28.11.21–22.01.22

28.11.21–22.01.22

28.11.21–22.01.22

28.11.21–22.01.22

28.11.21–22.01.22

Viewing Room

Viewing Room

Viewing Room

Viewing Room

Viewing Room

SEBASTIAN RIEMER
Das Ende des XX Jahrhunderts

SEBASTIAN RIEMER
Das Ende des XX Jahrhunderts

SEBASTIAN RIEMER
Das Ende des XX Jahrhunderts

SEBASTIAN RIEMER
Das Ende des XX Jahrhunderts

SEBASTIAN RIEMER
Das Ende des XX Jahrhunderts

SETAREH is pleased to announce Sebastian Riemer's solo exhibition "Das Ende des XX Jahrhunderts" at SETAREH Berlin.

Sebastian Riemer’s Stills are concerned with obsolete things: 35mm slides used for teaching and research in art history during the 20th century. This series explores a medium that is in the process of disappearing. These are not snapshots taken and seen only in private. What you could call the series’ raw material comprises labeled, often mass-produced, professional images, which Riemer then photographs. This process results in semantically dazzling large-format pictures.
The images might give the impression that they have been meticulously constructed; their pictorial elements are seamlessly intertwined. The slide showing Caspar David Friedrich’s Mountain Landscape with Rainbow depicts a surreal crescent moon when rotated 90 degrees. The decomposing pigments make the landscape disappear. On its left and right edges, inscriptions suggest the wings of a triptych. Caravaggio’s Narcissus (rotated 180 degrees) already explores the theme of mirroring and doubling as it is—and so does an early Mondrian painting. Others, like René Magritte’s famous pipe painting, become the stage for Riemer’s network of meanings: this is not a pipe, and it definitely is not a slide.

SETAREH is pleased to announce Sebastian Riemer's solo exhibition "Das Ende des XX Jahrhunderts" at SETAREH Berlin.

Sebastian Riemer’s Stills are concerned with obsolete things: 35mm slides used for teaching and research in art history during the 20th century. This series explores a medium that is in the process of disappearing. These are not snapshots taken and seen only in private. What you could call the series’ raw material comprises labeled, often mass-produced, professional images, which Riemer then photographs. This process results in semantically dazzling large-format pictures.
The images might give the impression that they have been meticulously constructed; their pictorial elements are seamlessly intertwined. The slide showing Caspar David Friedrich’s Mountain Landscape with Rainbow depicts a surreal crescent moon when rotated 90 degrees. The decomposing pigments make the landscape disappear. On its left and right edges, inscriptions suggest the wings of a triptych. Caravaggio’s Narcissus (rotated 180 degrees) already explores the theme of mirroring and doubling as it is—and so does an early Mondrian painting. Others, like René Magritte’s famous pipe painting, become the stage for Riemer’s network of meanings: this is not a pipe, and it definitely is not a slide.

SETAREH is pleased to announce Sebastian Riemer's solo exhibition "Das Ende des XX Jahrhunderts" at SETAREH Berlin.

Sebastian Riemer’s Stills are concerned with obsolete things: 35mm slides used for teaching and research in art history during the 20th century. This series explores a medium that is in the process of disappearing. These are not snapshots taken and seen only in private. What you could call the series’ raw material comprises labeled, often mass-produced, professional images, which Riemer then photographs. This process results in semantically dazzling large-format pictures.
The images might give the impression that they have been meticulously constructed; their pictorial elements are seamlessly intertwined. The slide showing Caspar David Friedrich’s Mountain Landscape with Rainbow depicts a surreal crescent moon when rotated 90 degrees. The decomposing pigments make the landscape disappear. On its left and right edges, inscriptions suggest the wings of a triptych. Caravaggio’s Narcissus (rotated 180 degrees) already explores the theme of mirroring and doubling as it is—and so does an early Mondrian painting. Others, like René Magritte’s famous pipe painting, become the stage for Riemer’s network of meanings: this is not a pipe, and it definitely is not a slide.

