Andreas Breunig's “inscrutable glade & cleaning projects (Full Circle)” is an elaborately designed artist book. Bound as a double leporello it unfolds 16 paintings. A large-scale publication that translates the frieze-like installation of the solo exhibition of the same name in the Bärbel Grässlin Gallery into book form.
Suddenly you find yourself in the middle of the space of the pictures. No major work, no chronology, no center. Breunig questions his painterly vocabulary with ever new approaches. Everything that was previously an image is banned from the canvases. Associations, viewing habits, motifs are obliterated. You see “something,” as Marlene A. Schenk writes, “that is there without actually being there”.
A painting made from leftovers. The leftover and questionable remnants of the 20th century. Nonetheless they constantly generate new images. But the gestures on display are artificial and what appears spontaneous is constructed and analytical. Breunig stages painting as an uninterrupted sequence and permutation of traditional symbols, which, as residual or anti-forms in ever new compositions, start an imageless play.