37 S.; Illustr.; 24 cm; kart.


Sehr gutes Ex. - Englisch. // ? Wenzel's focus is the latent and everyday presence of violence, what people do to others alike in the most colourful and vivid of worlds. Strange, is the thought that goes through my mind whilst alone with his images, how real but surreal, tangible but slippery, available but hidden the premise of his works are portrayed. Even though his protagonists fly, stand, and act in one common room, they all seem to live in their own world. It seems as if Wenzel has only united them in his frieze in order to show how completely unrelated they are. Everyone assassinates fights, trips, falls, plays and crashes on their own accord. Each and everyone is in their self-sufficient world. The hermetic isolation that surrounds his figures only exposes itself through the assembly in Wenzel's works. Landsberger Allee 254 is the address that Wenzel had mailed to me. In front of a red brick building numbered 54, Brusberg asks the taxi driver to pull over. "Here we are." The taxi stops in front of the courtyard of a dilapidated but painterly old brewery in the eastern part of Berlin. I call Wenzel's cell phone and two minutes later, he picks us up to guide us through the maze-like building. The studio looks chaotically tidy. A cot with an army-green sleeping bag on it, an accumulation of 1.5 litre water bottles beside it, only three paintings on the wall - all complete, except for a few last touches. Riesenrad (Ferris Wheel), Sommernachtstraum (Midsummer Night's Dream) and Schwur (Oath). However there are no newly started or unfinished works that could give me an indication of or shed some light on Wenzel's procedure, his way of painting, or the materialization of his works. ? (Martin Schneider)