Considered from an aesthetic angle, a clash of diverging surfaces can be noticed – the soft and organic appearance on the one hand and the strictly geometric construction on the other hand. Whereas Lennart Grau's artworks are characterized by smooth and round contours and atmospheric gradients, Clemens Behr works with strictly separated, architectural and edgy fragments to create his space-consuming installations. 

In fact, the artists share the same pivotal idea: the relationship between surface and space. In their artistic practice, both have produced bodies of work that oscillate between the medium painting and its objectuality in different ways. Based on the assumption that space is defined by the relation between its surfaces and articulated through their adding and layering, by the use of elements like outlines, texture and haptic, the artists create completely new spaces. The play of three-dimensionality runs like a common thread through the exhibition – in the non-existent, imaginated space of a canvas piece or in the fragmented and reconstructed shape of a sculpture: a powerful area of tension emerges.

In the artworks of Lennart Grau, the exorbitant and pasty paint application almost sculpturally stands out against the surface of the canvas. On these hills, the artist creates lighting situations and searches for visual instincts while playing with forms of delusion and deceit in the tradition of the “Trompe-l’œil“ – terms that are transferable to deceptive buisness practices. The artist addresses the process of seduction when the rational mind underlies the lure of lust.

The works of Clemens Behr range between painting and sculpture. Installations – often with a pictorial approach – are fragmented by the insides and outsides of architecture. The surface is teared out of its original context and inserted into a new one. Different dimensions and perspectives get confused, blurred and interconnected. Behr's partly walkable installations seemingly dissipate the seperation of space and object; they epitomize the process of deconstruction and construction. The symbolical destruction and fragmentation of the constructed space and its new, allegedly arbitrary design create “broken“ works that attain to perfection.

June 7th – August 23rd, 2014
Opening reception: June 6th, 7 – 9 pm, Potsdamer Straße 68, 10785 Berlin

Guided tour with curator Johann Haehling v. Lanzenauer: June 6th, 7 pm