Peter Lynen: The blind spot
pictures and objects

Dear visitors, dear friends of EINSTELLUNGSRAUM e.V.
Peter Lynen asked me to say a few words to welcome you because I am always saying so weird things so it seems.
Peter Lynen is likely well known to everyone here, here he is. To start - thankyou, Peter for your exhibition that you have performed here.
Well, weird things - probably personal views are meant which I will now briefly spread out here  to give you a starting point from which you will view the installation yourself.
There is much to see in this exhibition:
here on the first level main room mainly painting in the basement mainly sculptural works/installations; no videos, no photographs.

In my opinion this room here is experienced best when one spends time in it almost all on oneself - to experience not just through the visual sense but by extending all inner antennas and putting the sites of the exhibited pieces on the inner scale.

Then one senses the big dark up above, the light Yellow down there, down there, the picture and the upholstery a spreading out of weights that lets appear the capacity of this room. But not commonly functional as entrance, lighting, stairs and so on but like an almost physical vis a vis, in a way like in Sloterdijk's Sphaeren.
Peter Lynen says he alway is guest in his own head in such art rooms.
To learn about this you just have to come back again during our opening times within the next 3 weeks.
Like in one own's head...
Oh yes, something seems to be detached.
When one goes downstairs one finds the physical sculptural objects, here uptairs the more abstract model images.
Oh yes, thinking figures?

The Yellow....van Gogh's yellow lies as foil over the quarrystones and limits off parts of the wall and the sitting areas. Light yellow, light energy or the color of beer? Peter pointed to the latter by his pinned down beer mats.

Beer, that is milled grain, the juice of the barley with its long sharp grains?

Bevor this apprach for a deepened view is carried on, we should first have another closer look.
The stairs of the room lead to the sculptural objects in the basement. Upstairs, on the wall above the stairs hangs a small work with fingerprints and a kind of a quotation of protective glasses in a white field.

Why here, high up, where I cannot get to without a ladder, the fingerprint on an area that actually offers nothing for touching?
It is obvious. It is about trying to understand in a double sense (the double sense here refers to the verb 'begreifen' - to understand -  which has the clear etymological root in 'greifen' - to reach out) what lies above the  normal to-do and to-think level. As western culture teaches us the animal has to be killed to reach knowledge. Here we also find it in the basement, the storage room respectively resurrection room  pressed into sausage and cut in thin slices, but not for consumption but poured in resin, framed formemory - warning lightly faded.
Close by almost illuminated like daylight the mushroom culture strives upwards, here as a steel-like order of a conference table on unstable ground in which after all the wood worm still does its natural daily work.
What has all this to do with the given subject of our shop in 2006 -steering and guiding?