Bertold Mathes – Extension 1982–2016
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As the title suggests, the catalogue »Extension 1982–2016« not only offers a chronological insight into the development of Bertold Mathes vast oeuvre, but tries to hint at the conceptual and formal framing of his work that is built on the systemic amplitude of rules and rule breaches.

In concert with Mathes DICEY divided the material into several parallel strains (indicated in the table of contents split into two) which lead to and embed a passage about his exhibition (and its relation to preceding ones) »SONG ABOUT THE MIDWAY. Works from 1982 until 2014«), emphasising its pivotal quality. The exhibition views were edited in order to give them a slightly artificial appearance, literally highlighting the character of the exhibition as a deliberately construed experimental set-up. The following and final part of the book allows a lavish outlook on paintings from Mathes’ latest work cycle.

The succession of full-colour depictions starting on page 1 is accompanied by insertions from the artist’s archive. The small archival images serve as visual annotations, and are set alongside a conversation about Mathes’ work assembled from different texts interrelated throughout the whole book. These »archive pages« refer to Mathes practice of activating and making productive his own preceding body of work. With the rows of monochromatic images lying below a grid of dots, and a prominent 1 × 1 cm black square in one corner, these pages also disclose how the format and size of the catalogue, as well as the page layout were decided on: DICEY borrowed the grid and page dimensions, ratios and the live area directly from the original matrix that Mathes used as a basis for a majority of his paintings.

The theme of regularities and systematics and their inevitable circumventions, as well as the
often very graphic appearance of Mathes’ works prompted the use of a likewise clear and
clean typeface (Camphor Pro) that almost fits into the rigid grid that is the basis of the page layouts — aspects exemplified already in the relation between cover and page 1.

The 104-pages catalogue, printed on heavy, semigloss paper, comes in Swiss binding and is published by Kienzle Art Foundation, Berlin.