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Nino Mier Gallery is happy to current Le pique-nique, an exhibition of work by German artist Falk Gernegroß. The artist’s first solo exhibition with the gallery, Le pique-nique options fifteen new works, providing a panoramic view of the artist’s method to portray – from sultry absurdism to irreverent eroticism, renaissance figuration to Playboy pin-ups, close-cropped anatomy to full-scale style scenes. The exhibition opens on Might twenty sixth and can stay on view by July 20, 2023.
Gernegroß paints teasingly, most frequently representing his topics out of context in opposition to monochromatic backdrops. Regardless of the artist’s cropping methods, every determine has a robust sense of individuality and character cultivated each by what’s represented throughout the composition and what’s strategically obfuscated from it. What the works withhold, precede, and wink at is their level; synecdochally or overtly, Gernegroß’s work invades in any other case chaste white-cube environments, disarming taboo and disregarding modesty and privateness.
Directly, Gernegroß reprises Rococo joie de vivre, mobilizes YBA ‘sensationism,’ rephrases magazine-cover aesthetics, and asserts attribute Leipzig faculty objective-figurative composition. Within the title work, three topics relaxation languidly on the shores of a peaceable seaside. The imaginative and prescient of extra and repose remembers Bruegel’s The Land of Cockaigne, although the comedy of Bruegel’s indictment of sloth and gluttony is right here a forthright reverie. The coterie of secondary narrative components – the canine breaking the fourth wall, the forgotten picnic particles, a run-away arduous boiled egg – provides a density of symbols equal to that of sixteenth century historical past and style work. Proudly, Gernegroß bears the torch of the Renaissance. By Raphael and Boticelli’s instance, he paints in candied, buoyant tempera and deploys line in appreciation of classical, humanist realism. His figures are sculptural, marble-finished, monitoring aesthetic beliefs from antiquity by the early 2000s, when the artist was starting his profession in a stone work studio.
The work on view proffer convincing fantasies of happiness, intercourse, and self-possession inside and with out the canvas. They warmth the air round them. Voyeurs are welcomed enthusiastically; Le pique-nique’s petite furry white mascot, a logo so usually deployed in Baroque and Renaissance artwork, growls – or grins – on the foot of the portray. Gernegroß paints to flush cheeks, embarrass the modest, and name fashionable sexuality to the fore. Gaze and creativeness flirt, silently and inescapably, with the works’ protagonists; so seductive are they and the tensions they encourage, viewer-voyeurs stand little probability at leaving the fantasy they create upon exiting the gallery.
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