*Esch-sur-Alzette. Lives in Berlin.


Photographic Documentation and Archive of Manifesta 2:
Roman Mensing, Münster

Yet sometimes what is read successfully stops us with its meaning, 1998

On the left wall of the C.P.C.A in Bonnevoie, a former warehouse and cold-storage depot, Michel Majerus has conceived a large pictorial installation, which at the same time acts as an architectural intervention that alters the character of the building and its interior.
With his works deliberately covered with a thin layer of paint which makes them look almost like watercolors and render the artist's very personal interpretation of the pop art tradition, the painter Michel Majerus, who lives in Berlin, has attracted public attention over the past few years. His works are meant to be assembled in particular places to form large painting collages offering co'ntless combinations.
Majerus's work is also characterised by the artist's great mastery and innovative use of space starting a dialogue between the architectural transformation of the exhibition space and the pictorial field of his paintings. The artist's formal repertoire hinges on signals and signs drawn from advertisments and the visual reality of postmodern cities. He also uses industrial supports for his paintings, whose collage-like aspects break up the signs' temporality.

C.P.C.A. 12, rue du Puits, Bonnevoie; Cinéma Utopolis


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