As already announced in the invitation and hinted on in here. Peter Lynen is not one of those who runs off in a column with the crowd but rather is one who stays back and looks for orientation, looks for where actually all this is supposed head to.

The blind spot. That is how he calls his exhibition. I will remind here briefly to what all know from biology in school: the blind spot is the spot on the retina where actually seeing should be particularly intensive because the optical nerv goes bundled into dock with the brain respectively this transmission between brain and eyeball feeds in all nutritional and energy streams.
But strangely just at this spot we cannot see anything. Peter Lynen reminds us  with his title about this inability which actually is the bundled potential.
Insofar it is understandable what makes the power of glare of his colors all around the deep black stains in the 2. picture on the right of the door. Two potentials/attractors surrounded by in color highly charged magical fields, emensly deep themselves. There is something - but it does not see and is not seen even though it conducts something vital.
Magically bright also the nearly three-dimensional pictures of the compressed and ....the expanded pear. Also here the fruit  - like the sausage  - cut, in its  halves vaguely reminding of car silhouettes which in its strechted form accompanies the quickly passing street traffic the steps of the pedestrians, further in its - in itself counter-rotating, broken, bundled around the middle - form full of polarized energy (bright arch and light contour) related to the middle.

Why exactly Peter Lynen has examined the pear he did not tell me. Anyhow each of both halves could be associated in thought with both visual canals.
In a talk in the Planetarium Hamburg on July the 10th of this year looking back to his works of spheres and globes Peter Sloterdijk reminded of the narcissistic insult of the
human being that is the loss of the old Ptolemaic view of life with its imagination of the circle-round firmament sheltering the human being. Via many intermediate stations separated by the elliptical form of thinking with its two focal points  the ME does no longer have the granted place in a thought cosmos. In his pear paintings Peter Lynen has added modern dynamism to this ptolemaeic globe and also shows up there on the wall in the pink of dawn the development from one pole to the other, the becoming of the ellipse with two focal points which uncovers in every human being even the glance as a design by the duality of the eyes.
I suspect that Peter Lynen has come to an understanding about Friedrich Nietzsche (1844-1900)
and by that has supported his view about development. Nietzsche proceeded from that there were no absolute existence but that the to be would be a to become, but no endless becoming-anew but rather 'eine ewige wiederkehr' (an eter- nal coming-back) of what has been endlessly often.
Hence it is understandable when we do not find a  charioteer as a victorious figure in this exhibition, like Nora Sdun had presented here for us in June.
In the basement there is something to be found that is like art luggage, reminding of the man who in Bunnuel's Andalusian dog from 1928 pulls two pianos out of the closet out of which bulged dead donkeys.  The victorious charioteer  had become a burdened person who has to drag further the dead donkeys on his cultural wings (playing here with  the German term FLUEGEL for 'grand piano' - but the word's mainly used meaning is "wing')
Now almost 200 years later peter Lynen deals with those 'snicker'-animals wonderfully cheerful and patient and shows us the scare as door  behind which something lighter gives brightness.
 
There would be much more to be said.
Look around and come back when it is not so crowded.
Thankyou very much for your attention.
 


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