Rodrigo Hernández
J’aime Eva
Opening reception 15 September 2017
Until 11 November 2017

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ChertLüdde is pleased to present the first solo exhibition in the gallery with Mexican artist Rodrigo Hernández (b. 1983, Mexico City).
Hernández presents a new body of work reflecting upon collage as an art-technique and as a device from the historical avant-garde to represent and transform human relationship with reality.

The starting point is the summer following the invention of collage in 1912, when Picasso spent some weeks at Céret and Sorgues in the company of his lover, Eva (Marcelle Humbert). One of the experiments of this summer was the attempt to incorporate true relief and, in at least one case, an actual object on the canvas surface in the only collage Picasso seems to have executed during that summer, titled Guitar: J’aime Eva. This unusual work may have been partly inspired by a portrait by Henri Rousseau. The painting, titled Myself, Portrait and Landscape, portrays Rousseau in the costume of an “artist-peintre”, as he liked to call himself, complete with artist’s beret, palette and brush. Rousseau wrote the names of his two (then-deceased) wives, “Clèmence et Josephine,” upside-down on the palette in a naïve but moving tribute to his beloved muses. Picasso may have had this portrait in mind when he wrote to his dealer Daniel-Henry Kahnweiler on 12 June 1912: “Marcelle is very sweet and I love her very much and I will write it on all my pictures.” The work which seems to correspond to this statement is Guitar: J’aime Eva. In its original form, which has been preserved only in photograph, Picasso wrote the words “Jaime Eva” in faux naïf, childlike handwriting.

The exhibition features eight three-dimensional objects integrating painting, drawing and collage on their surface. The gallery has been transformed into a space partially submerged under water, where the pieces appear to be floating.
Another sculpture one is greeted by right at the entrance of the gallery gives a general summary of this image: there, one sees a human face indecisively coming out or submerging itself in the water, integrated with a model of the gallery space; the water level draws a horizon line where the outside seems to meet the inside.

This moment of transition has a parallel in one of collage’s most fundamental principles: the transfer of material from one context to another and its arrangement in order to produce a new reality, whose coherence follows no other rules than those of a fabricated new logic.

Collage is said to be a subversion of all conventional figure-ground relationships and one of the most plastic materializations of the notions of difference and context, but most importantly it can be understood as an attempt to bring together life and work literally onto a same unique surface, determining and perhaps contradicting the distance between them.

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Rodrigo Hernández (Mexico City, Mexico, 1983) lives and works between Lisbon and Mexico City. He studied at the Akademie der bildenden Künste in Karlsruhe with Silvia Bächli in 2010-2012, and at Jan Van Eyck Academie in Maastricht in 2013-2014. In the last years he has been awarded with a residency at Laurenz-Haus Stiftung in Basel in 2015 and at Cité International des Arts in Paris in 2016. His recent solo exhibitions include: Plasma, Galeria Madragoa, Lisbon, 2017; The Shakiest of Things, Kim?, Riga, 2017; I am nothing, Heidelberger Kunstverein, Heidelberg, 2016; Every forest madly in love with the moon has a highway crossing it from one side to the other, Kurimanzutto, Mexico City, 2016; El pequeño centro, Museo Universitario del Chopo, Mexico City, 2015; What is the moon?, Bonnefantenmuseum, Maastricht, 2015; Go, gentle scorpio, Parallel Oaxaca, Oaxaca, 2014; A Sense of Possibility, Weingrüll, Karlsruhe, 2014. His recent group exhibitions include: Illusion and Revelation, Bonnefantenmuseum, Maastricht, 2017; Pilger Mills, Kunstverein Nürnberg; Pélamide, Gladstone Gallery, Brussels, 2017; Neither, MendesWoodDM, Brussels, 2017; An ear, severed, listens, ChertLüdde, Berlin; 12th Bienal Femsa Monterrey, Monterrey, 2016-2017; Hyperconected – 5th Moscow Bienal for Young Art, Moscow Museum of Modern Art, Moscow, 2016; Um die Ecke denken, Museum Haus Konstruktiv, Zürich, 2016; Marriage, Queer Thoughts, New York, 2016; Jungs, hier kommt der Masterplan, Kunsthalle Basel, Basel, 2016.

