Exhibition11 Jul – 23 Aug 2008
Klaus Rinke’s recent drawings: Rhine • Ruhr • Loire • Danube • Pacific • Connection • Re-Australia
Klaus Rinke forged his reputation as a leader of the avant-garde in Germany, using his own body as a measure of space…
Installation image. Sigmar Polke: Music from an Unknown Source. Photo: Mark Ashkanasy, RMIT Gallery, 2007.
Installation image. Sigmar Polke: Music from an Unknown Source. Photo: Mark Ashkanasy, RMIT Gallery, 2007.
Installation image. Sigmar Polke: Music from an Unknown Source. Photo: Mark Ashkanasy, RMIT Gallery, 2007.
Installation image. Sigmar Polke: Music from an Unknown Source. Photo: Mark Ashkanasy, RMIT Gallery, 2007.
Installation image. Sigmar Polke: Music from an Unknown Source. Photo: Mark Ashkanasy, RMIT Gallery, 2007.
Sigmar Polke: Music from an Unknown Source
Music from an Unknown Source brings together a series of 40 gouaches by Sigmar Polke from 1996.
RMIT Gallery presents Sigmar Polke: Music from an Unknown Source, a collection of 40 paintings by one of Germany’s most exciting and prolific contemporary artists, Sigmar Polke. The exhibition continues until 17th February, and is toured by the Goethe-Institut.
Curated by Götz Adriani and Polke himself, the exhibition was developed in 1996 in partnership between the artist and Germany’s Institut Fur Auslandsbeziehungen / Institute for Foreign Cultural Relations (IFA). The nature of this commission gave Polke the artistic freedom to treat the project as an opportunity, like Bach’s suites of reflections on a theme, to sample the themes of his entire artistic output in a single series. Indeed, in these works we have the possibility to observe in one setting Polke’s major visual concerns.
Sigmar Polke is one of Germany’s key contemporary artists, belonging among the most significant artists of the post-war era, and represented in major international art collections. Polke was born in Oels in Silesia (then German, now part of Poland) in 1941. Since the early 1960s he has been concerned with the relationship between reality as contained in a picture, and reality itself, which he sees as the relationship between art and daily life. In regard to this, he often takes an ironic position of some distance, which enables him to turn his attention – above and beyond issues of content – to the form and the material nature of painting.
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