Lars Breuer (1974) lives and works in Cologne and graduated from the Staatliche Kunstakademie Düsseldorf in 2001 and from Heinrich-Heine University of Düsseldorf in 2003, where he studied art history and philosophy. Breuer has created numerous public and collective installations and larger wall paintings, in which he often uses text. Using his own typography, his text works have their own grid and visual structure. The individual words flow like a new language together in a rhythmic and dynamic composition.
In 2004, Breuer collaborated with Sebastian Freytag and Guido Münch forming the artist group Konsortium based in Düsseldorf. Konsortium have exhibited collectively and curated numerous international exhibitions.
Lars Breuer’s work was presented in solo exhibitions in the Ludwig Forum Aachen, Kunstverein Paderborn, Audi Kunstraum Ingolstadt, in the Temporary Gallery Cologne and in Galleries in Munich, Copenhagen and Düsseldorf. Besides his works were shown in group exhibitions in the Justin Art House Museum, Melbourne; in the Museum für Konkrete Kunst, Ingolstadt; The Suburban, Oak Park; Pori Art Museum, Pori; The House of Arts, České Budějovice, in the Kaunas Biennale; Room East Gallery, New York; Museum Morsbroich, Leverkusen and in the ZKM Zentrum für Kunst und Medientechnologie | Museum für neue Kunst, Karlsruhe and others.
Lars Breuer is represented in both private and public collections, including for example the collection Museum Folkwang, Essen; Ludwig Forum for International Art, Aachen, Audi, Ingolstadt; state Northrhine-Westfalia and various private collections.
“CIA director Leon Panetta is well known for saying that “We govern in this country either through leadership or through crisis. If leadership is not there, then we will govern by crisis. Crisis will drive what we do, and today, too often, we govern by crisis, rather than leadership.” I bring this to the fore because in addition to designing extraordinary compositions with compelling semantical underpinnings, Breuer’s wall works also underscore the global political landscape of crisis. Like “threat alert level orange,” his compositions affect us with the language of authority and the shifting instability of meaning and significance in contemporary life. Breuer embraces Ian Hamilton Finlay’s words, “It is all a matter of composing and ‘order.’” His wall paintings teem with exceptional dedication to design and craftsmanship, inevitably making his work spectacular to observe. And although Breuer acknowledges the fugitive tendencies of language and comprehension, he also strives for “order” in his wall works, balancing not just the architecture of the wall but the space that separates the public from the private, the past from the present, and the political from the poetic.”
Michelle Grabner „Wall Painting: Crisis and Control“, 2013