Rodrigo Hernández, “Ebba”, 2017, Oil color, acrylic, wood, papier-maché, 36 × 30 × 15 cm
Rodrigo Hernández, “Ebba”, 2017, Oil color, acrylic, wood, papier-maché, 36 × 30 × 15 cm
Rodrigo Hernández, “J’aime Eva”, 2017, Exhibition view at ChertLüdde, Berlin
Rodrigo Hernández, “J’aime Eva”, 2017, Exhibition view at ChertLüdde, Berlin
Rodrigo Hernández, “Ev’ha”, 2017, Oil color, acrylic, wood, papier-maché, 45 × 36.5 × 6 cm
Rodrigo Hernández, “Ev’ha”, 2017, Oil color, acrylic, wood, papier-maché, 45 × 36.5 × 6 cm
Rodrigo Hernández, “Heva”, 2017, Oil color, acrylic, wood, papier-maché, 38 × 31.5 × 10 cm
Rodrigo Hernández, “Heva”, 2017, Oil color, acrylic, wood, papier-maché, 38 × 31.5 × 10 cm
Rodrigo Hernández, “Ebah”, 2017, Oil color, acrylic, wood, papier-maché, 46 × 29 × 7 cm
Rodrigo Hernández, “Ebah”, 2017, Oil color, acrylic, wood, papier-maché, 46 × 29 × 7 cm
Rodrigo Hernández, “J’aime Eva”, 2017, Exhibition view at ChertLüdde, Berlin
Rodrigo Hernández, “J’aime Eva”, 2017, Exhibition view at ChertLüdde, Berlin
Rodrigo Hernández, “Eva”, 2017, Oil color, acrylic, wood, papier-maché 30 × 35 × 17 cm
Rodrigo Hernández, “Eva”, 2017, Oil color, acrylic, wood, papier-maché 30 × 35 × 17 cm
Rodrigo Hernández, “Heba”, 2017, Oil color, acrylic, wood, papier-maché, 41 × 30 × 7.5 cm
Rodrigo Hernández, “Heba”, 2017, Oil color, acrylic, wood, papier-maché, 41 × 30 × 7.5 cm
Rodrigo Hernández, “Evá”, 2017, Oil color, acrylic, wood, papier-maché 29 × 19 × 9 cm
Rodrigo Hernández, “Evá”, 2017, Oil color, acrylic, wood, papier-maché 29 × 19 × 9 cm
Rodrigo Hernández, “He-b-a”, 2017, Oil color, acrylic, wood, papier-maché, 55 × 15 × 7 cm
Rodrigo Hernández, “He-b-a”, 2017, Oil color, acrylic, wood, papier-maché, 55 × 15 × 7 cm
Rodrigo Hernández, J’aime Eva, 2017, Oil color, acrylic, wood, colour pencil, papier-maché, model: 19 × 34 × 14 cm
Rodrigo Hernández エビ (EBI), 2017 Room installation Sculpture: papier-maché, drawing on paper, wood, acrylic 45 × 100 × 0.5 cm

Rodrigo Hernández, “J’aime Eva”, 2017, Exhibition view at ChertLüdde, Berlin

Ruth Wolf-Rehfeldt

A – The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt
Opening reception 15 September 2017
Until 11 November 2017

The exhibition The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt presents the archive of Mail Art works received by the two German artists Ruth Wolf-Rehfeldt and Robert Rehfeldt, from the beginning of the 1970s until the early 1990s.

Ruth Wolf and Robert Rehfeld met in Berlin in 1954 and married one year later. They played a central role in the dissemination and development of the Mail Art Movement in Germany. Their activity, spanning for more than two decades, created an impressive web of connections between artists and artistic groups from all over the world.
The archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt represents a unique chance to begin to explore the Mail Art movement, with all the intricacies and richness of the personal relationships and artistic conversations of its protagonists. This project brings to light an important part of this puzzle, much more remains to be uncovered, hidden in personal archives.

The exhibition presents all correspondence with artists whose surname (or name of an artistic group) begins with the letter A. Every single piece will be available to be accessed by the public, while a publication will present an indexed list of the contents.
A selection of works will be displayed in vitrines while the rest will be alphabetically numbered and archived inside folders, that the visitors can browse through and take out to closely review.
Another section will be dedicated to some of the books from the artist’s archive, again books whose title or content is connected with the letter A or which address the alphabet as such. A video slide show presents a collections of stamps created and used by different artists in their Mail Art correspondence.

The exhibition will be further the beginning of a large scale publication project also titled “The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt”. To each letter of the alphabet a single book will be dedicated, where again the same criteria apply. Each book contains a long alphabetical numbered list, showing artists’ names, title, description, country of origin and year of what they sent. The books also include some of the works, following the order in the list. The correspondence is reproduced in original size. When this exceed the A4 format or scaling is necessary because of layout the scale of their reproduction is made clear in the caption of the image.

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Ruth Wolf-Rehfeldt (b. 1932, Wurzen, Germany) lives in Berlin.
In 1950 Wolf-Rehfeldt moved to Berlin to attend the Workers’ and Farmers’ Faculty. Later she was employed by the department for exhibitions at the Academy of Arts, and spent her spare time making drawings. By 1970 she started to develop her typewriter graphics (Typewritings) and was part of the Mail Art Movement. Wolf-Rehfeldt became member of the Association of Fine Artists of the GDR in 1978. She stopped her artistic production in 1989 consequently to the fall of the Berlin Wall.

Robert Rehfeldt (b. 1931, Stargard, Germany – d. 1993, Berlin).
Robert Rehfeldt graduated at the University of the Arts in the Western sector of Berlin in 1953. While working as a freelancer in graphic art and  press illustrator he carried on his artisti practice. Since 1963, he was one of the experimental artists in the Eastern part of the city and became a member of the Association of Fine Artists of the GDR. In the first years of the 70s he came into contact with the international Mail art movement and he quickly succeeded in building up an international network. In 1986, Rehfeldt organized the East Berlin meeting of the first “Decentralized International Mail-Art Congress”. Robert Rehfeldt died in 1993.

“A – The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt”, 2017, exhibition view at ChertLüdde, Berlin
“A – The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt”, 2017, exhibition view at ChertLüdde, Berlin
“A – The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt”, 2017, exhibition view at ChertLüdde, Berlin
“A – The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt”, 2017, exhibition view at ChertLüdde, Berlin
“A – The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt”, 2017, exhibition view at ChertLüdde, Berlin
“A – The Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt”, 2017, exhibition view at ChertLüdde, Berlin
Ruth Wolf-Rehfeldt, “A wie Arsen”, 1973, Carbon copy of original typewriting, 21 × 29.5 cm
Postcard from Carl Andre to Ruth Wolf-Rehfeldt, Mail Art is a Golden Shower, USA, 1983, Ruth Wolf-Rehfeldt and Robert Rehfeldt’s Mail Art Archive