02/07/2026
Max Rohr, Cooking ain’t hard to do, 2010, oil on canvas, 110x80 cm
A logic that unsettles immediate conventions of interpretation runs throughout Max Rohr’s work and is already evident in his earlier cycles. The body of the subject is literally composed of fragments of the world: an open and overturned house, architectural elements, utensils, domestic objects, a dog, a landscape seen from above, and a hollowed, fallen tree trunk that seems to emerge from the painting’s edge. The work reminds us that identity is never fixed or self-contained, but rather the provisional result, continually reshaped over time, of everything that passes through us.
from Lorenzo Bruni ‘s essay
These works are part of the current exhibition Somewhere/Sometime and are in dialogue with Max Rohr’s latest works!
Max Rohr, The sad lover, 2010-2011 oil on canvas, 160x180 cm
A logic that unsettles immediate conventions of interpretation runs throughout Max Rohr’s work and is already evident in his earlier cycles. The body of the subject is literally composed of fragments of the world: an open and overturned house, architectural elements, utensils, domestic objects, a dog, a landscape seen from above, and a hollowed, fallen tree trunk that seems to emerge from the painting’s edge. The work reminds us that identity is never fixed or self-contained, but rather the provisional result, continually reshaped over time, of everything that passes through us.
from Lorenzo Bruni ‘s essay
These works are part of the current exhibition Somewhere/Sometime and are in dialogue with Max Rohr’s latest works!
Max Rohr, I’ve got a secret, 2010, oil on canvas, 140x160 cm
A logic that unsettles immediate conventions of interpretation runs throughout Max Rohr’s work and is already evident in his earlier cycles. The body of the subject is literally composed of fragments of the world: an open and overturned house, architectural elements, utensils, domestic objects, a dog, a landscape seen from above, and a hollowed, fallen tree trunk that seems to emerge from the painting’s edge. The work reminds us that identity is n
