And Then There Were None: group exhibition at Galerie Meyer Riegger, Karlsruhe

Galerie Meyer Riegger's (Karlsruhe, Germany) 20th anniversary exhibition.

Exhibition dates 18.11.2017 – 22.12.2017

Featuring works by Scott Myles:

"Reunion", CMYK silkscreen print on C-MAT, 150 gr., 59.4 x 84.1 cm, signed and numbered edition of 20 (+5 A.P.)
"This Way Out", 2017, Artists book, English, 112 pages, screen on print on canvas, Xerox print on paper, 297x210 mm, spiral bound, unique edition of 50, signed by artist, self-published, Glasgow


From the exhibition text:
On 18 October 1997, the Karlsruhe ZKM or CAM (Centre for Art and Media) opened its doors in the newly restored factory hall building and presented to public view its Institutes and Departments together with its spacious exhibition, concert and event facilities, which were inaugurated by the Düsseldorf band Kraftwerk. Not far away, just one week later on 24 October 1997, the exhibition AND THEN THERE WERE NONE – certainly more significant in terms of art history – opened with works from the Marzona Collection, thus opening also the Galerie Meyer Riegger. The exhibition text reads in part like a manifesto and, with an eye to the West, can certainly be understood as such – above all, none of the works on display was for sale! A remarkable move from a Gallery whose key business was to be the sale of contemporary art works: “Like our future exhibition programme, the Collection brings about a juxtaposition of European and American art. Its foci are on the fields of Minimal Art, Concept Art, Land Art and Arte Povera. The exhibition “AND THEN THERE WERE NONE” understands itself as a reference to a certain period. This critical look back to positions adopted in the Sixties sets out to determine the potential of such art for the present day and to establish connections with contemporary positions.” The essence of the programme was expressed accordingly: “Subsequent exhibitions will attempt to update the political and aesthetic potential of these historical positions for today’s world”. So far so good! The fact that in this musty, stuffy administrative city with its long-established, venerable State Academy of Fine Arts and its newly installed Centre of Art and Media (to the chagrin of many artists, who were thereby ousted from the factory hall), and alongside the notorious “Off-Space” in the Kaiserpassage shopping mall, there should now be a professional gallery positioning itself in such a self-confident manner was something which, from the very outset, made a deep impression within and beyond the bounds of Baden-Württemberg and so decisively reinforced the Gallery’s reputation.