Ruth Wolf-Rehfedt: One / Out of / Fifty
Ruth Wolf-Rehfeldt (Wurzen, Saxony, 1932) moved to Berlin 1950, where she still lives today. In 1954 she met the artist Robert Rehfeldt, who she married a year later. During this time she was employed by the exhibitions department at the Academy of Arts, and spent her spare time making drawings. A few years later, she started to develop what would become known as 鈥榯ypewritings鈥� and joined the international Mail Art movement. It is through this rich and well-established network that her ideas spread and strengthened through global correspondences.
The works in One / Out of / Fifty, a pop up exhibition at 颁丑别谤迟尝眉诲诲别, are all Zyncographic copies of original motifs. The exhibition鈥檚 title references the 50 copies printed of each work, the maximum Wolf-Rehfeldt was allowed to produce in the GDR. Printed in formats small enough to be sent by post and efficiently distributed through Mail Art circuits, many of these works have remained in the private collections of artists worldwide.
In the exhibition vitrines, Wolf-Rehfeldt鈥檚 editions are contextualized with the items selected from the Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt. Her works of concrete poetry are seen alongside work sent by Brazilian artist Eduardo Kac and Italian poet Arrigo Lora-Totino. Her figurations of the body also mirror larger movements of body art, like the contribution by Polish filmmaker and artist Ewa Partum. And her profound and personal reflections on imprisonment and intellectual censorship can be seen in relation with architectural designs by Argentinean conceptual artist Horacio Zabala.
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Ruth Wolf-Rehfeldt (Wurzen, Saxony, 1932) moved to Berlin 1950, where she still lives today. In 1954 she met the artist Robert Rehfeldt, who she married a year later. During this time she was employed by the exhibitions department at the Academy of Arts, and spent her spare time making drawings. A few years later, she started to develop what would become known as 鈥榯ypewritings鈥� and joined the international Mail Art movement. It is through this rich and well-established network that her ideas spread and strengthened through global correspondences.
The works in One / Out of / Fifty, a pop up exhibition at 颁丑别谤迟尝眉诲诲别, are all Zyncographic copies of original motifs. The exhibition鈥檚 title references the 50 copies printed of each work, the maximum Wolf-Rehfeldt was allowed to produce in the GDR. Printed in formats small enough to be sent by post and efficiently distributed through Mail Art circuits, many of these works have remained in the private collections of artists worldwide.
In the exhibition vitrines, Wolf-Rehfeldt鈥檚 editions are contextualized with the items selected from the Mail Art Archive of Ruth Wolf-Rehfeldt and Robert Rehfeldt. Her works of concrete poetry are seen alongside work sent by Brazilian artist Eduardo Kac and Italian poet Arrigo Lora-Totino. Her figurations of the body also mirror larger movements of body art, like the contribution by Polish filmmaker and artist Ewa Partum. And her profound and personal reflections on imprisonment and intellectual censorship can be seen in relation with architectural designs by Argentinean conceptual artist Horacio Zabala.
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