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Michael Raedecker
now , GRIMM 54 White St, New York, NY (US), 4 March - 16 April 2022

Michael Raedecker: now

Past exhibition
  • Works
  • Installation Views
  • Press
  • Press release
  • Related content
Works
  • A mixed media image depicting a cabin and a tree with red foliage.
    Michael Raedecker
    common chaos, 2022
    Laser printer pigment transfer, dispersion, acrylic and thread on canvas
    140 x 185 cm | 55 1/8 x 72 7/8 in
    Sold
  • A mixed media image of a dark glade in which two cars sit.
    Michael Raedecker
    south from tomorrow, 2022
    Laser printer pigment transfer, dispersion, acrylic, beads and thread on canvas
    78 x 122.5 cm | 30 3/4 x 48 1/4 in
    Sold
  • A mixed media image depicting houses built into the forest, seemingly suspended by trees and foliage.
    Michael Raedecker
    monument, 2022
    Laser printer pigment transfer, dispersion, acrylic and thread on canvas
    211 x 302 cm | 83 1/8 x 118 7/8 in
    Sold
  • A mixed media image depicting two tents set up in a glade situated in the middle of a shadowy forest.
    Michael Raedecker
    capture, 2022
    Laser printer pigment transfer, dispersion, beads, glitter and thread on canvas
    116 x 167.5 cm | 45 5/8 x 66 in
  • A mixed media image depicting a glimmering, blue pool sitting in the middle of a dark and shadowy forest; in the pool floats a yellow pool float.
    Michael Raedecker
    circuitous, 2022
    Laser printer pigment transfer, dispersion, beads, glitter and thread on canvas
    185 x 140 cm | 72 7/8 x 55 1/8 in
    Sold
  • Michael Raedecker detail, 2022 Laser printer pigment transfer, dispersion, acrylic, beads, glitter and thread on canvas 68 x 92 cm | 26 3/4 x 36 1/4 in
    Michael Raedecker
    detail, 2022
    Laser printer pigment transfer, dispersion, acrylic, beads, glitter and thread on canvas
    68 x 92 cm | 26 3/4 x 36 1/4 in
  • A mixed media image depicting what appears to be the inside of a wet cave.
    Michael Raedecker
    long-term, 2022
    Laser printer pigment transfer, dispersion, acrylic, beads, glitter and thread on canvas
    82 x 58.5 cm | 32 1/4 x 23 1/8 in
  • purple painting with house and pink trees. Installed on wall.
    Michael Raedecker
    quiet boom, 2022
    Laser printer pigment transfer, dispersion, acrylic and thread on canvas
    127.5 x 96 cm | 50 1/4 x 37 3/4 in
    Sold
  • A mixed media image depicting the mouth of a dark cave.
    Michael Raedecker
    point of inertia, 2022
    Laser printer pigment transfer, dispersion, acrylic, beads, glitter and thread on canvas
    82 x 60 cm | 32 1/4 x 23 5/8 in
  • Image of a medium sized painting on a wall with gallery floor. dark blue medium sized painting of a light blue pool and two houses.
    Michael Raedecker
    stage, 2021
    Laser printer pigment transfer, dispersion, acrylic, glitter, and thread on canvas
    92 x 126.5 cm | 36 1/4 x 49 3/4 in
    Sold
  • A mixed media image depicting a glimmering, blue pool sitting before a shadowy house.
    Michael Raedecker
    night at day, 2022
    Laser printer pigment transfer, dispersion, beads, glitter and thread on canvas
    76 x 105.5 cm | 29 7/8 x 41 1/2 in
    Sold
  • Michael Raedecker parallel visitation, 2021 Laser printer pigment transfer, dispersion, acrylic and thread on canvas 260 x 183 cm | 102 3/8 x 72 1/8 in
    Michael Raedecker
    parallel visitation, 2021
    Laser printer pigment transfer, dispersion, acrylic and thread on canvas
    260 x 183 cm | 102 3/8 x 72 1/8 in
    Sold
  • Michael Raedecker solo, 2021 Laser printer pigment transfer, dispersion, acrylic and thread on canvas 78 x 123 cm | 30 3/4 x 48 3/8 in
    Michael Raedecker
    solo, 2021
    Laser printer pigment transfer, dispersion, acrylic and thread on canvas
    78 x 123 cm | 30 3/4 x 48 3/8 in
    Sold
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Installation Views
  • 20220303 Grimm 01 Plh
  • 20220303 Grimm 02 Plh
  • 20220303 Grimm 11 Plh
  • 20220303 Grimm 10 Plh
  • 20220303 Grimm 09 Plh
  • 20220303 Grimm 03 Plh
  • 20220303 Grimm 12 Plh
  • 20220303 Grimm 04 Plh
  • 20220303 Grimm 05 Plh
  • 20220303 Grimm 07 Plh
  • 20220303 Grimm 06 Plh
  • 20220303 Grimm 18 Plh
  • 20220303 Grimm 08 Plh
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Press
  • What to See in N.Y.C. Galleries Right Now

