berlin

Marko Lehanka

carlier | gebauer

Although Marko Lehanka considers himself a sculptor, many of his early works were computer based, and in the early ’90s he participated in exhibitions with a new-media focus. Yet you’d never suspect such beginnings from his exhibition “Schöne Gruß vom Country-Boy” (Best Regards from Country Boy): Lehanka’s scenario resembled a garage cram-packed with carved wooden objects, reliefs made of sawed-off surfboards, a few canvases done in the style of thrift-shop paintings, and even a sculpture of an Italian wine god and a standing grill. There was hardly a trace of technology; instead, an expressive disorder seems to have triumphed. In the middle of the space was a tree cut into pieces and provisionally nailed back together, while on the wall to the right hung Botticelli, von Nuschelinchen selbst gemalt (Botticelli, Painted by Nuschelinchen Herself), 2003, a naively painted copy, its frame

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