Michael Riedel (born July 12, 1972) is a contemporary artist who lives and works in Frankfurt.
Riedel studied at the Kunstakademie Düsseldorf, the École nationale supérieure des beaux-arts de Paris and the Städelschule in Frankfurt am Main from 1994 to 2000.
He first used the name "Michael S. Riedel" - at that time in lower case throughout - as an inscription on a paper bag that he put over his head in 1997 at the end of a lecture he had given at the Städelschule.
"The self-perpetuating work in the sense of the concept of autopoiesis"[3] as coined by Niklas Luhmann, is shown for the first time by the Museum für angewandte Kunst Frankfurt in the exhibition Michael Riedel - Grafik als Ereignis (2018).
"Recording - labelling - playing" becomes the basic principle of artistic production, the culmination of which is the reconstruction of the art space itself in the exhibition Kontext - Form - Troja (Wiener Secession, 2003).
[4] In 2004, the exhibition NOSNHO.-....... [ROBERT-JOHNSON] together wir the gallerist Michael Neff, the Frankfurt nightclub Robert Johnson was imitated.
The entire interior, however, was hung from the ceiling in reverse from bottom to top, and the dance music was played backwards.
[6] Andreas Beyer calls Riedel, comparable to his Pauszeichnungen, a "pause" in the art system on the occasion of the exhibition CV(Curriculum Vitae) at the Kunsthalle Zurich in 2017.
[7] In 2004, Riedel founded the Freitagsküche at Oskar-von-Miller-Straße, a culinary and social meeting point, a restaurant where artists cooked for visitors and which was only open one evening a week.
[8][9][10] He designed the space for the Freitagsküche's one-year guest performance at the Museum für Moderne Kunst Frankfurt in 2015.
[12] In 2009, Riedel responded with a parallel project to the exhibition Meister von Flémalle and Rogier van der Weyden, which took place at the Städel in Frankfurt in 2009.
Specifically, the mediation media - poster, flyer, postcards, catalogue of the exhibition - are used by Riedel to produce four variations (CMYK) of each of the printed products.
[14] In addition, alternative spellings such as Vier Vorschläge zur Veränderung von Jo in Johann König and Vier Vorschläge zur Veränderung von David Zwirner in the gallery logo are created.
On the occasion of the 70th anniversary of the Frankfurter Allgemeine Zeitung, the FAZ edition Vier Vorschläge zur Veränderung von Allg[emein] on the "Crisis of the General" is being created in 2019.
[15] A focal point of Riedel's work is the design of books, catalogues, brochures, posters and invitations.
The mutual irritation between the work and the description of the work is the subject of his major museum exhibitions Kunste zur Text statt Texte zur Kunst (Schirn Kunsthalle, 2012),[22] Dual Air [Dürer] (Palais de Tokyo, Paris, 2014),[23] CV (Kunsthalle Zürich, 2017)[24] and Grafik als Ereignis (Museum Angewandte Kunst Frankfurt, 2018).
[25] In collaboration with composer Oliver Augst, he is creating an eight-hour soundtrack for the exhibition ˈzɛlpstbəˈʃʁaɪ̯bʊŋ (Museum der Bildenden Künste Leipzig, 2019), which acoustically reproduces the patterns of the pictorial surfaces.
"[30] In collaboration with the Deutsche Bundesbank, he produced a combined total of approximately 45 million Riedels[31] on original Euro note paper, as well as associated ATMs for automated art trading.
[32] Together with the architects Kühn Malvezzi, he is developing the 4000 m² Schriftbild Museum (2013-2017) for the extension of the Moderne Galerie in Saarbrücken.
[33] As a permanent installation, there is also a ceiling painting in the new building of Cornell Tech University in New York by Thom Mayne / Morphosis with 44 associated table tops (2017-2018),[34] as well as the 28 movable wall panels with the alphabetically sorted reproduction of the Interpretation of Dreams (2016) in the conference room of the Sigmund Freud Institute in Frankfurt am Main.
His work has also been shown in group exhibitions at numerous venues throughout Europe and the United States, including the Fondation d'enterprise Ricard, Paris (2016, 2010), Kunsthaus, Hamburg (2016), Irish Museum of Modern Art, Dublin (2013), Sprengel Museum Hannover, Kunstverein Hannover (2012), Swiss Institute, New York (2011), Tate Modern, London, England (2009), Kunstverein Oldenburg, Oldenburg, Germany (2008), The Modern Institute, Glasgow, Scotland (2008), Städel Museum, Frankfurt, Germany (2008), the Lyon Biennial of Contemporary Art, Lyon, France (2007), Artists Space, New York (2007), Kunsthalle Bern, Bern, Switzerland (2006), Museum der Moderne, Salzburg, Austria (2005), the Moscow Biennial at the Lenin Museum, Moscow, Russia (2005), the Vienna Museum, Vienna, Austria (2004), and the Vienna Secession, Vienna, Austria (2003).
August 2012) [3] Matthias Wagner K, Eva Linhart, Museum Angewandte Kunst Frankfurt am Main: Michael Riedel Grafik als Ereignis, signetische Zeichnung, 1994–1995 = Michael Riedel : graphic art as event, the signetic drawing 199–1995.
[4] Michael S. Riedel, Dennis Loesch, Alina Grumiller, Hank Schmidt in der Beek, Niklas Schechinger: Oskar-von-Miller Strasse 16.
New York, New York 2014, ISBN 0-9899809-5-2 [5] Matthias Wagner K, Eva Linhart, Museum Angewandte Kunst Frankfurt am Main: Michael Riedel Grafik als Ereignis, signetische Zeichnung, 1994–1995 = Michael Riedel : graphic art as event, the signetic drawing 199–1995.
August 2012) [9] Sarah Elsing: Freitagsküche Frankfurt: Auch sonst ist alles wie in Berlin.
März 2021) [15] Michael Riedel – Vier Vorschläge zur Veränderung von Allg(emein) in Frankfurter Allgemeine, 2019.
März 2021) [16] Michael S. Riedel, Dennis Loesch, Alina Grumiller, Hank Schmidt in der Beek, Niklas Schechinger: Oskar-von-Miller Strasse 16.
März 2021) [27] Alan D. Welding: Art Brut Streams Full ‘Top Of The Pops’ Best Of Compilation On Spinner.
März 2021) [30] Michael Riedel im Interview mit Sarah Alberti: "Viele Galerien sind gefangen in ihrer Seriosität" | Monopol.
März 2021) [33] BauNetz: Glücksfall statt Katastrophe – Erweiterung Moderne Galerie in Saarbrücken von Kuehn Malvezzi.