    John Vincler, The New York Times, March 17, 2022
  • Michael Raedecker - "now"

    Noah Dillon, The Guide, March 15, 2022
Press release
parallel visitation, 2021
parallel visitation, 2021
View works

GRIMM is pleased to present now, an exhibition of new paintings by London-based artist Michael Raedecker opening at its New York gallery on March 4, 2022.

now

The concept now is like a dog chasing its own tail. As soon as now arrives—becomes thought, or imagined, or uttered, or pictured, or written, or said—its meaning switches to recently (and recently lacks the same sex appeal). In other words, now is elusive; difficult to catch but we run after it all the same. 

capture

From a distance, the flat and rectangular objects that Raedecker has produced have the appearance of the things we once called paintings. In the studio he has engineered a mechanism of capture, which manufactures products that contradict our efforts to form certainty. Instead, as we approach the objects, getting closer to the surface, it dawns that our impressions stem from fantasy, evoking a distinction between imagination and reality. In short, the viewer has been assigned an active task through which their interaction with the image can be felt and perception becomes tangible and within our grasp. Like a focussing lens, looking at Raedecker’s evocative concoctions veers between two realities: psychical and material.

pleasure 

The closer we get to the traps, which are disguised as paintings, the more the veil of illusion falls away. Images become paint, paint becomes thread and thread becomes simply itself. The proximity of the canvas surface shatters the viewers’ inventions. No-one is closer to the surface than Raedecker who spends hours going in and out of the surface, from the front to the back “and back again”.

mechanical reproduction

Did you know, these flat objects on the walls are facsimiles of pre-existing images made by the artist? In the lengthy process Raedecker makes smaller versions, sketches (he calls them demos) which are digitally copied, painted and manipulated and enlarged and transferred to these surfaces. Like the endless reproductions that constitute our so-called (authentic) reality, we are looking at sophisticated copies, saturated in monochrome colour. Raedecker goes even further and copies and repeats images within an exhibition: the pool and the pool, and the tents and the tents, and the treehouses and the treehouses.  Are we really expected to project alternatives onto the second and third instance of the copy? Isn’t the artist highlighting the eternal recurrence of the same set of narratives we repeat culturally and repeat to ourselves?

can’t see the wood for the trees

Up close the viewing experience is all material (applied through an overloaded clash of handmade versus mechanical processes). Back up and, as the colliding elements coalesce, the picture emerges. Here, Raedecker’s objects provide some sort of lesson in how to look at a painting. The how and not the what—as if the pictorial illusion (the wood/forest above) provides only a MacGuffin.

holes

The making of holes represents the core elusive metaphor of the Raedecker enterprise. If he is known for one thing it is threading and threading begins with making a hole. With a needle, as soon as the hole is formed, it is filled. Pictorially the hole is a screen onto which the protagonist (or viewer) has the space to imagine, and even fulfill, desire. We might otherwise call these daydreams: scenes, episodes, romances or fictions formed by the viewer.  Is it just me, my wishes fattened (or thinned) on a diet of mainstream TV and movies, or do these holes evoke dark foreboding for us all? Misdemeanours? Crimes? Violence? Murder? Death? Why might we be seduced by such places? Why might these frequently exotic images, with their unhomely connotations, make us feel cosy? And, by way of an answer: could these holes paradoxically provide the viewer with a glimmer of completeness? After all, isn’t feeling whole, cosy in a nutshell.

-Stuart Cumberland, 2022

Michael Raedecker (b. 1963 in Amsterdam, NL) currently lives and works in London (UK). He received his BA in Fashion Design from the Gerrit Rietveld Academie, Amsterdam (NL), and continued his studies at the Rijksakademie van Beeldende Kunsten, Amsterdam (NL) as well as Goldsmiths College, London (UK). In 2000, Raedecker was shortlisted for the Turner Prize. His work can be found in the collections of the Art Institute of Chicago, IL (US); Akzo Nobel Art Collection, Amsterdam (NL); British Art Council, London (UK); Guggenheim Museum, New York, NY (US); Kunstmuseum, The Hague (NL); Astrup Fearnley Museum, Oslo (NO); Tate, London (UK); MAXXI National Museum of XXI Century Arts, Rome (IT); Van Abbemuseum, Eindhoven (NL), Museum Voorlinden, Wassenaar (NL), amongst others, as well as in many private collections.

 

Download Press Release
Related content
  • What to See in N.Y.C. Galleries Right Now Press

    What to See in N.Y.C. Galleries Right Now

    The New York Times Mar 17, 2022
    Read more
  • Michael Raedecker  - "now" Press

    Michael Raedecker - "now"

    The Guide Mar 15, 2022
    Read more

Related artist

  • Michael Raedecker

    Michael Raedecker

Back to exhibitions

Keizersgracht 241

1016 EA, Amsterdam

The Netherlands

54 White Street

New York, 10013 NY

United States

2 Bourdon Street

London, W1K 3PA

United Kingdom

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