Opening: Friday 12 February 2016, 6pm

This exhibition is

a replacement

for an iPhone app which I suggested

for years but nobody wants it.

This app

would change the time-scale/pitch

of music (played)

in a car according to

its acceleration/deceleration.

Figuratively :

At steady speed

the audience trades

the pulling landscape

to the music.

But when somebody slows down

either the music or the landscape

gets unemployed. But when the music

would slow down for a short time too,

it would help

towards a new

employment.

This app would have fed well

the audience of the Kunsthalle Bern.

No need for a visit.

In order to replace this application

I divide all work

into controversial

or conscious

or party content.

I employ party content

because it ‘is still difficult to do well’

and ‘it isn’t as highly regarded

as other kinds of subject matter’.

(Paul Edwards)

In this exhibition

I oppose a bed sheet to a barrel.

While the barrel is as party content quite familiar,

e.g. Cooling Towers by Bernd und Hilla Becher,

the bed sheet is unidentified to most.

Both are just hooks but they can help to put

the cornflakes into the picture.

As this is certainly difficult to apprehend,

I offer Milka and Ritter Sport

to watch flower paintings

like Tulips, Camellias, Hyacinths

by Henri Fantin-Latour.

(Wolfgang Breuer)

Works by Wolfgang Breuer (*1966, lives in Berlin) have been presented amongst others at Neue Alte Brücke, Frankfurt (2014), Bergen Kunsthall, Bergen (2014), Halle für Kunst, Luneburg (2013), Firstsite, Colechester (2013), Bortolami, New York (2013), Künstlerhaus Bethanien, Berlin (2013), Pro Choice, Vienna (2011), Galerie Meyer Kainer, Vienna (2011), Etablissement d’en face, Brussels (2011), Simultanhalle, Cologne (2010), Andrea Rosen Gallery, New York (2010), Hotel, London (2009), Kunsthalle Exnergasse, Vienna (2008), After the Butcher, Berlin (2008), Egypted, Vienna (2008), Galerie Meerrettich im Glaspavillon an der Volksbühne, Berlin (2006), Between Bridges, London (2006).

Kunsthalle Bern would like to thank the city of Berne and the Confederation for their generous support.

The exhibition was supported by the No Leftovers-Fonds.