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Berlin Portraits                                            physiological qualities, but they rather reflect their
           Berlin Portraits represents the project of                  non-material image, their ethical dimensions and
           visualisation of a group of individuals in a spatial        their mental and spiritual space. The depictions
           installation. The cycle consists of 13 portraits of         show the portrayed person’s personality in a

           people who lived in Berlin between 1961 and 1989.           moving image defined by the presence and absence
           They are: Helmut, Werner, Karl, Liselotte, Ingrid,          of light generated by an individual painting object.
           Monika, Walter, Manfred, Gerhard, Ute, Günter,
           Peter and Hans.                                             I am aware that in experiencing reality every

                                                                       spectator attempts to possess the World and
           Each person is depicted with a specific combination         the Truth and connect them into a whole. In
           of light and shadow, which is reflected by the 13           experiencing the described portraits, it is essential
           vertical painting objects onto the wall or onto their       that the spectators share their own light and

           environment. Their portrait images are created as a         shadow with the image of the portrayed person.
           reflection of paint, as light and shadow responding         This is the only way that the above named and
           to the changes in daylight or artificial light in the       depicted persons can come to life Here and Now.
           environment. They offer the spectators an image             And the spectator becomes the active possessor of

           that slowly, but constantly changes and warns us            the image. “He who possesses the world, but not its
           of the necessity of summing the created images              image, possesses only half the world because their
           into a single one. The portrait depictions do not           soul is poor and without possessions,” wrote C. G.
           show the portrayed person’s external material and           Yung in The Red Book*. (Oto Rimele)

                                                                                  * C. G. Yung, The Red Book – Das Rote Buch, p. 130.













































          TOTO RIMELE | SINGUL AR  WERNER (BERLIN PORTRAITS, 2/13, DETAIL), 2018 PEARL WOOD, COLOUR, WAX, GRAPHITE PENCIL 44.4X3.8X1.5 IN. | 112.9X9.8X4 CM.







           PHOTO: DAMJAN ŠVARC

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