SETAREH is pleased to announce Sebastian Riemer's solo exhibition "Das Ende des XX Jahrhunderts" at SETAREH Berlin.

Sebastian Riemer’s Stills are concerned with obsolete things: 35mm slides used for teaching and research in art history during the 20th century. This series explores a medium that is in the process of disappearing. These are not snapshots taken and seen only in private. What you could call the series’ raw material comprises labeled, often mass-produced, professional images, which Riemer then photographs. This process results in semantically dazzling large-format pictures.
The images might give the impression that they have been meticulously constructed; their pictorial elements are seamlessly intertwined. The slide showing Caspar David Friedrich’s Mountain Landscape with Rainbow depicts a surreal crescent moon when rotated 90 degrees. The decomposing pigments make the landscape disappear. On its left and right edges, inscriptions suggest the wings of a triptych. Caravaggio’s Narcissus (rotated 180 degrees) already explores the theme of mirroring and doubling as it is—and so does an early Mondrian painting. Others, like René Magritte’s famous pipe painting, become the stage for Riemer’s network of meanings: this is not a pipe, and it definitely is not a slide.

SETAREH is pleased to announce Sebastian Riemer's solo exhibition "Das Ende des XX Jahrhunderts" at SETAREH Berlin.

Sebastian Riemer’s Stills are concerned with obsolete things: 35mm slides used for teaching and research in art history during the 20th century. This series explores a medium that is in the process of disappearing. These are not snapshots taken and seen only in private. What you could call the series’ raw material comprises labeled, often mass-produced, professional images, which Riemer then photographs. This process results in semantically dazzling large-format pictures.
The images might give the impression that they have been meticulously constructed; their pictorial elements are seamlessly intertwined. The slide showing Caspar David Friedrich’s Mountain Landscape with Rainbow depicts a surreal crescent moon when rotated 90 degrees. The decomposing pigments make the landscape disappear. On its left and right edges, inscriptions suggest the wings of a triptych. Caravaggio’s Narcissus (rotated 180 degrees) already explores the theme of mirroring and doubling as it is—and so does an early Mondrian painting. Others, like René Magritte’s famous pipe painting, become the stage for Riemer’s network of meanings: this is not a pipe, and it definitely is not a slide.

Sebastian Riemer
18452 CARAVAGGIO NARCISSUS
2019
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
18452 CARAVAGGIO NARCISSUS
2019
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
18452 CARAVAGGIO NARCISSUS
2019
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
18452 CARAVAGGIO NARCISSUS
2019
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
18452 CARAVAGGIO NARCISSUS
2019
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
PTG.AMER. WARHOL. JACKIE KENNEDY. 1965. AES PERRO COLOR
US PAT 2916840
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
PTG.AMER. WARHOL. JACKIE KENNEDY. 1965. AES PERRO COLOR
US PAT 2916840
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
PTG.AMER. WARHOL. JACKIE KENNEDY. 1965. AES PERRO COLOR
US PAT 2916840
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
PTG.AMER. WARHOL. JACKIE KENNEDY. 1965. AES PERRO COLOR
US PAT 2916840
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
PTG.AMER. WARHOL. JACKIE KENNEDY. 1965. AES PERRO COLOR
US PAT 2916840
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
Ptg/U.S./20th Cent LICHTENSTEIN. Roy Woman in Armshair after Picasso Plastic paint on canvas Coll:M. Boulois, Paris
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
Ptg/U.S./20th Cent LICHTENSTEIN. Roy Woman in Armshair after Picasso Plastic paint on canvas Coll:M. Boulois, Paris
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
Ptg/U.S./20th Cent LICHTENSTEIN. Roy Woman in Armshair after Picasso Plastic paint on canvas Coll:M. Boulois, Paris
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
Ptg/U.S./20th Cent LICHTENSTEIN. Roy Woman in Armshair after Picasso Plastic paint on canvas Coll:M. Boulois, Paris
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
Ptg/U.S./20th Cent LICHTENSTEIN. Roy Woman in Armshair after Picasso Plastic paint on canvas Coll:M. Boulois, Paris
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
FLAVIN D. PINK OUT OF CORNER FLUOR LT IN METAL FIXTURE 1963 GIFT P JOHNSON MOMA SANDAK 3 337 0196/83 HOLY CROSS 000272
2019
Pigment print
200 x 200 cm
Edition 2/3 + 2AP

