INKEN REINERT
Born in Berlín in 1965.

SOLO SHOWS

2013

Silent Language, et Hall, Barcelona.

2012

Geschweifte Raute, Quedlinburg.

2011

OLOT, et Hall, Barcelona.

2007

Ratiomat, Postmoskau, Berlin.

2006

Du, ich, Stedefreund, Berlin (mit Markus Shimizu).
We can dance like a Minority in Germany, Maxim, Köln.
Art Forum, Repräsentation der NGBK, Berlin.

2005

Walls, Towers and Hotels, Mudimadrie, Galerie Gianluca Ranzi, Antwerpen, Belgien.

2003

Bedingtes Vermeiden, Romantikerhaus, Jena.

2002

Bauten 2, Galerie ARCA, Berlin.

GROUP SHOWS

2015

In/Out, Swab Art Fair, Barcelona.

Unsettlements, Stillpontpaces, Berlin.

STEREO, Sonntag, Berlin.

2014

Abspann, Gallery Axel Obiger, Berlin.
JustMad, Madrid.
Arte Santander, Santander.

2013

Casaarte fair, Madrid.
Arte Santander, Santander.
Nachbilder, Collection Exhibition, Curated by Olga Vostretsova y Franciska Zólyom, Gallery for contemporary art, Leipzig.
1776 km, Feinkunst Krüger, Hamburg.
Modern Empire – Prints and Works on Paper, London.
Zurück nach Morgen, gfzk, Leipzig.
etHall/Gallery Weekend, Berlin.
Anonyme Zeichner,Kunstverein Tiergarten, Berlin.
Modern Empire – Prints and Works on Paper, London.

2012

GOLD, ACE Fundrairing Nigt, Freies Museum, Berlin.
9 vor Blau #1, c/o Hinsberg/Kreisel, Berlin.
Geschweifte Raute…, ein Gemeinschaftsprojekt mit Anke Becker, Nike Hinsberg und Juliane Laitzsch, Quedlinburg.

2011

OLOT, etHall, Barcelona.

2010

Structures, das weisse haus, Wien.
City is forever, not me, Stephen Lawrence Gallery, London.
Standard Frankfurt, Installation im Raum für Freunde/Wolfsburger Kunstverein.

2009

Volumes, Stedefreund, Berlin.
English Depressive, Marks Blond R.f.z.K.,Bern, Schweiz.
The World Within, Museum of the City of Skopje, Mazedonian.
The World Within, Stedefreund,Berlin.
Nichtorte, Orte, Sammlungsausstellung, kuratiert von Conny Dietrich, Heidi Stecker, Galerie für Zeitgenössische Kunst, Leipzig.
Homestories II, Arttransponder, Berlin.

2008

Preview Berlin, Stedefreund, Flughafen Tempelhof, Berlin.
V22 presents: The Wharf Road Project, V22 Project Space, London, UK.
Berlin Now, Art Athina, Stedefreund, Athen, Griechenland.
Kabinett – aus der Sammlung, Galerie für Zeitgenössische Kunst, Leipzig.
HomeStories, CCA, Kiew, Ukraine.
Nebliger kalter Herbstregen, der Fuji war heut’ nicht zusehen – wie interessant, Stedefreund, Berlin.

2007

One Minute, Artacker, Berlin.
Die Gegenwart des Vergangenen – Strategien im Umgang mitsozialistischer Repräsentationsarchitektur, Tapetenfabrik, Leipzig.
Scheinriesen,Stedefreund, Berlin.
01/01-halbe documenta, Berlin.
Anonyme Zeichner 7, Blütenweiss zuGast bei Glue, Berlin.
Deutsche Geschichten, Galerie für Zeitgenössische Kunst, Leipzig.
Gabriele Münter Preis 2007, Martin Gropius Bau, Berlin.
Osorno, Blütenweiss – Raum fürKunst, Berlin.
Zeichnung, Kunstraum Düsseldorf.
Hotel van de Velde, Villa Dürckheim, Weimar.
Gabriele Münter Preis 2007, Frauenmuseum Bonn.
4.Berliner Kunstsalon, Stedefreund, Uferhallen, Berlin.

2006

Du, ich, Stedefreund, Berlin.
Anonymous Drawings 3, Blütenweiss – Raum für Kunst, Berlin.
Anonymous Drawings 2, Blütenweiss – Raum für Kunst, Berlin.
Anonymous Drawings 1,Blütenweiss – Raum für Kunst, Berlin.
We can dance like a Minority in Germany, Maxim, Köln.
Revisiting Home, NGBK, Berlin.
Artforum, Repräsentation der NGBK, Berin.
Berliner Kunstsalon.

