{"id":5000,"date":"2023-05-09T12:00:30","date_gmt":"2023-05-09T10:00:30","guid":{"rendered":"https:\/\/rene-schmitt.com\/?p=5000"},"modified":"2025-06-06T22:26:43","modified_gmt":"2025-06-06T20:26:43","slug":"press-release-art-basel-2023","status":"publish","type":"post","link":"https:\/\/rene-schmitt.com\/en\/news\/press-release-art-basel-2023\/","title":{"rendered":"Press Release Art Basel 2023"},"content":{"rendered":"

Art Basel, Hall 2.0, Booth C1
\nTuesday, 13.06.2023, to Sunday, 18.06.2023<\/i>
\nTal R and Rose Wylie<\/strong><\/p>\n

Ren\u00e9 Schmitt is proud to present a two person solo presentation of the highly accomplished artists Tal R<\/nobr><\/strong><\/a> and Rose Wylie<\/strong><\/a>.
\n 
\n\"\"<\/p>\n

Rose Wylie \u2013 Girl Now meets Girl Then (2019)<\/strong>, 22 individual works on paper, Edition of 10<\/i><\/h4>\n

 
\n
\nTal R & Rose Wylie<\/u><\/strong><\/p>\n

REN\u00c9 SCHMITT is pleased to present a collection of recent portfolios by painters Tal R (Danish, b. 1967, Tel Aviv) and Rose Wylie (British, b. 1934, Hythe) at Art Basel, Switzerland (June 15-18, 2023). <\/p>\n

Often inspired by motifs native to the rural English countryside, including animals, insects, flowers, and everyday imagery, Rose Wylie\u2019s work interweaves pattern, vintage advertising, and historical account in folkloric compositions. In two recent portfolios, Girl Now Meets Girl Then (2019) and Pink Girls \u2014 Yellow Curls (2014), Wylie\u2019s characteristic crude, dry humour unfolds amid expressive and playful scenes. Through intense physicality and raw gestures of markmaking, the artist\u2019s series of prints incorporate text and simultaneous narratives to underscore midcentury youth and symbols. Like selfportraits drawn from memory, the childlike style of the drawings recall the artist\u2019s own coming of age. As a whole, the collection of works form a catalogue of Wylie\u2019s singular style\u2014intuitive, free-wheeling, and full of free-associative imagery and text.<\/p>\n

Wylie\u2019s work is presented alongside Copenhagen-based artist Tal R, known for his intensely colorful paintings of figures and landscapes. Combining techniques of Linocut and woodblock printing, the series on view span the artist\u2019s ongoing interests in redacted figuration through color, form, and line. In each portfolio, the artist\u2019s hand cuts out the image\u2014slicing or carving into the surface of the \u2018negative\u2019\u2014before black ink is pressed upon an either blank or gradient hued paper beneath. Both Bird in Cage (2021) and Untitled Flowers (2020) enact the effect of Marvin\u2019s Magic Board, a popular children\u2019s drawing toy widely available in the late 1980s, where the application of a mark making tool (often a wooden stick) upon the black surface revealed the surface below in colorful rainbows. In desaturated and pastel hues, Tal R\u2019s depictions of birds and flowers, two elementary categories of nature, come into being in reverse as images that are layered upon instead of scraped away. <\/p>\n

*<\/p>\n

Tal R<\/u><\/strong><\/p>\n

Bird in Cage (2021)<\/i><\/strong>
\nLinocut over acrylic painting on 300-gram rag paper
\nSize: 140 x 96 cm
\nEdition: 8 unique works (due to the work process of over-painting all works are kind of unique)
\nEach hand signed and numbered<\/p>\n

In Tal R\u2019s collection of eight works entitled Bird in Cage, various stylized representations of birds\u2014perhaps household, perhaps wild\u2014appear within cylindrical enclosures of containment. Closely cropped against nondescript yet domestic backdrops, at times the birds\u2019 wings extend past the bars of the structure, arms reaching out beyond the enclosure. At others they acquiesce. A diverse range beaks, eyes, claws, and feathers elicit different emotional states of containment. Some birds appear content, others exuberant, and others yet disillusioned or longing for escape. The bird cage, whose earliest use dates to ancient Mesopotamia, Persia, Greece, and China, among other cultures, was popularized in the Victorian era as a symbol for displaying wealth within the home. For the artist, the bird and the cage become one formal object\u2014the captor and hostage are collapsed into a single plane of drawing. No single line within the drawing of Tal R\u2019s compositions has power to dominate over the other\u2014rather, they correspond as one and the same.<\/p>\n

Untitled Flowers (2020)<\/i><\/strong>
\nLinocut over acrylic painting on 300 gram rag paper
\nSize: 140 x 96 cm
\nEdition: 8 unique works (due to the work process of over-painting all works are in part unique)
\nEach hand signed and numbered<\/p>\n

