In our second duo exhibition with Charles Vreuls and Roland Berning, who collaborate artistically since 1994 as the “collective” TOVER, a modus operandi, a strategy to maintain artistic independence in an art world and art market which they see as paralysing their creativity by enforcing conformity to their respective dictates.
Despite Vreuls and Berning working in completely different styles, they are united in operating on the edge of the established art world order
Vreuls exhibits works on paper from his latest series, “Das Gesegnete Das Verfluchte” (“The Blessings The Curses”, the title of a symphony by Peter Ruzicka and a homage to the Swedish composer Allan Pettersson). The works on paper, each of a modest format of 5×15 cm, display chaotic mixtures of lines and structures intricately interwoven with figurative elements, numbers and letters that command our attention to their detail and intricacy but are also soberly presented as a collection in an exquisite hand-made wooden box.
Also on display are a group of his oil paintings: gestural, layered, mysterious, and complex with an occasional perfectly rendered eye.
Roland Berning exhibits paintings and objects. The latter he intuitively composes of waste materials lying around his studio. Also on display is an assemblage of small objects displayed on large painted sheets of cardboard. The objects are placed like pawns in an undefined game. Berning speaks ironically of a game that arose in May 1968, in which the rules have since been lost. On the assemblage are also noise generators that he constructed himself, approaching from a painterly perspective. During the opening, Berning will give a “concert” with these instruments, in which the element of chance (The “TOVER” factor) plays a certain role.