2013 begins at dr. julius | ap with a collaboration between galleries: starting February 7, five artists from Vienna's Galerie Lindner will be shown in Berlin. Â In return, eights artists from the dr. julius | ap exhibition FutureShock OneTwo will be housed in the rooms of the Vienna gallery.
The Berlin exhibition, in keeping with the programmatic focus of both galleries, brings together five artists of non-representational, reductive/concrete visual art.
The central themes of Hellmut Bruch's [*1936] works are light and proportions deduced from natural laws, which take shape in 'open forms.' His works refer to light as an 'open medium'; they refer to the Fibonacci series as well as the golden mean. Since Hellmut Bruchs art assumes the reality of the immaterial, his sculptures are not reductive representations or abstractions of the visible. Rather, they proceed from the premises that form and shape the material world. The 'open forms' thusly created build upon universal constants and strive towards infinity.
The work of Gerhard Frömel [*1941] is â€œconcrete art reduced to basic forms and content. Â His artistic path leads from image to object to room installation. Frömel's work is the artistic expression of his search for a new quality of life through encounters”a search for links in what seems to be confusion or strangeness. To a great degree his objects and room installations specifically include the viewer in this search”they demand his concentration. Through the interaction and layering of spatially separate yet inter-communicating components, the artist's vision results in a formal coherence.
Â The art of Hans Jörg Glattfelder [*1939], which works with strict geometric elements, at first seems to belong to the rich Concrete tradition, although his dedication to spatial phenomena extends beyond this. The art theorist Hans Heinz Holz remarks in this context that with Glattfelder constructivist art enters a visually new phase, and that he is among the first to attempt to express modern physics complex understanding of space through constructive art. In the process the right angle, which has always been important in the constructive tradition, is abandoned in favor of new structures which Glattfelder terms non-euclidean.
Painting and object, or rather, spatially-oriented work is central to Andrea Maria Krenn's [*1974] art: although classical panel painting is not to be found here, painting is nonetheless very important to her workâ€”precisely when it deals with the interface between the two-dimensional and the three-dimensional, where space opens in an image, or when surface and painting together become an object. Â In this way, space, with its many facets, is the most decisive and symptomatic aspect of all her work. 
David Rabinowitch [*1943] has become well-known as a sculptor. Â Nonetheless, he has always also been concerned with drawingâ€”there is a cycle of drawings of Romanesque churches, and one of trees in Central Park, created in 1972. Georg Imdahl writes of the Altan [Balcony] Group, which consists of thirteen total hand-printed woodcuts on Japanese paper created in three sessions between 2002 and 2004, It is obvious that the genre of the woodcut naturally lends itself particularly convincingly to the subject of a tree. Â What one first notices in these pieces is the beauty of light and color. It seems that the leaves of the Altan Group, in contrast to the sacred buildings, strive to take explicitly contingent arrangements of the world as sources for arrangements that can be expressed on a flat surface. Â One can spontaneously make out the kinds of contours, forms, and figurations that one might come across in the floor sculptures. Â It takes little effort to look at these leaves a bit more closely and see beyond the motif of tree.