Тобиас Ребергер

Bar Oppenheimer

source: designstoryru

Немецкий художник Тобиас Ребергер (Tobias Rehberger) создал в нью-йоркском отеле Hôtel Americano реплику своего любимого бара Oppenheimer. Оригинальный бар Oppenheimer находится во Франкфурте и является местом тусовки местной артистической богемы.

Художник воссоздал интерьеры знаменитого бара практически буквально, сохранив площадь, пропорции, мебель и даже такие детали интерьера, как крепление светильников и высокие радиаторы. Единственное, в чем Тобиас отступил от оригинала, – это декоративное оформление интерьера, который художник покрасил в черно-белую полоску. Зигзагообразный рисунок покрывает стены, пол и даже потолок помещения, создавая иллюзию непрерывного движения и перетекания. Редкие полосы красного и оранжевого цвета создают яркие цветовые акценты.

По словам художника при создании интерьера он обратился к тактике «маскировочной окраски», которая использовалась во время Второй мировой войны, чтобы затруднить солдатам обнаружение цели.

На деле интерьер Ребергера напоминает работы сторонников оп-арта – неоавангардистского течения абстрактного искусства и дизайна 60-х годов. Для этого направления было характерно создание различных оптических эффектов и иллюзий, которые часто достигались за счет резких цветовых и тональных контрастов, ритмических повторов, пересечения спиралевидных и решетчатых конфигураций, извивающихся линий.

Это не первая работа художника в такой стилистике: похожий проект был разработан им для Венецианской биеннале 2009 года, где он создал интерьер кафе под названием “То, что ты любишь, вызывает у тебя и слезы”. Тогда проект принес Тобиасу звание «Лучшего художника».
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source: szubkulturbloghu

A New York-i Hotel Americanóban található Bar Oppenheimerbe belépve úgy érezhetjük magunkat, mintha egy Vasarely-festménybe csöppennénk. Az op-art stílusú, fekete-fehér dizájnt és berendezést Tobias Rehberger tervezte, aki a kedvenc frankfurti bárját koppintotta le.
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source: ad110

德国艺术家Tobias Rehberger在纽约Americano酒店打造了一个雕塑：迷幻风格酒吧。这个叫奥本海默的迷幻视觉风格酒吧仅存三月，开放时间为5月11日—7月14日

这个酒吧算得上是Tobias Rehberger在法兰克福打造的奥本海默酒吧的第二代。酒吧是雕塑，但也有着正常酒吧的所有功能。作品体现出上一版本的精髓：重复的运用要素制造出一个熟悉又陌生的环境。
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source: blogsartinfo

“Bar Oppenheimer,” as it is called by Tobias Rehberger, the artist who created it, is in fact a replica of his favorite bar in Frankfurt, but recreated on a lower floor of Hotel Americano. Everything from the metal coat hangers to the glowing red light have been cloned from the funky little place that Rehberger discovered one week after it opened in 1987. But his version has whacky black and white wallpaper.

“It was always an “in-between” place,” said Rehberger about the original Frankfurt bar. “Really great people go there, but it was never really hip.”

We can’t promise as much for New York’s “Bar Oppenheimer,” which is already on the radar of those always on the lookout for a new place to kick back — its opening fête tonight at 8pm is hosted by Hans Ulrich Obrist, Rirkrit Tiravanija and Rehberger’s London dealer Pilar Corrias, who is featuring a work by Rehberger at Frieze New York. Plenty of Vodka Steins — Rehberger’s favorite drink, a refreshing lime-juice/seltzer/vodka concoction — will be on tap.

This is not the first time that Rehberger has created a bar. He created one at the 53rd Venice Biennale, for which he was awarded the Golden Lion. And this bar will not be the only iteration of the Bar Oppenheimer Replica. Others are in the works.

As far as art bars go, “Bar Oppenheimer” is in good company. Liz Glynn’s speakeasy opened at Frieze yesterday. And in February, there was “Roth New York Bar,” the fully functioning bar that was built at Hauser & Wirth for the show “Dieter Roth. Bjorn Roth.” Most recently, for the BAMart/Paddle8 silent auction in April, artist Julia Chiang created a bar “made of beehives.”

But this bar, though an ephemeral work of art, will be around for two months — it runs through July 14. So if you’re looking for a great place to unwind after a long day of gallery-hopping, this may be your new favorite spot.

