• Peter Roehr

    Galerie Paul Maenz

    The principle of a calculated, axiomatic serial montage is the logo of West German artist Peter Roehr, who died in 1968 at the age of 24. For the 20th anniversary of his death, the Galerie Paul Maenz offered a survey of his work, recalling this artist’s remarkably self-contained overall conception. The inevitable and catchy essence of Roehr’s art is revealed once again in the 15 pieces here.

    Roehr’s oeuvre consistently demonstrates the same principle: film footage, consumer objects, letters of the alphabet, texts, and advertising photos, in precise, linear, and completely lucid series, are turned

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  • Robert Gober

    Galerie Max Hetzler

    Recently Robert Gober’s sink was a favorite object of interpretation, a thing that offered a new surface for projection and reference (Marcel Duchamp, Robert Morris, Donald Judd, to name merely the cornerstones). Exposure, disease, the unconscious, archetypes of culture, symbols of existence—all these have been read into the sink. What next? Nevertheless, Gober managed, in these exhibitions, to discard the notion that we are living in a stage of aftermath. He shows us a balancing act, and also states its necessity—cautiously and sincerely.

    Most of Gober’s objects are handmade or at least visibly

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  • Attila Richard Lukacs

    Galerie Dietmar Werle

    The unusual and provocative works of the Canadian painter Attila Richard Lukacs show an unsettling world of half-naked men with shaved heads, their appearance possibly identifying them as members of the European and American urban youth movement broadly referred to as “punk.” Lukacs depicts these figures as small, diabolical, self-styled gods, whose rituals of pain, violence, and eroticism lie outside the moral categories of good and evil.

    The artist first showed these paintings last spring in West Berlin, where he currently lives. In the new works he adds to his human figures, as an equal partner,

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