Stefan Rinck

Stefan Rinck comes from an artist family in Zweibrücken. His father was the educator and draughtsman Norbert Rinck (1933–2016), his mother the painter and art teacher Ute Rinck, his sister is the writer Monika Rinck. Before his studies Rinck learned stone sculpting as an apprentice to a stonemason. Subsequently, he studied art history and philosophy at Saarland University in Saarbrücken and sculpture at the Academy of Fine Arts Karlsruhe with Stephan Balkenhol from 1996 until 2000.

For his figurative stone sculptures Rinck uses traditional tools and techniques of direct carving. He works with sandstone, limestone, marble and diabase. He finds his sources of inspiration in various epochs in particular the French Romanesque period as well as popular culture such as video games and comics. Rinck's stone figures build a community of characters, animals, monsters and hybrid creatures endowed with symbols and cultural attributes. He uses examples from history, myths, religion and folklore as reference material and places them in a contemporary context. He often deals with the issues of collective unconscious. The art theorist Bazon Brock states, Rinck adopts the figurative forms of expression of culturally collective fantasies remaining his independent language. One of the key elements of his language is the humorous expression whose lightness stands in contrast to the materiality of the stone. The humor has a liberating effect and helps the viewer to experience the unconscious. The cross-cultural and trans-historical communication qualities allow Rinck's sculptures to achieve universalizing ends, claims curator Daniel S. Palmer. In 2019, Stefan Rinck was featured in the Thames & Hudson publication 100 Sculptors of Tomorrow. The documentary Heart of Stone by Sonja Baeger which pictures the production of Rinck's three monumental-in-size sculptures was premiered in 2021 in Berlin.

Selected solo exhibitions • 2025: The Return of the Alpine Clan, Pinakothek der Moderne, Munich • 2025: Parade, Domaine de Chamarande, Chamarande • 2024: The Bilss of Ignorance, CCA Andratx, Andratx, Mallorca • 2023: Early Birds and Late Night Lizards, Nino Mier Gallery, New York • 2022: Semigods of the Jockey Club, Skarstedt, East Hampton • 2021: In this Garden he Reads the Diary of the World, Sorry We're Closed, Brussels • 2020: I feel Air from other Planets, Nino Mier Gallery, Los Angeles • 2019: Carnival, CAC Chapelle du Genéteil, Château-Gontier • 2017: Metaphysical Casino, Semiose, Paris • 2011: Die Geister die ich rief, Kunstverein Zweibrücken, Zweibrücken • 2007: Vicerunt Viderunt Venerunt (with Uwe Henneken), The Breeder, Athens • 2006: Galerie Rüdiger Schöttle, Munich Selected group exhibitions • 2025: Amsterdam Sculpture Biennale ArtZuid, Amsterdam • 2024: The Atomic Age, Musée d'Art Moderne de Paris, Paris • 2024: Des exploits, des chefs d'œuvre, MAC Musée d'Art Contemporain Marseille, Marseille • 2023: Un Été au Havre, Le Havre • 2022: Nothing Is Permanent – Parcours de sculptures, curated by Alex Reding, on the occasion of European Capital of Culture, Esch-sur-Alzette • 2021: Supernature, Centre d'Art Contemporain, Yverdon-les-Bains • 2020: Biennale Gherdëina 7 - a breath? a name? – the ways of worldmaking, Ortisei / St. Ulrich • 2020: Restons Unis, Galerie Perrotin, Paris • 2019: Foire Internationale d'Art Contemporain Hors les Murs, Jardin des Tuileries, Paris • 2008: Busan Biennale, Busan • 2007: The Present Order Is the disorder of the future, Frans Hals Museum, Haarlem / Hal & Hof

• Staatliche Graphische Sammlung München, Munich, DE • Fonds régional d'art contemporain Normandie, Caen & Sotteville-lès-Rouen, FR • Fonds régional d'art contemporain Corse, Corte, FR • Centrum Beeldende Kunst Rotterdam, Rotterdam, NL • Musée de la Loterie, Brussels, BE • Sammlung Krohne, Duisburg, DE