As for whether or not he considers it a work of art, Rehberger said, “I always wanted it to be a space where you don’t go in the first place to look at art, but it’s something that’s there, almost as if you would have an Andy Warhol painting handing behind you. It kind of influences you and you have a feeling for it.”
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source: deutschesdesignmuseumde
Tobias Rehberger, geboren 1966, ist einer der bekanntesten deutschen Künstler der Gegenwart. Rehbergers Arbeiten verbinden Elemente aus Malerei, Bildhauerei, Design und Architektur und wurden mit zahlreichen Preisen ausgezeichnet, etwa die von ihm gestaltete Cafeteria auf der 53. Kunstbiennale in Venedig im Sommer 2009. Seit 2001 ist Tobias Rehberger Professor für Bildhauerei an der Städelschule in Frankfurt am Main, an der er selbst von 1987 bis 1992 u. a. bei Thomas Bayrle und Martin Kippenberger studierte. Er lebt und arbeitet in Frankfurt am Main und Berlin.
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source: pilarcorrias
Tobias Rehberger creates objects, sculptures and environments as diverse as they are prolific. Drawing on a repertoire of quotidian objects appropriated from everyday mass-culture, Rehberger translates, alters and expands ordinary situations and objects with which we are familiar. At once utilitarian, ambient and perceptually powerful, Rehberger’s objects and environments mimic the glossy perfection of the manufactured yet idiosyncrasies in terms of their colour, size, function and location demand new rules of engagement on behalf of the beholder.
In a mesmerising installation at the Venice Biennale of 2003, Rehberger created a canopy of glass lamps activated by triggers located in seven different locations around the globe including a pumpkin field in the Walachi region in Romania, and a derelict Burger King in Kyoto. Emerging from ordinary conditions that have been radically altered, Rehberger’s proposals are interdependent upon the viewer. As such they exist as potent instruments for examining the relationship between objects and situations, and our shifting sensibilities as individual subjects.
Tobias Rehberger was born in 1966 in Esslingen, Germany. As one of the most prominent artists of his generation, Rehberger has attracted widespread international acclaim. Major solo exhibitions of the artist’s work include: Artelier Contemporary, Graz (2012); Museum Dhondt-Dhaenens, Deurle (2011); Tobias Rehberger, MAXXI – Museo nazionale delle arti del XXI secolo (2010); Kunsthalle Mannheim (2009); Kunstraum innsbruck (2008); Stedilijk Museum, Amsterdam (2008); Fondazione Prada, Milan (2007); Tate Liverpool (2006); Museo Nacional Centro de Arte Reina Sofia, Madrid (2005); and Whitechapel Gallery, London (2004). Major group exhibitions include: The 9th Gwangju Biennale: “Roundtable”, Gwangju (2012); Extra Large: Monumental works from the Centre Pompidou Collection, Grimaldi Forum, Monaco (2012); OUR MAGIC HOUR, Yokohama Triennale 2011, Yokohama (2011); Social Sculpture, Whitechapel Gallery, London (2009).
Rehberger was commissioned to create an installation for the Palazzo delle Espozizioni at the 53rd Venice Biennial.
Tobias Rehberger lives and works in Frankfurt and Berlin.
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source: gmsbe

Often playing with 1960s and ’70s design styles, Tobias Rehberger’s environments, furniture, sculptures and ceiling installations have made him a focus of interest for art criticism stressing contextual approaches and cross-over aspirations.

Tobias Rehberger operates within these fields of critical definition without considering them to be particularly meaningful for his work. At the point where design not only produces the “utility” of commodity articles but also supplements usefulness with an immaterial surplus value, Tobias Rehberger concentrates on transferring to the field of art these questions of functionality and added value. In doing so, he deftly puts out of action the entire policy underlying art-critical interpretations.

By giving the visitors the possibility to co-determine the furnishing and design of the exhibition space, by translating the proposals or specifications submitted by friends and acquaintances into artistic environments, furniture or portraits that then bear the signature of both the proposer and the artist, and by making the function of his installations and objects dependent on the willingness of others to use them, Rehberger always discusses one basic question: What is actually a work of art, and how much of it is conditioned by notions, perceptions and external influences?

In this way, the artist shows possibilities, and at the same time makes proposals that depend on the viewer’s notions and expectations in order to become “legible” in the first place. Thus, everything could be done differently, if one only knew how. To this extent, the typical fashion phenomena of “ambient music” and “ambient space” are, in Rehberger’s work, only apparently conditions of an “ambient art” that shows how easily one can move away from the centre ground of a clear statement or never come close to that centre to begin with.