Michael Reiter’s art is casually decorative. He seems to aspire to a realm of carefree playfulness between painting and sculpture. Reiter remains, however, in the shadow of a highly stylized conceptual approach and his endeavor focuses on the basic structures of perception; colors change at specific intervals (by means of stripes), and the textures of cloth are varied with constructed elements. His method seems to oscillate; Reiter combines collage techniques, cheerful Pop-like simplicity, and a kind of minimalism. The paintings that result are multidimensional systems of order.

Along with a

Jürgen Drescher does not make art, he finds it. He finds it everywhere—even literally stumbles over it. Removing a worn carpet from his old apartment or from the home of a friend, he displays it as is on laths. The stains that have emerged over the years, the filth, and the holes burned by cigarette butts form a pattern that is quite comparable to a painting. In this way, a worthless, everyday object becomes a work of art—or does it?

Drescher’s new works operate at this borderline between an artwork and an everyday object. This time the everyday object that inspired the artist is a security gate