DIGITAL EXHIBITION
Halley exam­ines in his geomet­rical abstract painting and site-specific instal­la­tions the spatial as well as commu­ni­ca­tion and orga­ni­za­tional struc­tures that domi­nate everyday life.
Halley examines in his geometrical abstract painting and site-specific installations the spatial as well as communication and organizational structures that dominate everyday life.
Taking up the idea of the particle accelerator, Halley charges the entire space of the Schirn Rotunda with energy
In the gallery on the first floor, Halley has covered the walls from floor to ceiling with a digital print-out of his computer-drawn studies. On the second floor, he has chosen by contrast to present a montage from his sketchbooks from the 1980s – on a yellow background.
Already 30 years ago, Peter Halley (*1953) was far ahead of his time. With his Prison and Cell paintings, he manifested the reasoning, interdependencies and organizational forms of the artwork and the social space. Since the 1980s, Peter Halley examines in his geometrical abstract painting and site-specific installations the spatial as well as communication and organizational structures that dominate everyday life. In today's world, where our lives are influenced and modified by algorithms of the digital industry and by the surface appeal of the media world, we find ourselves, as it were, amidst a Halley-ian composition. In an installation exclusively developed for the free accessible Rotunda of the SCHIRN, Halley will work intensively with the quite specific spatial conditions. The combination of various motives from the spectrum of the artist oeuvre will create both an explosive energy field and an analytical map of his work. Halley will form a cell for a key work from his historical oeuvre; an art work that could hardly be any larger, more elaborate, or more expansive and which, in turn, feeds back to the original nucleus of the artist's creative power.
PETER HALLEY. THE SCHIRN RING
Halley has developed a multi-part installation, using the architecture and spatial conditions of the Rotunda and the Schirn Kunsthalle as his starting point. Peter Halley's installations are always grounded in his understanding of the cultural and architectural context of the spaces for which they are made.
Edited by Max Hollein. Intro­duc­tion and interview with the artist by Max Hollein, project description by Natalie Storelli, biography of the artist by Joseph Wolin, german/ english edition, 104 pages, 25,5 x 20 cm, design: Silke Eiselt, Berlin; Verlag für moderne Kunst, Wien; ISBN 978-3-903131-15-6, price: 25 € (Schirn pay desk), 25 € (trade edition)
25 € incl. ship­ping
Thinking in colors? On the revolutionary ideas of Josef Albers
By Katharina Cichosch
One work that influenced Peter Halley's art more than virtually any other was written by artist, art theorist and educator Josef Albers: "Interaction of Color". In spite of Op Art inflation, the book has lost little of...
Explosions in art
By Katharina Knacker
Brutal destruction or eruptive innovation – the theme of the explosion takes a wide variety of forms in art history.
The color yellow in art
From nuclear energy to buttercups: Ten artists and works of art for which the color yellow – in various different shades – plays a key role.
Geometry and suppression
At first glance Peter Halley's works appear minimalist. Yet they are notably different to the Minimal Art of the post-War period: In Halley's oeuvre, geometry loses its innocence.
The Neo-Geo Movement
In 1986 four young artists, the so-called "Neo-Geo", were fêted in New York as the most important discovery on the international art scene. One of the four was the 33-year-old Peter Halley.
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