German artist Michael Riedel is celebrated with a solo show at the Kunstverein Braunschweig. Focusing on invitation designs he produced between 1997 and 2015, the exhibition is a minimal treat, set within the majestic classicist spaces of the institution’s Villa Salve Hospes

壁纸*长期以来一直是德国艺术家迈克尔·里德尔作品的粉丝。
例如，他的图形执行是我们2014年3月发布的时装发布会的主题，Riedel也是我们限量版前封面的典范。

这位艺术家现在昆士韦林布伦斯威格举办了一场个展，以此来庆祝这位艺术家。这次展览聚焦于他在1997年至2015年期间制作的邀请函设计，是一种极小的享受，以该机构的别墅Salve Hospes的宏伟古典空间为背景。

自从他在法兰克福圣德尔舒勒(2000年以Meisterschüler毕业)以来，Riedel制作了大量的邀请函设计，以宣布他的作品、展览和其他活动。名为“看不见的展览”的展览，是对邀请的庆祝，是里德尔作品的核心部分，用来探索他更广泛的作品。展示的邀请函以多种媒体为特色，从海报到卡片设计，包括以经典里德尔图形风格呈现的电话通话记录。

这位艺术家亲自制作了这个展览，作为对博物馆空间的干预，他把门窗变成了白色的面板，分散在不同的房间里。富丽堂皇的昆士韦林成为里德尔的个人游乐场，里德尔把这些空间改造成一个充满活力的白色立方体。

“看不见的禁忌”都是对里德尔充满活力的艺术风格的回顾，同时也为他的美学语言开辟了新的篇章。

The rich interiors of the Kunstverein became a personal playground for Riedel, who refashioned the space into a dynamic white cube

The artist produced the exhibition himself as an intervention in the spaces of the museum, transforming doors and windows into white panels that he dispersed around the different rooms

Since his days at the Frankfurt Städeschule (where he graduated as a Meisterschüler in 2000), Riedel has produced a wealth of invitation designs to announce his works, exhibitions and other events

Titled ‘Exhibitions Seen and Not Seen’, the show is a celebration of the invitation as a central part of Riedel's oeuvre, used as means to explore his wider production

The invitations on display feature a variety of media, from poster to card design, including a telephone conversation transcript rendered in classic Riedel graphic style