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View of “Sergej Jensen,” 2013. From left: Acrylic Painting, 2013; Untitled, 2012/2013; Untitled, 2013.

Sergej Jensen

Regen Projects

View of “Sergej Jensen,” 2013. From left: Acrylic Painting, 2013; Untitled, 2012/2013; Untitled, 2013.

In the decade since his star turn in Yilmaz Dziewior’s “Formalismus: Moderne Kunst, heute” (Formalism: Modern Art, Today) at the Kunstverein Hamburg in 2004, Sergej Jensen has only consolidated his claim on post-Conceptual painting. The “paintings without paint” that first garnered attention—compositions found and nominated as much as made (from fabrics dyed, stitched, or repurposed)—are asubjective, if startlingly aesthetic, pictorial manifestations that embrace all manner of supports as incidental images and substrates. With these works, Jensen has occupied various spaces within the gallery, from fresh-primed rooms to a storage unit at Galerie Neu in Berlin; he kept a normally hidden freight-elevator door uncovered and cracks in the walls exposed at the newly minted White Cube space at Mason’s Yard in London. He has also been known to take the residue of past installations

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