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Yours, KOW

„I‘m a liar, but a good one“, 2021–ongoing

“I’m a liar, but a good one”, Simon Lehner states. The title involves questions of memory, truth, trauma, authorship and artistic production that are expressed in a reduced setting of four works. There is no classical photography to be seen; instead, the wall objects and animations seem to be related to painting.

The source material of his works, anchored in the autobiographical – mostly bound photographs from the artist’s childhood and youth constitute the foundation of a inverted pictorial genesis. In this manner Simon Lehner forges a working process that arises out of the dialog between memories and consciousness.

From the transformation of personal photo archives into newly interpreted digital spaces, he generates singular leitmotifs that manifest themselves as alter ego, petrol station, cave, table or television. These constellations of images, always somewhat varying and mined from the archive, coalesce in diverse combinations into two- or three-dimensional surfaces, ultimately to be painted by a robot.

At every stage of the production process, small lacunae emerge. On the one hand, these convey to the works a quality that is very close to a painterly style. On the other hand algorithmic processes function as prostheses of the artist’s way of thinking; one can even ascribe to them a strong similarity to human mechanisms of remembering. Here arises that which the eponymous lying suggests: the act of painting, that is no ‘genuine’ painting, is juxtaposed with the software as a neurological pendant of remembering.

Simon Lehner, Retina Riders, 2022, acrylic on unique foam plate, lens-based CNC Painting, ​​​​​​​200 x 170 x 11 cm
Simon Lehner, Retina Riders, 2022, acrylic on unique foam plate, lens-based CNC Painting, ​​​​​​​200 x 170 x 11 cm
Simon Lehner, Retina Riders, 2022, acrylic on unique foam plate, lens-based CNC Painting, ​​​​​​​200 x 170 x 11 cm
Simon Lehner, Retina Riders, 2022, acrylic on unique foam plate, lens-based CNC Painting, ​​​​​​​200 x 170 x 11 cm

acrylic on unique foam plate, lens-based CNC Painting
200 x 170 x 11 cm

Simon Lehner, Demon Dayz & Feel good inc., 2005-2021, acrylic on unique foam plate - lens-based CNC Painting, 200 x 170 x 10cm
Simon Lehner, Demon Dayz & Feel good inc., 2005-2021, acrylic on unique foam plate - lens-based CNC Painting, 200 x 170 x 10cm, detail
Simon Lehner, Demon Dayz & Feel good inc., 2005-2021, acrylic on unique foam plate - lens-based CNC Painting, 200 x 170 x 10cm, detail
Simon Lehner, Demon Dayz & Feel good inc., 2005-2021, acrylic on unique foam plate - lens-based CNC Painting, 200 x 170 x 10cm, detail

acrylic on unique foam plate, lens-based CNC Painting
200 x 170 x 10cm

Simon Lehner, Measuring of thoughts v.39 / Blue script, 2008–2022, acrylic on unique foam plate - lens-based CNC Painting, 150 x 150 x 10 cm
Simon Lehner, Measuring of thoughts v.39 / Blue script, 2008–2022, acrylic on unique foam plate - lens-based CNC Painting, 150 x 150 x 10 cm, detail
Simon Lehner, Measuring of thoughts v.39 / Blue script, 2008–20223, acrylic on unique foam plate - lens-based CNC Painting, 150 x 150 x 10 cm, detail

acrylic on unique foam plate, lens-based CNC Painting
150 x 150 x 10 cm

Simon Lehner, Sons & Critics, 2005-2021, acrylic on unique foam plate - lens-based CNC Painting, 200 x 240 x 10 cm
Simon Lehner, Sons & Critics, 2005-2021, acrylic on unique foam plate - lens-based CNC Painting, 200 x 240 x 10 cm, detail
Simon Lehner, Sons & Critics, 2005-2021, acrylic on unique foam plate - lens-based CNC Painting, 200 x 240 x 10 cm, detail

acrylic on unique foam plate, lens-based CNC Painting
200 x 240 x 10 cm

Simon Lehner, Remnant II, 2005 - 2021, lens-based generated plaster cast, 35 x 35 x 30 cm
Simon Lehner, Remnant II, 2005 - 2021, lens-based generated plaster cast, 35 x 35 x 30 cm
Simon Lehner, Remnant II, 2005 - 2021, lens-based generated plaster cast, 35 x 35 x 30 cm

lens-based generated plaster cast
35 x 35 x 30 cm

Simon Lehner, Zeitnarbe 2005-2022, acrylic on unique foam plate, lens-based CNC Painting
Simon Lehner, Zeitnarbe 2005-2022, acrylic on unique foam plate, lens-based CNC Painting, detail
Simon Lehner, Zeitnarbe 2005-2022, acrylic on unique foam plate, lens-based CNC Painting
Simon Lehner, Zeitnarbe 2005-2022, acrylic on unique foam plate, lens-based CNC Painting

acrylic on unique foam plate, lens-based CNC Painting
200 x 240 x 10 cm

Simon Lehner, Untitled, 2022, Unique lens-based CNC cut wood plate, ​​​​​​​200 x 170 cm x 30 cm
Simon Lehner,Untitled, 2022, Unique lens-based CNC cut wood plate, ​​​​​​​200 x 170 cm x 30 cm, detail

Unique lens-based CNC cut wood plate
200 x 170 cm x 30 cm

Simon Lehner, Untitled, 2022, acrylic on unique foam plate, lens-based CNC Painting, ​​​​​​​100 x 100 x 10 cm

acrylic on unique foam plate, lens-based CNC Painting
100 x 100 x 10 cm

Simon Lehner, Untitled, 2022, acrylic on unique foam plate, lens-based CNC Painting, ​​​​​​​230 x 230 x 10 cm
Simon Lehner, Untitled, 2022, acrylic on unique foam plate, lens-based CNC Painting, ​​​​​​​230 x 230 x 10 cm

acrylic on unique foam plate, lens-based CNC Painting
230 x 230 x 10 cm

Simon Lehner, Untitled, 2022–23 (in development), Lens-based Motion capture live Performance, 4 wall LED Screen Cube, Live Motion capture performance
Simon Lehner, Untitled, 2022–23 (in development), Lens-based Motion capture live Performance, 4 wall LED Screen Cube, Live Motion capture performance
Simon Lehner, Untitled, 2022–23 (in development), Lens-based Motion capture live Performance, 4 wall LED Screen Cube, Live Motion capture performance
Simon Lehner, Untitled, 2022–23 (in development), Lens-based Motion capture live Performance, 4 wall LED Screen Cube, Live Motion capture performance
Simon Lehner, Untitled, 2022–23 (in development), Lens-based Motion capture live Performance, 4 wall LED Screen Cube, Live Motion capture performance

Lens-based Motion capture live Performance, 4 wall LED Screen Cube, Live Motion capture performance

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Simon Lehner

Simon Lehner's still young work - the Vienna-based artist was born in 1996 - is characterized by a recurring traumatic structure. A structure in which human emotions and memories converge with processes of artificial intelligence that reconstruct the past, the buried or the repressed, but also deform it and remove it from human control. In this way, works are created that draw on private and public image archives and work on a contemporary iconography of the psychic state of emergency. A state that not least shakes male self-images, which are in any case and rightly in question, but which Lehner also problematizes as a highly ambivalent question of identity and toxic masculinity. Lehner moves pictorially between classical photography, digital forms of production, and painting.



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