Still Swooning: Rudolf Stingel at Palazzo Grassi
Since the late 1980s, Rudolf Stingel has exhibited his works on paper alongside “do-it-yourself” instructions and invitations for viewers to mark up the pieces with writing and imagery. The silver, textural surface of this work is representative of the kind of patterning techniques Stingel has developed through manipulations of tapestry and tulle. A hugely influential artist, Stingel has been featured in mid-career retrospectives at the Museum of Contemporary Art, Chicago and the Whitney Museum of American Art, New York. He has also participated in the 1999 and 2003 Venice Biennales.
Dimensions: 30 x 22 1/4 in (76.2 x 56.5 cm); framed 31 5/8 x 24 in (78.7 x 60.9 cm)
Image rights: Courtesy the artist
Since the 1980s, Rudolf Stingel has been interrogating his chosen medium, asking what is a painting, who makes them, and how are they made, in his own paintings, installations, and conceptual projects. Turning notions of authenticity, hierarchy, meaning, and context on their head, Stingel courts audience participation and uses unlikely materials in his work. He is known for covering exhibition spaces with carpeting (most recently the Palazzo Grassi in Venice), and with panels overlaid with malleable silver sheets, and inviting viewers to mark them as they please, likening the result to allover paintings, freed from the confines of the canvas, expected materials, and the hand of the artist himself. Stingel also produces more traditional-seeming oil-on-canvas compositions. Ranging from blurred to photorealistic, they position painting as an unreliable repository of memory, inevitably mediated by time and by the artist’s subjectivity.
Italian, b. 1956, Merano, Italy, based in New York, New York; Merano, Italy