For Max Freund (*1992), painting always implies material. Rich in gesture, haptics, texture, and color application, the pictorial worlds of the Viennese artist prove to be multifaceted layers of information. In his current exhibition Father Figure and Motherboard, the motifs, which often seem innocent, even infantile at first, promote a reflexive understanding of the artist's own painting style, canonical models, and supposedly key artistic figures. The artist negotiates art-historical master discourses as well as his own children's drawings, which are always caught up in the dynamics of dependence and history as well as relation and development. The works thus prove to be complexly arranged surfaces.

– Niklas Koschel