Already 30 years ago, Peter Halley (*1953) was far ahead of his time. With his Prison and Cell paint­ings, he mani­fested the reasoning, inter­de­pen­den­cies and orga­ni­za­tional forms of the artwork and the social space. Since the 1980s, Peter Halley exam­ines in his geomet­rical abstract painting and site-specific instal­la­tions the spatial as well as commu­ni­ca­tion and orga­ni­za­tional struc­tures that domi­nate everyday life. In today’s world, where our lives are influ­enced and modi­fied by algo­rithms of the digital industry and by the surface appeal of the media world, we find ourselves, as it were, amidst a Halley-ian compo­si­tion.

In an instal­la­tion exclu­sively devel­oped for the free acces­sible Rotunda of the SCHIRN, Halley will work inten­sively with the quite specific spatial condi­tions. The combi­na­tion of various motives from the spec­trum of the artist oeuvre will create both an explo­sive energy field and an analyt­ical map of his work. Halley will form a cell for a key work from his histor­ical oeuvre; an art work that could hardly be any larger, more elab­o­rate, or more expan­sive and which, in turn, feeds back to the orig­inal nucleus of the artist’s creative power.

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