by Rialto Bridge on Canal Grande. Each artist in the exhibition presents recent artworks, either site-specific, especially made for this exhibition, or coming directly from the artist's studio. Each room in Palazzo Bembo is dedicated to one single artist. Their strong statements give each of the rooms a very specific atmosphere. The exhibition features a broad variety of artistic media, such as: videos, sculptures, paintings, photos, installations with light, wallpaper and performance. The exhibition 'Personal Structures' is part of an international art project. It was initiated in 2002 by the Dutch artist Rene Rietmeyer, who noticed that even in the most distant corners of the world, there are artists working with Time - Space and Existence, thereby expressing themselves in a very personal way. This observation led to the idea of bringing several of these artists together in publications, exhibitions and symposia.