Collection: Florian Lechner

Florian Lechner's works are like cuts into reality. They reveal the interaction and interplay of the three-dimensional depth of our reality and its two-dimensional fabrications in digital space. Lechner superimposes the different levels of space and manipulates them into a singular, visually exuberant experience of simplicity, elegance and brute baroque excess.

Born in 1981, the artist Florian Lechner completed his studies in sculpture at the Academy of Fine Arts in Munich. He found his way via concrete art to a position that can probably be accurately described as 'contemporary baroque' through his renowned professors Hans Op de Beeck and Hermann Pitz, with whom he was a master student in 2012. Since then, the work of the successful artist has been shown in numerous exhibitions, including the museum exhibition 'Out of Office' at the Museum für Konkrete Kunst in Ingolstadt, as well as permanently in the Bayerische Staatsgemäldesammlung. Galerie Lachenmann Art has already shown Florian Lechner at Positions Berlin 2020, in the anniversary exhibition 'The Works' and is dedicating a major solo exhibition to him in 2021.
Florian Lechner's oeuvre impresses with its clear lines, simple elegance in black and white and a straightforwardly opulent reduction. The first impression of the works is usually deceptive: what at first appears sober and neutral, Lechner subverts with subtle means. His objects in wall format know how to free themselves from the limitations of classical painting art and conquer the room. Lechner detaches the artwork from its physical existence, shifts it into the ephemeral and juggles with the viewer's perception.

Florian Lechner

Available works

RENDER: Florian Lechner at Lachenmann Art Frankfurt

The RENDER exhibition brings together the latest works by Munich artist Florian Lechner (*1981), which can be understood as a type of digital sculpture. On the one hand, they make virtuoso use of the digital for sculpture and, on the other hand, critically examine its implications for the work of art and the aesthetic experience, which is also what the title of the exhibition refers to.

As an English verb, to render is basically to be understood as to make, to perform, to demonstrate. In German usage, however, this has become established primarily in connection with rendering as a term from design or computer graphics. Understood as image synthesis, it describes the process of creating an image or sketch from raw data for 2D or 3D space, whereby specific properties are transferred to the data or specifications are made. The term thus refers pointedly to what Lechner deals with in his work when he designs bodies in virtual space and prints images of these bodies on aluminum composite panels, which he then processes further. Or when he prints out parts of the body in different sizes using a 3D printer, so that in the spirit of the post-Internet he creates image objects that do not need to distinguish between original and copy.

In a similar way to the challenges of rendering , Lechner uses different forms, materials and formats to negotiate the issue of virtual observation and the visibility or visualization of objects, the influence of material properties on the appearance of simulated and real surfaces, as well as the role and function of light refraction and lighting conditions, which have always been among the basic themes of classical sculpture. However, a significant difference and a decisive demarcation from tradition is that Lechner does not bow to its conventions, but rather breaks away from them in the spirit of postmodernism in order to develop them further.

As is also evident in the presentation of the works in the gallery spaces, Lechner negates the classic concept of the work and attempts to establish diverse physical and virtual relationships between the individual works and their digital reproductions, images and continuations, which now extend into social networks and their echoes.

Lechner also addresses other current questions about the relationship between artistic autonomy and the preservation of aesthetic experience in this situation, which not only commodifies the work into a consumer item, but also preserves its otherness and uniqueness. By taking up these and other similar contemporary considerations, Lechner sheds light on the fundamental contradictions of digital art. At the same time, he seduces visitors to unconsciously enter into the discourse he is conducting via the supposedly smooth, aesthetic and at the same time tactilely attractive surfaces that are typical of Lechner's work and, in the end, to expand the described variety of relationships as a recipient.

Impressions

Florian Lechner Galerie Lachenmann Art
Florian Lechner Galerie Lachenmann Art