The high-gloss aesthetics of Olaf Breuning's pictures reminds us at first glance of travel brochures or fashion magazines rather than of art. Everyday objects, brand articles, consumer-and fancy goods are put together in a perfect staging, where theatrical gesture and beautiful appearance celebrate each other.

Olaf Breuning's arrangements draw their suggestive power from images known from advertising and the entertainment industry, their spectrum ranging from cultivated hedonism to a lustful thrill of the sinister. In his most preferred strategy of tracing objects of desire of everyday life and integrating them into his works lies the possibility to copy the fascination emanating from such objects into the work of art and so to use their aesthetic potential. In doing so, there is on the one hand the fertilisation of our longings, desires and daily fears for the artworld, on the other hand the objects reveal unusual aspects of themselves. In their artistic adaptation something crucial happens, namely a modification of mere recreational pleasures Were the pictures really identical with the well known settings of travel journals or fashion magazines and their promises of happiness and were the installations a mere copy of the event-culture of leasureparks, art would not happen. Olaf Breuning prevents such a commonplace identity through subtle redefinition of clichés. The artistic staging becomes all of a sudden transparent and is, by way of exposing its own artificiality, the dramatic climax of every work.