ArtDynasty Geneva
welcomes June,21 until September,22


Pin Pon Pan /in the dialect of Carrara means for a piece of bread/ Frank Breidenbruch/ August, 18 until September, 6/


Pin Pon Pan /in the dialect of Carrara means for a piece of bread/ Frank Breidenbruch/ August, 18 until September, 6/

                               Gallery Forte del Marmi 

Frank Breidenbruch is a German painter and sculptor. He was born in Wuppertal on 31 January 31st, 1963. From 1982 to 1985 he apprenticed himself as a stone cutter and sculptor, and worked as a sculptor in his native city. In 1988 he travelled to Carrara and settled there in 2002. It was in Carrara that he first met A.R. Penck who became his important associate.  Breidenbruch brought with him a baggage of Nordic symbols and myths which soon found fertile ground in the Tuscan city. From 1989 to 1994 he studied at the Academy of Fine Arts of Carrara.  In 2014, his 2012 work Yuri won special mention in the Foreign Artists’ category of the Limen Arte prize. 

Exhibited in many solo and group shows, Breidenbruch’s works often evidence a progressive synthesis in which images are reduced to symbols. The artist almost seems to take on the role of a sage revealing his visions to the community, visions made up of figures stylized to such an extent that they become elements of a repetitive kind of writing, of a coded form of communication.  

Among the works of Frank Breidenbruch, presented at the exhibition "Pin Pon w" at the Art Dynasty Gallery in Forte dei Marmi, some of them deserve special attention - twenty paintings depicting faces of men with their eyes closed. The uniqueness of the paintings is in the fact that the German artist made up this group of works during a two-year trip, which saw him run for 3000 km on the train. On that occasion Frank asked his occasional companions to close their eyes. And he portrayed them, he caught their expressions and fears, anxieties, joys, worries, pains, happiness, being aware of painting on a piece of paper not the portrait of a wretched traveler but rather a life story.

All the faces are stories, enriched by precious details that emphasize the extraordinary nature of every single encounter. Thus, in these polymateric works, plaster, glossy papers, golden leaves, they are overlaid with the portrait or accompany its development, and they reinforce that dynamism that is always found in the German painter: the irrepressible energetic explosion of a creative impulse.

Again this artist dressed in black, dispensing advice and assaulting life as life does with him, comes back to surprise us: while retracing places and subjects so connected to the figurative tradition, manages to propose them in a different way that offers us renewed keys of reading.

It is a journey through time and memory, a subtle thread between the lived past and imagined future, in a kind of infinite race like that of the train, like that of "Zero corrente" (sculptural work on display), looking for an illusory destination, because new travels, new experiences, new emotions caress the painter's mind, await his canvases, oblige him to leave, invite us to dream.

In an infinite cycle of remarks and suspenseful feelings, the artist instinctively seizes the expression of a face, makes it its own, dresses it of an almost sacred ritual that makes it common and, therefore, universal. A feeling of renewed perceptions, bastion to the fears reveled in the faces of people encountered, makes Frank's art a powerful weapon because it always requires a reflection.

The theme of eternal sleep returns and marks a line of continuity with previous productions, because this sleep, anxious and refreshing metaphor of death, does not assume a negative meaning. Sleep is also recovery of energies; it is silence, estrangement, and becomes here an expressive, disruptive force that traverses the appearance and focuses on the vital energy represented by the impulses of life itself, always present, though concealed with wise artifice: a flower in the background just blossomed, the complicity of other faces intersecting in imaginary looks, the precious gloss of gold, a postcard, the diaphanous silhouette of a child, the experience of hands consumed by the time, sketched clouds, imaginary rivers, collages made with old faded cards. The daily life comes inexorably to these works, even where the logic of mechanics would like to keep it out; time wins and, ultimately, death.