In the solo exhibition “Arena”, the gallery FELDBUSCHWIESNER will present new works from 2011-2012 by the artist Lars Teichmann.
“Large formats and a fascinating, dynamic relationship between form and colour, as well as a powerful painterly style characterise the works of [...] Lars Teichmann. He often uses reproductions from art catalogues, internet or television as the starting point for his works. Paintings by 17th century role models such as Diego Velazquez or Frans Hals have inspired the artist to implement a reduced spectrum of colour [...] as well as emphatic painterly gestures.”
In the exhibition “Arena” it is above all new, large works that make a grand appearance. The almost tangible, vibrating-energetic dynamic of the earlier works in terms of pictorial composition, brushstrokes and colour composition is heightened and frequently woven into a diverse, allegorical context. The main issues are victory and power, revolt and rebellion; however Teichmann deliberately subverts allegories in the form of unambiguous, symbolic portrayals of abstract terms, the kind that had their golden age in baroque painting.
“Teichmann continues to develop the power of these constellations of figures into seemingly spontaneous painterly gestures and subsequently into vectors of movement. On the other hand, these generate other configurations that have nothing more to do with Baroque role models but often emerge from the popular contemporary canon. Here, the artist is interested first and foremost in the coexistence of anachronistic motives communicated by the painting, which are a reference to the availability of the images created by globalisation and digitalisation. Secondly, the artist is very much inspired by the scope of communication between the figurative motif and the purely painterly gesture. The “form–switch”, which the viewers of Teichmann’s pictures must perceive between these two categories requires them to constantly adjust their reception.”
A similar approach has been taken to the small portraits, which supplement the monumental formats. In comparison to the earlier portraits, Teichmann has made these even more abstract, has distorted the forms and replaced faces with bright areas of colour, so that they dissociate themselves from representative historical portrait painting and instead appear like John Baldessari’s collaged, concealed heads.
In his portraits, including the full figure ones, the artist has obscured the clearly outlined personality and history of his protagonists. “Teichmann shows us how little we can trust the concept of the ‘innocent eye’. What we see has always been altered by the more or less extensive inventory of our visual memory, which is constantly filled and overwhelmed by media. Thirdly, a special feature of Teichmann’s amorphous pictorial compositions is that it constantly challenges our imagination, prompting us at times to discover something grotesque, at other times something erotic or even violent in the scenes.“
(Quote from: Dr. Heinz Stahlhut, “Lars Teichmann”, in: Neue Gesellschaft für Bildende Kunst (NGBK) (Ed.), Selected Artists 2010, exhibition catalogue, Berlin)
Lars Teichmann (*1980, Burgstädt) studied painting at the Berlin University of the Arts (UdK) in the classes of Wolfgang Petrick and Daniel Richter and graduated with a Masters degree from the class of Valérie Favre in 2008.
Among the scholarships and prizes awarded to the artist, who participated in the 54th Venice Biennale in 2011 are the Arbeitsstipendium Bildende Kunst des Landes Berlin (2010) and the Premio Internazionale Gruppo Euromobil under 30 der Artefiera, Bologna (2009).
His works are represented in renowned collections such as the collection of the Berlinische Galerie (State Museum of Modern Art, Photography & Architecture), Berlin, the Collezione Euromobil di Falzè di Piave, Italy, the SØR Rusche Sammlung, Berlin and the Collection Hugo and Carla Brown, London/The Hague.