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tlnts, 2016 - Mandla Reuter

tlnts, 2016

Mandla Reuter  

Sculpture, Mixed Media
38 x 20 x 5 cm / 14.96 x 7.87 x 1.97 inch
Edition of 11 copies, signed and numbered by the artist on a certificate

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  • Medium: metal & seaweed
  • This work is unframed
  • Due to the fragile nature of this work, it can only be picked up at our partner in Ghent (BE)

about this work

tlnts, 2016 refers to another work by Mandla Reuter titled Atlantis, 2016 which was recently acquired by the Friends of S.M.A.K. for the museum collection.

Atlantis, 2016 references to the fictional island which fell out of favor with the Greek gods and wass submerged and lost in the Atlantic Ocean. Reuter’s large-scale sculpture consists of an inflatable lift bag also known as a salvage balloon. Lift bags are primarily used by archeologists and submarine salvage teams in order to transport material from the ocean ground back to the surface. This is often man-made material which has encountered ill-fate or has been lost at sea. Poetically the function of the bag is to return to the light, that which was hidden and often forgotten.

The artist’s version liberates the lift bag from its intended use, lending it the appearance of a beached whale. Atlantis aims to salvage ideas of history making them legible at the surface, at the same time reflecting upon the past in conjunction with the present.

Mandla Reuter explains how both works are connected “Atlantis can be rather seen as a link, an object, which is referring to other matters, exceeding its own materiality and form. 
tlnts can be seen as a part of the work, but in contrast to Atlantis, it is a purely decorative work, connecting technical material with elements, which clearly come from nature."



Due to the fragile nature of this work, it can only be picked up at our partner in Ghent (BE)

about Mandla Reuter

Fiction and reality – two concepts that are each the opposite of the other and yet each depend on the other – are at the core of Mandla Reuters practice. It becomes all the harder to apply one of these two categories to a situation or a story when we are presented with differing opinions as to what is fiction and what is fact.

In past exhibitions, Mandla Reuter obstructed doorways and blocked the usual entrances into the gallery space, which required the viewers to make constant detours and at the same time obliged them to confront his art, which possesses meaning and function in equal measure. Through these detours and the pauses they inserted into the tour of the show, the artist generated tensions and invoked different levels of reality that contradicted the usual format of exhibition visits and created something new. The organisation of the exhibition underlines its artificiality. Like the City of Las Vegas that was conjured out of the arid Nevada desert and which is in a class of its own when it comes to dramatic composition. Fiction and reality here come so close that there is almost nothing to distinguish between them. The casinos, spectacular fountains and replicas of historical sites represent a concept that is based on copying other places, showing them in concentrated fashion in one spot and creating a completely warped reality.

(courtesy of Kunsthalle Basel)

Mandla Reuter had solo exhibitions at venues such as the Schindler House, Los Angeles; Salts, Birsfelden; Kunstverein Braunschweig; Kunstmuseum Bonn; Kunsthalle Basel; Vleeshal, Middleburg; Schinkelpavillon, Berlin; Kunsthalle Lingen; and GAK, Bremen. Group shows include Ibid Projects, London; Kunsthalle Wien; Tent, Rotterdam; Westfälischer Kunstverein, Münster; Sprengel Museum, Hannover; Proyectos Monclova, Mexico City; and Castello di Rivoli, Torino. Reuter also participated in the Momentum Biennial, Moss; the Istanbul Biennial; and the Gwangju Biennial.

Mandla Reuter is represented by the following galleries;
click through to discover more of his work.

Croy Nielsen, Vienna  

Francesca Minini, Milano  

Galerie Mezzanin, Geneva  

Neue Alte Brücke, Frankfurt

Learn more about this artist

Other works by Mandla Reuter