viele Grüße, 2018

Alex Wissel's edition is based on the invitation card for his exhibition "Rheingold. Doing what needs to be done", which was transferred to a large-format watercolor that until 20 January 2019 marks the entrance to the Kunstverein and the exhibition in the station.
"Rheingold" takes as its starting point the downfall of art dealer Helge Achenbach, who described his falsified invoices as "collages" before the court - a radical interpretation of Beuys’ dictum that everyone’s an artist? In filmic sketches, a webseries (together with Jan Bonny), stage elements and drawings narratives are collaged, invented and improvised to tell of social sculpture, power, deceptions, and great misunderstandings.
(more information on the exhibition here)

The concepts of freedom, power, labor, and economics enabled by democracy and liberalism also set the stage for unusual alliances to form, for oppositions to dissolve and for new ones to form in their place. In this way, Alex Wissel’s works enter humorous narrative relationships with slogans from art, economics, and politics. We find the “Rheingold” complex oscillating somewhere in between advertising displays, the World Cup, neoliberal politics, and the aftermath of artist-activist positions from the 1960s—but also constantly between the promises and dreams that find their mantra-like manifestations in a.o. drawings.
His edition transfers the card into a coloured pencil drawing and with the signatures of Joseph Beuys, Helge Achenbach, Jogi Löw, Jörg Immendorff and Gerhard Schröder into a symbol of a men's community, a social portrait but also of individual exertions. Questions about authorship and responsibility mingle: finally wanting to get a seat at the table, not just serve others.