Sebastian Riemer
FLAVIN D. PINK OUT OF CORNER FLUOR LT IN METAL FIXTURE 1963 GIFT P JOHNSON MOMA SANDAK 3 337 0196/83 HOLY CROSS 000272
2019
Pigment print
200 x 200 cm
Edition 2/3 + 2AP

Sebastian Riemer
FLAVIN D. PINK OUT OF CORNER FLUOR LT IN METAL FIXTURE 1963 GIFT P JOHNSON MOMA SANDAK 3 337 0196/83 HOLY CROSS 000272
2019
Pigment print
200 x 200 cm
Edition 2/3 + 2AP

Sebastian Riemer
FLAVIN D. PINK OUT OF CORNER FLUOR LT IN METAL FIXTURE 1963 GIFT P JOHNSON MOMA SANDAK 3 337 0196/83 HOLY CROSS 000272
2019
Pigment print
200 x 200 cm
Edition 2/3 + 2AP

Sebastian Riemer
FLAVIN D. PINK OUT OF CORNER FLUOR LT IN METAL FIXTURE 1963 GIFT P JOHNSON MOMA SANDAK 3 337 0196/83 HOLY CROSS 000272
2019
Pigment print
200 x 200 cm
Edition 2/3 + 2AP

Sebastian Riemer
S/USA/20th Cent. SWITZ. TINGUELY, Jean BALUBA Nr. 3. 1959 (Baluba is the name of an African tribe in the Congo) CCNY CO
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
S/USA/20th Cent. SWITZ. TINGUELY, Jean BALUBA Nr. 3. 1959 (Baluba is the name of an African tribe in the Congo) CCNY CO
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
S/USA/20th Cent. SWITZ. TINGUELY, Jean BALUBA Nr. 3. 1959 (Baluba is the name of an African tribe in the Congo) CCNY CO
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
S/USA/20th Cent. SWITZ. TINGUELY, Jean BALUBA Nr. 3. 1959 (Baluba is the name of an African tribe in the Congo) CCNY CO
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
S/USA/20th Cent. SWITZ. TINGUELY, Jean BALUBA Nr. 3. 1959 (Baluba is the name of an African tribe in the Congo) CCNY CO
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

The originals come from a practical academic context. First attempts to incorporate slides into art history lectures were made in the 1870s. By the end of the 19th century, slide projection had already become a permanent fixture in lecture halls. Comparative approaches are essential to this field. Would Heinrich Wölfflin’s studies of outline and form, of Italian and German styles have been possible without double projections? Perhaps. But it would have been all the more difficult.

The originals come from a practical academic context. First attempts to incorporate slides into art history lectures were made in the 1870s. By the end of the 19th century, slide projection had already become a permanent fixture in lecture halls. Comparative approaches are essential to this field. Would Heinrich Wölfflin’s studies of outline and form, of Italian and German styles have been possible without double projections? Perhaps. But it would have been all the more difficult.

The originals come from a practical academic context. First attempts to incorporate slides into art history lectures were made in the 1870s. By the end of the 19th century, slide pro- jection had already become a permanent fixture in lecture halls. Comparative approaches are essential to this field. Would Heinrich Wölfflin’s studies of outline and form, of Italian and German styles have been possible without double projections? Perhaps. But it would have been all the more difficult.

The originals come from a practical academic context. First attempts to incorporate slides into art history lectures were made in the 1870s. By the end of the 19th century, slide projection had already become a permanent fixture in lecture halls. Comparative approaches are essential to this field. Would Heinrich Wölfflin’s studies of outline and form, of Italian and German styles have been possible without double projections? Perhaps. But it would have been all the more difficult.

