MUNICH.- Coarse sack linen, shiny silks or simple cottons serve Sergej Jensen (*1973) as picture bearers. He processes them with different kinds of materials (bleaching agents, acrylic and Batik dyes) and attaches to them tent patches, ribbons or textile applications. Seams, creases, stains, remains of chlorine and other traces of use are consciously worked into the elements of the picture. Jensen's laconic and radical approach to painting plays on the strict dividing line between autonomous art production and textile design. It chips away at the rigid codification of certain artistic processes and calls into question originality and authorship. Henrik Olesen (*1967) concerns himself with construction and control of sexual, cultural and political identities. His detailed research into the history of architecture, business, politics and jurisprudence expose the manipulative mechanisms and hierarchical conditions in which a majoritarian society determines the rules of living together and excludes and represses behaviour that is different. From this emerge collages, sculptures and installations, whose economical language of form is in the tradition of Minimal Art and Concept Art.

For the Pinakothek der Moderne Jensen and Olesen are designing a common room.