Bourouina Gallery is pleased to show with Tisch & Tafel (table & board) the works of Michael Biber and Mirko Tschauner for the first time in Berlin.

The paintings of Michael Biber are composed of basic forms: rectangles, triangles, circles. They play with relations, the positive and the negative, depth and plane and the positioning of objects in the pictoral space. Asymmetry, rhythm and various fragments emerge in place of harmony. The kind of approach equals a permanent test arrangement. Structure adds up to the coherence: on naked aluminium panels meet stress marks, imprints and digital patterns that are brought into the classical form of the collage by ripping, cutting and glueing. These fragile compositions tend to rub: they rise over the rack, seem to stick out, are attached and play with the boundary. The recurrant question is how the arrangements position themselves in the pictoral space. This is what brings in the disturbing quality in Biber's work. Formerly alternative categories suddenly meld and overlie: concreteness and abstraction, fiction and documentation.

The sculptures of Mirko Tschauner are static material-compositions. Their reduced chromaticity is a result of the materials used: concrete, natural stone or steel. These matters are cut or cast into basic geometric forms. Their assembly results from simple composition methods such as mirroring, twisting, tilting and layering. The sculptures seem to be freed of their actual weight. The heavy-weight formations annex the room with a mysterious and omnious lightness. This tention – is the sculpture stable, in balance or will it fall ? – brings in the feeling of a sudden stopped dynamic into his works. The materials of Mirko Tschauners sculptures are omnipresent, though unrecognized as facades, lamppost or staircases. Detached from their architectural and functional context, the glimpsed perceived flashes up in Tschauners sculptures as fragments. Hereby his works become memory fragments of urban everyday life.

The artists approaches are formally alike and reveal themselves in their interplay: Both search for concreteness in abstraction. Their art does neither describe, nor illustrate. Still one can see realism in their works: material realism. Their materials are of industrial source. Color, form and materiality originate from fabrication which brings in an automated moment, a spark of coincidence. The final works are characterized by a certain displacement: The real surfaces are shifted – displaced – and with them their original beeing.