The originals come from a practical academic context. First attempts to incorporate slides into art history lectures were made in the 1870s. By the end of the 19th century, slide projection had already become a permanent fixture in lecture halls. Comparative approaches are essential to this field. Would Heinrich Wölfflin’s studies of outline and form, of Italian and German styles have been possible without double projections? Perhaps. But it would have been all the more difficult.

Sebastian Riemer
DUPLICAT Marcel Duchamp "Bicycle Wheel" Readymade 1951
2019
C-Print
180 x 180 cm
Edition 2/3 + 2AP

Sebastian Riemer
DUPLICAT Marcel Duchamp "Bicycle Wheel" Readymade 1951
2019
C-Print
180 x 180 cm
Edition 2/3 + 2AP

Sebastian Riemer
DUPLICAT Marcel Duchamp "Bicycle Wheel" Readymade 1951
2019
C-Print
180 x 180 cm
Edition 2/3 + 2AP

Sebastian Riemer
DUPLICAT Marcel Duchamp "Bicycle Wheel" Readymade 1951
2019
C-Print
180 x 180 cm
Edition 2/3 + 2AP

Sebastian Riemer
DUPLICAT Marcel Duchamp "Bicycle Wheel" Readymade 1951
2019
C-Print
180 x 180 cm
Edition 2/3 + 2AP

Sebastian Riemer
MAGRITTE 1 La Trahison des images 1922 MADE IN U.S.A. U.S.PAT. NO.3, 013,354 3 MAR72H8
2020
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
MAGRITTE 1 La Trahison des images 1922 MADE IN U.S.A. U.S.PAT. NO.3, 013,354 3 MAR72H8
2020
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
MAGRITTE 1 La Trahison des images 1922 MADE IN U.S.A. U.S.PAT. NO.3, 013,354 3 MAR72H8
2020
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
MAGRITTE 1 La Trahison des images 1922 MADE IN U.S.A. U.S.PAT. NO.3, 013,354 3 MAR72H8
2020
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
MAGRITTE 1 La Trahison des images 1922 MADE IN U.S.A. U.S.PAT. NO.3, 013,354 3 MAR72H8
2020
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
G/US/XX Cent WARHOL, Andy CAMPBELL'S SOUP CAN, 1964 ilkscreen
on canvas 35½x24" Fichner-Rathus:Underst. CCNY COLL
2021
Pigment print
90 x 90 cm
Edition 1/5 + 2AP

Sebastian Riemer
G/US/XX Cent WARHOL, Andy CAMPBELL'S
SOUP CAN, 1964 ilkscreen
on canvas 35½x24" Fichner-Rathus:Underst. CCNY COLL
2021
Pigment print
90 x 90 cm
Edition 1/5 + 2AP

Sebastian Riemer
G/US/XX Cent WARHOL, Andy CAMPBELL'S
SOUP CAN, 1964 ilkscreen
on canvas 35½x24" Fichner-Rathus:Underst. CCNY COLL
2021
Pigment print
90 x 90 cm
Edition 1/5 + 2AP

Sebastian Riemer
G/US/XX Cent WARHOL, Andy CAMPBELL'S
SOUP CAN, 1964 ilkscreen
on canvas 35½x24" Fichner-Rathus:Underst. CCNY COLL
2021
Pigment print
90 x 90 cm
Edition 1/5 + 2AP

Sebastian Riemer
G/US/XX Cent WARHOL, Andy CAMPBELL'S
SOUP CAN, 1964 ilkscreen
on canvas 35½x24" Fichner-Rathus:Underst. CCNY COLL
2021
Pigment print
90 x 90 cm
Edition 1/5 + 2AP

Sebastian Riemer
20th Cent Art Guerrilla Girls Trent l Oscar Billboard 2003
CCNY ART SLIDE LIBRARY S002324
2021
Pigment print
90 x 90 cm
Edition 3/5 + 2AP 