Tal R’s bouquets are animated and vivacious. His eight select depictions of flowers are at once decorative, personified, and alive. While decidedly not belonging to landscapes or portraits, the artist\u2019s approach to the genre of still life operates as a combination of all three major tropes in painting through their relationship to nature and the body. As stand-ins for broader subjects, the \u2018stillness\u2019 of Tal R\u2019s still lives are interrupted by the elements beyond the flowers. In one composition, Untitled Flowers (Flower 4), a worm appears to extend out of a coffee mug as it devours the illustration of cascading apples. Here, the blossom is not featured, but rather its final form and consequence (consumption and decay). In more gourd-like and classical compositions, such as in Flower 1, Flower 3, and Flower 6, the outline of the petals arises from the opening of the vessels. In Flower 2, we see flora extending from the head of a figurative vase in the shape of a doll. Flower 5 is the only composition whose container is left barren\u2014rather than placed within the opening of the vessel, the flora surrounds the image and acts as a wallpaper. Whether inside, in front of, or behind, the artist\u2019s flowers appear to have a consciousness of their own. <\/p>\n

*<\/p>\n

Rose Wylie<\/u><\/strong><\/p>\n

Girl Now Meets Girl Then (2019)<\/i><\/strong>
\n22 individual works on paper
\nAcrylic painting and\/or acrylic ink and aquarell ink painting on Pigment Ink Fine Art Prints
\nHahnem\u00fchle 1584 Laid Rag Paper 300 gram
\nSize: each 120 x 80 cm
\nEdition: 10 (due to the work process all works are kind of unique)
\nEach hand signed and numbered <\/p>\n

Satin painted shoes, white gloves, and the markers of debutante style adorn Rose Wylie\u2019s crude illustrations of midcentury youth in this collection of works on paper. Air mail postage, fields of color, and scrawls of the artist\u2019s handwriting punctuate the compositions of girls on the verge of womanhood, often costumed in organza balloon dresses, primrose bathers, cardigans, and other articles of clothing in vogue in the 1940\u201350s. Phrases such as \u201call my baby sitting money\u201d and \u201cbirthday present, half finished\u201d set the scene for Wiley\u2019s figures and their conscious efforts to spend either their funds or time on appearance. Like selfportraits drawn from memory, the childlike style of the drawings recall the artist\u2019s own coming of age. <\/p>\n

Pink Girls \u2013 Yellow Curls (2014)<\/i><\/strong>
\nVernis Mou etching on copper plate, acrylic, color ink over etching, collage
\nZerkall laid paper 300 gram
\nSize: approx. 64 x 44 cm each
\nSeries of 26 unique works each in archival portfolio
\nEach hand signed
\nEtching plates printed at St\u00e4dtische Galerie Wolfsburg by Kristof Baranski
\nArchival portfolio made by Buchbinderei Henckus, Oldenburg<\/p>\n

A cartoon portrait of a woman appears frequently across this series of Rose Wylie, either as part of or in observance to the narrative sequence. Drawn in a pared down, iconographic style, certain motifs reemerge\u2014cherries, dragonflies, wire netting\u2014as a type of language that builds from frame to frame. Certain elements of grammar and writing make their way into the compositions, most notably parentheses, which place the works in relationship to text. Reminiscent of billboards, posters, or comic strips, the predominantly black and white marks that compose these ink illustrations are cut, collaged, and converged with one another. As a whole, the collection of works form a catalogue of Wylie\u2019s singular style\u2014intuitive, free-wheeling, and full of free-associative imagery and text.<\/p>\n

*<\/p>\n

About<\/u><\/strong>
\n 
\nREN\u00c9 SCHMITT is a contemporary edition house of unique artworks. Located in Berlin and Westoverledingen, Germany, the publisher has founded its reputation through close collaboration with a roster of internationally recognized artists. Through exploration and expertise of printmaking craftsmanship result in one-of-a-kind portfolios each of the editions forms a unique exhibition of its own. Selected artists include Art & Language, John Armleder, Luis Camnitzer, Michael Mueller, Lorraine O\u2019Grady, Tal R, Kay Rosen, Karin Sander, Peter Saul, Ulay and Rose Wylie, among others. REN\u00c9 SCHMITT is proud member of the IFPDA (International Fine Print Dealers Association).
\n <\/p>\n

\n

REN\u00c9 SCHMITT
\nLehrter Str. 57
\nHouse 6
\n10557 Berlin
\nGermany<\/p>\n

Email: info@rene-schmitt.com
\nWeb: www.rene-schmitt.com<\/p>\n

\n","protected":false},"excerpt":{"rendered":"

Art Basel, Hall 2.0, Booth C1 Tuesday, 13.06.2023, to Sunday, 18.06.2023 Tal R and Rose Wylie Ren\u00e9 Schmitt is proud to present a two person solo presentation of the highly accomplished artists Tal R and Rose Wylie.   Rose Wylie \u2013 Girl Now meets Girl Then (2019), 22 individual works on paper, Edition of 10 […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[90,88,73,30],"tags":[101,48],"_links":{"self":[{"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/posts\/5000"}],"collection":[{"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/comments?post=5000"}],"version-history":[{"count":12,"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/posts\/5000\/revisions"}],"predecessor-version":[{"id":5498,"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/posts\/5000\/revisions\/5498"}],"wp:attachment":[{"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/media?parent=5000"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/categories?post=5000"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rene-schmitt.com\/en\/wp-json\/wp\/v2\/tags?post=5000"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}