Thomas Rentmeister | |
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![]() Thomas Rentmeister photographed by Oliver Mark, Berlin 2014 | |
Born | Reken, North Rhine-Westphalia, Germany | 4 March 1964
Known for | Sculpture |
Website | www |
Thomas Rentmeister (born 4 March 1964) is a German artist. He currently lives in Berlin and teaches at the Braunschweig University of Art (Hochschule für Bildende Künste Braunschweig). [1]
Rentmeister studied from 1987 to 1993 at the Kunstakademie Düsseldorf where he was taught by Günther Uecker and Alfonso Hüppi. In 1999 he became a lecturer at the Kunsthochschule Kassel. He taught at the Berlin University of the Arts from 2002 to 2004 and at the Kunsthochschule Berlin-Weißensee from 2005–2006. He became a lecturer at the Hochschule für Bildende Künste Braunschweig in 2007 and was promoted to professor in 2009. [2]
Rentmeister has become known to a larger audience with his high-gloss polyester sculptures which look like oversized blobs or comic figures. [3] Beginning in 1999, he has worked repeatedly with Nutella Spread and Penaten Baby Cream. He adopts “a set of industrially mass-produced domestic materials as units or building blocks, from sugar cubes and cotton tips to Tempo tissues, electrical sockets and whole refrigerators.” [4] He then makes sculptures using these materials.
“His art is never a hermetic, self-contained work, an aesthetic monad; the identity of the non-artistic materials always remains recognizable.” [5] The irreverence with which Rentmeister combines art and life is the most extraordinary aspect of his work. [6]
Rentmeister references Minimalism but freshens up its “severe stylistic vocabulary with a healthy dash of Post Pop and Dadaist nonconformity.” [7] Ursula Panhans-Bühler has called this “impure Minimalism.” [8]
Exhibition catalogues and features emphasize Rentmeister’s humor. “His tools are humor and his approach is that of the parodist.” [9] He knows how to align density in form and content with humor. [10] But Rentmeister is more than a senior ironist. Thomas Rentmeister in an interview with Deutschlandfunk: “My work is saturated with irony; but this is not the only motivation that drives me. If you omitted the irony, my oeuvre would still work.” [11]
Rentmeister and his work steers clear of one-dimensional definitions. “Rentmeister’s work oscillates between an emotional ‘will to art’ and a humorous art and institutional critique, between a reference to everyday life and the aspirations of art, whereby the artist carefully avoids taking a clear stand.” [12]
The philosopher Hannes Böhringer writes in his essay “Fridge kaput”: The refrigerator installations draft “an image of an entropic end-stage in art.” [13]
The “motor behind Rentmeister’s work” is the “balancing act between seduction and repulsion, between the aesthetic and the unpleasant. [14] The artist wants to “find the point where the sweet, the beautiful suddenly turns into the disgusting, the repressed and the inappropriate”; according to this, Rentmeister’s whole oeuvre is characterized by a “fully developed paradoxical strategy of ambivalence.” [15] The “theme of transience” also “discreetly but nevertheless unmistakably permeates broad sections of his oeuvre.” [16]
Rentmeister has shown at numerous international galleries and museums. Rentmeister’s work was the subject of the mid-career retrospective Objects. Food. Rooms.
Selected solo exhibitions
Rentmeister's work is in numerous collections including the Arp Museum Bahnhof Rolandseck, Remagen, Germany; Kolumba, Cologne, Germany; MARTa Herford, Germany; Museum Boijmans van Beuningen, Rotterdam, Netherlands; Museum für Moderne Kunst, Frankfurt am Main, Germany; Museum Ludwig, Cologne, Germany; Museum Ostwall, Dortmund, Germany; Abteiberg Museum, Mönchengladbach, Germany; Lehmbruck-Museum, Duisburg, Germany
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