Lot 220: Rentmeister, Thomas 1964 Reken/Westphalia - lives and works in Berlin Untitled.

Rentmeister, Thomas
1964 Reken/Westphalia - lives and works in Berlin

Untitled. 1996. Polyester. 60 x 157 x 145cm. One of an edition of three. Signed and dated on the underside: Thomas Rentmeister 1996.

Exhibition:
Plastik - Eine Ausstellung zeitgenössischer Skulptur, Württembergischer Kunstverein
Stuttgart 1997, AZKM Münster 1997, cat. colour-fig. n.pag.
Thomas Rentmeister, Thomas Demand, Centre d'art contemporain des Vassiviere en Limousin,
1997, cat. n.pag.
Thomas Rentmeister, Skulpturen, Städtische Galerie Nordhorn, 1998, cat. colour-fig. n.pag.
Hanspeter Hofmann, Thomas Rentmeister, Villa Merkel, Stadt Esslingen am Neckar, 2001, cat.
colour-fig. n.pag.
Thomas Rentmeister, Zwischenlandung, Kunsthalle Nürnberg 2004, Museum zu
Allerheiligen/Kunstverein Schaffhausen 2005, cat. colour-fig. p.65
Thomas Rentmeister - Minimal Pop, Museum Boijmans van Beuningen, Rotterdam, 2005
abstract now - Organische Abstraktion, Wilhelm-Hack-Museum, Stadt Ludwigshafen am Rhein,
2006.

Literature:
Exh.-cat. Plastik - Eine Ausstellung zeitgenössischer Skulptur, Stuttgart 1997,
colour-fig. n.pag.
Exh.-cat. Thomas Rentmeister, Skulpturen, Städtische Galerie Nordhorn, 1998, colour-fig.
n.pag.
Exh.-cat. Hanspeter Hofmann, Thomas Rentmeister, Villa Merkel, Stadt Esslingen am
Neckar, 2001, colour-fig. n.pag.
Exh.-cat. Thomas Rentmeister, Zwischenlandung, Kunsthalle Nürnberg 2004, Museum zu
Allerheiligen/Kunstverein Schaffhausen 2005, colour-fig. p.65.
Talking about Thomas Rentmeister's sculptures, there is always referred to the child shouting of joy over a piece in the exhibition Esslinger in 1997: "It is pink air" claimed the young visitor of the exhibition, who also confirmed that the artist has a desire of something really immaterial, invisible to realize. For Rentmeister, who indeed classically sculpted his polyester-bubbles by using mold and cast, it is the glossy polished surface which is most important of the objects. Their surface reminds of soap bubbles, their colouring of sweets such as chocolate, caramel and Turkish Honey. The effects of size and shape of the work describes Friedrich Meschede as: "The forms appear to just hold on to the moment, as if frozen immediately before they threaten to burst, a little later, dimensionally speaking somewhat larger and heavier, and the pink air, that the child saw as a balloon, would burst. The sculptures rest in themselves but their mass seems to ponder form as if the coloured skin covers the classical balance between leg in support, leg in motion. The volumetric form is contrasted with fragile areas such as the contours of the stand surfaces and their curvature. Here is the moment, the instability of the moment visible as a sculpted shape." (Translated from: Friedrich Meschede, in: Thomas treasurer, Nordhorn 1998, p.5).