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Das Ende des XX Jahrhunderts
We are pleased to present the second solo exhibition with our artist Sebastian Riemer in our Berlin space.
28.11.21–22.01.22
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
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
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Sebastian Riemer
18452 CARAVAGGIO NARCISSUS, 2019
Pigment print
200 x 200 cm
Edition 1/3 + 2AP
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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
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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
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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
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Sebastian Riemer
DUPLICAT Marcel Duchamp "Bicycle Wheel" Readymade 1951, 2019
C-Print
180 x 180 cm
Edition 2/3 + 2AP
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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
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Sebastian Riemer
P/Russ/20th Cent. MALEVICH, Kasimir. SUPREMATIST COMPOSITION: RED & BLACK SQUARES. oil on canvas, 1915, 2019
Pigment print
90 x 90 cm
Edition 3/5 + 2AP
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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
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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
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We are pleased to present the second solo exhibition with our artist Sebastian Riemer in our Berlin space.
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
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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
Inquire
Sebastian Riemer
P/Russ/20th t MALEVICH, K simir (SUPREMATIST PAINTING) after 1920 Amsterdam, Stedelijk Amsterdam: Malevich.p.75 CCNY COLL., 2021
C-Print180 x 180 cm
Edition 1/3 + 2AP
Inquire
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.