Artist In Residence: Reinhard Reitzenstein

2020

This the past year (2019-2020), the Art Gallery of Hamilton was fortunate to begin their Artist in Residency program with notable artist, and creator of allegorical realism, Reinhard Reitzenstein!

In this video, Reinhard looks back at his practice and the large scale community projects that were his focus during the residence, including a large scale drawing of a maple tree that was filled in with over 80+ languages native to the Hamilton area.

Thank you to our amazing communities for helping to make this possible, and to Reinhard for being such a stellar inaugural AGH artist in residence!

To find out more about the work, follow #AGHReitzenstein on social.
. . . . . . .
A special thank you goes out to our sponsors:
Canada Council for the Arts
Ontario Arts Council
The City of Hamilton
Without your generous support, this project would not have been possible.

Also thank you to Aldershot Landscape Contractors for their donation of the tree!This the past year (2019-2020), the Art Gallery of Hamilton was fortunate to begin their Artist in Residency program with notable artist, and creator of allegorical realism, Reinhard Reitzenstein!
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Autogenerated Transcript from YouTube (if available)

Use CTRL+F to find key words if it is a longer transcript​.

0:04

It’s been an incredible year and to have finished
the wall drawing this afternoon has been quite

0:09

a thrill
It was sad and kind of exhilarating because

0:13

I’ve been really concerned about whether I
could finish or not

0:16

I’ve had a relationship with the Art Gallery
of Hamilton since I arrived in the area in

0:19

the early 80s
So, it’s been a really important place

0:24

The Gallery has supported me through the years
by a couple of solo exhibitions in 1989 and

0:30

then again one in 2002
And now, here we are in 2019/20, I’m back

0:36

to do something very, very different
It’s been an amazing adventure

0:41

It was at first a conversation that started
with the curators here probably the better

0:46

part of a year-and-a-half to two years ago
They had been thinking about a Residency program

0:50

and then approached me to see if that would
be something I would want to do

0:54

and of course I immediately said, “well, yeah!”
(laughs)

0:59

And of course, being really thrilled that
I could be the inaugural artist in residency

1:01

of a year-long program, which is highly unusual
in most institutions across the board

1:07

I don’t know of any institutions that are
doing that kind of a process with an artist

1:11

for that long a period of time.
That’s something I found really compelling

1:16

because it was such an open equation with
no real set of parameters other than what

1:24

I felt I could accomplish in the period of
a year, which led me to then think in terms

1:28

of creating a project based on community interaction
The more focused community action – where

1:33

people participate and collaborate with me
creating the work, which was pretty much a

1:39

fresh approach for me in the way we went about
it

1:43

So, when I was considering what to do, I had
been doing this series of drawings where I

1:48

create an image of a tree using only the name
of the tree itself and I write them in a milimeter

1:57

high with a very fine, fine tip pen
It would take me weeks to do each drawing

2:02

I thought, if I had a year – would I put myself
through that?writing words at that scale?

2:09

I adjusted the sizing a little bit, needless
to say

2:13

I thought “well okay, I’ve got a year – let’s
go for it.”

2:16

So, the first part of the equation was I really
wanted to do something with a tree because

2:21

that’s what I do.
So, approaching Aldershot Landscaping who

2:25

donated the maple tree for another project,
which basically consisted of a tree that was

2:32

going to be cut down removed for whatever
reason

2:35

I was able to select the tree, they were nice
enough to power wash it to make sure it was

2:39

clean and clear to bring into a museum
I had its sections cut into over 40 sections

2:46

and then we engineered a beam for each section
to be suspended from the ceiling in the atrium

2:52

here at the AGH
with a portion of the root system as well.

2:57

That then allowed me to invite people to come
and wet felt the entire structure with me

3:04

that’s sheep and alpaca wool being used to
create literally a second skin for the tree

3:11

It’s such an elegant installation with how
things were engineered and how impeccably

3:16

things were organized by Greg Dawe and Paula,
who impress me to this very day

3:22

We were able to get the solution in such a
way that we were able to begin felting early

3:27

in the residency
That meant we could work with community groups,

3:31

whether they be school children, high-school
students, college students, university students

3:36

we worked with a dementia group, with challenged
youth, with traumatized youth – a number of

3:41

communities including friends!
They all helped me wet felt the large portion

3:47

of this tree
While that was happening, I also began the

3:51

drawing of the parallel to the tree itself
I used white gel pens to write the word “maple”

4:03

or “tree”depending on the culture
Ultimately we ended up with 87 languages by

4:09

the end
By the time we finished this afternoon, I

4:13

wrote the 87th language
We did finish the final fissure in the drawing

4:19

using Mohawk language because that’s whose
land we’re on

4:26

Out of honouring and respect and gratitude
for being on this land, and working here,

4:34

I wanted to finish that way
I felt that was appropriate.

4:36

I did start with the English “maple”at the
beginning as a common language that brings

4:42

us all here
I finished with an Indigenous language which

4:47

for me was really significant
During the course of that time, I had a number

4:51

of people from many, many countries.
I’ve met people somewhere in the vicinity

4:56

of 18-20, possibly even more countries, some
of whom also contributed names, some of whom

5:05

participated with me to create the drawing
The collaboration was awesome and people got

5:10

really excited
A number of people said, like, “I don’t know

5:12

how you do this. I couldn’t last 5 minutes,
how can you do this for so many months?”

5:16

I’ve had practice. And I have OCD. (laughs)
Plus, I’m very, very stubborn.

5:22

I also had this vision and had to do it.
I wasn’t going to stop until it was done and

5:27

ultimately, with everyone’s help, it was possible
and today was the day.

5:31

So, I am thrilled and as I mentioned earlier,
equally saddened because that part is over,

5:37

which also starts to close off that period
of time in the residency.

5:41

In a quiet, removed fashion, the finishing
line was a hermetic act.

5:46

A lot of the work I do outdoors and in the
environment is a hermetic and quiet, personal

5:52

thing.
Going forward, I do have a solo show hopefully

5:56

opening in September where we will be moving
the tree with the felt to that Gallery.

6:01

I did start the conversation around how this
residency came to be, and as I had a very

6:07

deep attachment to what this place is, and
how much this place means to me, the community,

6:13

and to Canada in general I think and abroad.
Our collection does gather a lot of steam

6:20

moving around internationally.
This place is incredible and this program

6:23

is crazy wonderful.
Who would’ve thought that you invite somebody

6:26

to hangout for a year and first of all, I
never got bored. That was important.

6:31

I don’t think they did either and people are
still talking to me and so ultimately everybody’s

6:36

pretty happy with what happened and I am completely
and totally blown away, thrilled, and honoured.

6:41

Thank you!

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