Sebastian Riemer
20th Cent Art Guerrilla Girls Trent l Oscar Billboard 2003
CCNY ART SLIDE LIBRARY S002324
2021
Pigment print
90 x 90 cm
Edition 3/5 + 2AP 

Sebastian Riemer
20th Cent Art Guerrilla Girls Trent l Oscar Billboard 2003
CCNY ART SLIDE LIBRARY S002324
2021
Pigment print
90 x 90 cm
Edition 3/5 + 2AP 

Sebastian Riemer
20th Cent Art Guerrilla Girls Trent l Oscar Billboard 2003
CCNY ART SLIDE LIBRARY S002324
2021
Pigment print
90 x 90 cm
Edition 3/5 + 2AP 

Sebastian Riemer
20th Cent Art Guerrilla Girls Trent l Oscar Billboard 2003
CCNY ART SLIDE LIBRARY S002324
2021
Pigment print
90 x 90 cm
Edition 3/5 + 2AP 

Sebastian Riemer
P/Fr/20th Cent. CEZANNE, Paul. THE BATHER. o/c.1885. New York: MOMA MOMA: Invit.....p.29
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Fr/20th Cent. CEZANNE, Paul. THE BATHER. o/c.1885. New York: MOMA MOMA: Invit.....p.29
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Fr/20th Cent. CEZANNE, Paul. THE BATHER. o/c.1885. New York: MOMA MOMA: Invit.....p.29
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Fr/20th Cent. CEZANNE, Paul. THE BATHER. o/c.1885. New York: MOMA MOMA: Invit.....p.29
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Fr/20th Cent. CEZANNE, Paul. THE BATHER. o/c.1885. New York: MOMA MOMA: Invit.....p.29
2021
Pigment print
200 x 200 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Ger/19th Cent. FRIEDRICH, Caspar David MOUNTN LANDSCPL W RAINBOW. o/c, c 1809 Essen: Falkwang Mus. rion: Romantic...pl.30 CCNY COLL
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Ger/19th Cent. FRIEDRICH, Caspar David MOUNTN LANDSCPL W RAINBOW. o/c, c 1809 Essen: Falkwang Mus. rion: Romantic...pl.30 CCNY COLL
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Ger/19th Cent. FRIEDRICH, Caspar David MOUNTN LANDSCPL W RAINBOW. o/c, c 1809 Essen: Falkwang Mus. rion: Romantic...pl.30 CCNY COLL
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Ger/19th Cent. FRIEDRICH, Caspar David MOUNTN LANDSCPL W RAINBOW. o/c, c 1809 Essen: Falkwang Mus. rion: Romantic...pl.30 CCNY COLL
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Ger/19th Cent. FRIEDRICH, Caspar David MOUNTN LANDSCPL W RAINBOW. o/c, c 1809 Essen: Falkwang Mus. rion: Romantic...pl.30 CCNY COLL
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Russ/20th t MALEVICH, K simir (SUPREMATIST PAINTING) after 1920 Amsterdam, Stedelijk Amsterdam: Malevich.p.75 CCNY COLL.
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Russ/20th t MALEVICH, K simir (SUPREMATIST PAINTING) after 1920 Amsterdam, Stedelijk Amsterdam: Malevich.p.75 CCNY COLL.
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Russ/20th t MALEVICH, K simir (SUPREMATIST PAINTING) after 1920 Amsterdam, Stedelijk Amsterdam: Malevich.p.75 CCNY COLL.
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Russ/20th t MALEVICH, K simir (SUPREMATIST PAINTING) after 1920 Amsterdam, Stedelijk Amsterdam: Malevich.p.75 CCNY COLL.
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

Sebastian Riemer
P/Russ/20th t MALEVICH, K simir (SUPREMATIST PAINTING) after 1920 Amsterdam, Stedelijk Amsterdam: Malevich.p.75 CCNY COLL.
2021
C-Print
180 x 180 cm
Edition 1/3 + 2AP

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©2022 SETAREH

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