2005

wall, towers and hotels, Mudimadrie, Galerie Gianluca Ranzi, Antwerpen (EA).
specific places!, Kanzelei Wilmer Cutler Pickerin Hale and Dorr LLP, Berlin.
What, if …, Galerie für zeitgenössische Kunst, Leipzig.
Electric Lady Land, Umspannwerk, Berlin.
Berlin Alexanderplatz. Urban Art Stories, Berlin.

2004

Goldrausch 2004, Kunstamt Bethanien, Berlin.
links rechts oben & unten, Galerie Weißer Elefant, Berlin, as Guest of Nike Hinsberg.
mitbestimmung, DGB Haus, Berlin.

2003

Bedingtes Vermeiden, Romantikerhaus, Jena (EA).
Haushalten, Galerie Pankow, Berlin.

2002

bauten 2, Galerie ARCA, Berlin (EA).

2001

Kunst Macht Würde, Bundesverfassungsgericht, Karlsruhe.
Lange Nacht der Museen, Jena.

1999

Rathaus Reinickendorf, Klassen Werner Liebmann und Rebecca Horn.

1997

Bleuling, Verborgenes Museum, Berlin.

GRANTS AND AWARDS

2011

Grant Projectfonds cultural Education//Vermont Studio Center, USA.

2009

Grant of Berlin Senat for Homestories II.

2008

Grant of Berlin Senat for Homestories I.

2007

Stiftung Kunstfonds, Bonn.

2004

Goldrausch Künstlerinnenprojekt artIT.

2001

Stiftung Kulturfonds//Werkvertrag der sozialen Künstlerförderung, Berlin.

2000

Heinrich-Böll-Stiftuz.

1997

Erasmus-Stipendium, London.

1993

Max-Leugher-Award.

COLECTIONS

Soziale Künstlerförderung, Berlin.

Collection Galerie für zeitgenössische Kunst (Gallery for contemparary Art gfzk), Leipzig.

Collection Marina Scicchitano Fossati, Como, Italien.

• "Silent language"

  “These drawings were made on the pages of a scientific book from the 1950s, published in Italy, in which voice recordings were evaluated. The oscillograms on separate pages can be folded out to double the size of the book; these gave me the opportunity and structure to be able to transform them.

  For me these curves and diagrams represent a non-decipherable text; one which however does produce a particular mood due to its visual quality: delicate dark grey lines/curves on light grey bars, bars in different formations (overlapping, side by side, of various lengths ) which reminded me of maps or strange floor plans.

  They encouraged me to come up with rigorous and less rigorous designs that work with various allusions. Intervening in the original statement of a printed book page, I add a new level; this, together with the existing level, creates a new statement and opens up another perspective for the viewer. With a repertoire of abstract to seemingly representational forms, I create a dialogue with the existing context of the book’s pages; I do this by using various means such as rulers, stencils, watercolours, inks, pencils and freehand drawing. In some of the single sheets of the series there are strong architectural traces; these are “soft” architectures, structures that float like clouds in space, that could be constructed from tanks, or remnants of efforts of civilization. Overgrown with moss, these structures drift through space; shelters whose appearance alone is defined by the capacity to store as many vital resources as possible.

  Also there is a (subliminal) psychological aspect in the these visually rather dry graphics, which led me to ask the following question: what inferences can be drawn from these graphs and charts regarding the person of the speaker? Can we recognize whether the person is male or female, whether he or she is calm or agitated? What can the voice tell us about?

  These speculations led me to another long used means of diagnosis in psychology: the Rorschach test. Here, it is the striking effect of symmetry that draws us into its spell. It is noted that this test has already led to fatal misdiagnoses and it seems that there is a duplication taking place: that the subjective associations made by the “patient” are repeated in the psychiatrist’s subjective interpretations regarding these associations.”

• "Polish Dancers"

  “Polish Dances is a series of drawings that I started earlier this year; in this work I try to explore the whole area of nationality, (national) identity, home, belonging etc.

  Folk dances are characterized by catchy melodies and rhythms. They emanate exuberance and joie de vivre, and cover topics such as love, marriage, or the cycles of nature. Just like folk songs, they are anchored in the cultural memory of a nation and uphold a strong national identity. On the other hand, globalization means that they are increasingly losing importance.

  For me, therefore, they also embody the ambivalence regarding the current aspirations for autonomy and independence of national minorities such as those in Scotland or Catalonia. Not to mention what has been happening in and to the Ukraine in the last few weeks and months. The issue is also related to the discussions in several countries in Europe on whether the European Union is still relevant or not, and to the very idea of national state.”