I would like to introduce you my new show with an image of a space I have specially created. I think it’s a great example of unforeseeable nothing. What Bergson calls the “unforeseeable nothing which is everything in a work of art,” an unforeseeable nothing that takes time. It reminds me of a 1991 lecture by John Cleese (of Monty Python) on creativity, in which two of the five required factors he lists are time. In this time of extreme overstimulation, I have entitled this exhibition « Job Interview » . A term used in the industry of productive time and efficiency, but reinterpreted as a sculpture that makes you feel the same uncomfortable situation from moment one. Under the pressures, which are all too familiar to us, we tend to maintain tunnel vision at times when we really need to step back and contemplate the wider view. There’s also a compilation of all the work I have developed for the creation of this exhibition. I kind of feel weak showing all what has been going in my mind during the last 3 months, and by accepting that weakness it erases any kind of friction between me and the work. This is how the name of this show came to me. Job Interview is me creating a selection of received excitations during a specific period of time. Which we may all agree with Bergson.
Barcelona, August 2019
Andrés Reisinger creates in the zone between industrial design, craft, architecture, sculpture, conceptual art, installation and 3D digital art and is known for his surrealist and aesthetically pleasing dreamscapes, and a weakness for the color pink – a color with all kinds of connotations to our bodies, our lips and our tongues.
For his exhibition at Last Resort, Andrés Reisinger has created no less than 58 digital proposals for exhibitions at the gallery as well as a new monumental sculpture which has to be experienced at the gallery.
Reisinger creates 3D digital renderings of utopian interiors and has also branched into furniture design, creating objects that seem equal parts untouchable and welcoming. One of his most widely popular designs, The Hortensia Chair, is inspired by hydrangeas, and carries a resemblance to the delicate flower while its volume and shape lends it not only its sturdiness but an almost organic and soft embrace.
Digital three-dimensional software has made even the most impossible ideas possible, and that has opened paths to new and unseen results, giving designers like Reisinger new tools to work with. Reisinger has utilized this to establish himself as a force to be reckoned with: Not only was he among Architectural Digest Germany’s 200 Design Influencers of 2019, one of his renderings graced the cover as part of a double cover issue (the other one featuring a tribute to Karl Lagerfeld).
Reisinger takes us to places we can only imagine, creating spaces and places that don’t really exist. Using a lustrous color palette and impossible shapes, his glossy surrealist world takes us beyond our wildest interior dreams.