Olaf Breuning's mest berømte maleri er Bully (2015) i THAT'S CONTEMPORARY, Milano. Sammen med Napoleon (2018) og One Second, Whose Legs? (2018) udgør de de tre værker, som alle kender. Vores katalog indeholder 10 værker af Olaf Breuning; de 10 nedenfor er dem, som verden ser mest på, hver med årstal, det museum der opbevarer det, og hvorfor det er betydningsfuldt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026.
We are looking at Happy Painters, a work by the Swiss artist Olaf Breuning. This piece was produced about 2018 and exists as a C-Print. It carries a physical presence that is quite substantial, measuring 122 x 155 cm (48 x 61 in.).
In this 2018 work, we find ourselves looking at a group of nine individuals gathered on the back of a red boat. The scene is captured in black and white, a choice that strips away the distractions of color to focus on the raw presence of the figures. Some of these people are dressed in ties, suggesting a formal or perhaps even professional context, while others appear more casual. A…
There is a quiet irony in the way the figures occupy the space. They are individuals wearing the faces of others, creating a layer of social distance. The trucks and the outdoor setting suggest a temporary gathering, a fleeting moment of play that has turned into something more permanent and strange. The image asks nothing of the viewer but to witness the oddity of the pose. It is a fragment…
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Olaf Breuning | Malerier fra denne liste |
|---|---|---|---|
 THAT'S CONTEMPORARY |
Milano | 10 | Bully, Napoleon, One Second, Whose Legs? |
Olaf Breuning arbejdede kun i 4 år, fra 2015 til 2018. Her er det korte karriereforløb år for år, gennem de mest berømte malerier.
We are looking at Happy Painters, a work by the Swiss artist Olaf Breuning. This piece was produced about 2018 and exists as a C-Print. It carries a…
In this 2018 work, we find ourselves looking at a group of nine individuals gathered on the back of a red boat. The scene is captured in black…
There is a quiet irony in the way the figures occupy the space. They are individuals wearing the faces of others, creating a layer of social distance. The…
Bully (2015), THAT'S CONTEMPORARY, Milano. Derefter følger Napoleon (2018) og One Second, Whose Legs? (2018).
45 år gammel: Bully er fra 2015, og Olaf Breuning blev født i 1970.
Bully, Napoleon, One Second, Whose Legs?, This Time It Will Work, Traffic in the Sea, Happy Painters, We Are All In the Same Boat, You Can, Heart og Don’t Worry. Ranglisten ovenfor angiver årstallet og museet for hver af dem.
Vores katalog indeholder 10 værker af Olaf Breuning, dateret fra 2015 til 2018.
De fleste af dem findes i THAT'S CONTEMPORARY (Milano). Tabellen ovenfor lister museerne enkeltvis.
I 2018: 7 af de 10 værker på denne side stammer fra denne periode, herunder Napoleon.
Det tidligste på denne side er Bully (2015), det seneste Napoleon (2018).
Black and White Photography: 2 ud af de 10 værker på denne side.
Bully, Napoleon og One Second, Whose Legs? er blandt de 10 værker på denne side, som er i THAT'S CONTEMPORARY, Milano's samling.
Born in the quiet Swiss town of Schaffhausen in 1970, Olaf Breuning has emerged as a captivating enfant terrible within the contemporary art landscape. His artistic journey is defined by a profound, often disillusioned, gaze upon the world—a perspective that does not merely observe but actively deconstructs the absurdities of modern existence. Now residing in Upstate New York, Breuning carries with him a distinctly Swiss sensibility: a meticulous, thoughtful approach to observation paired with an irrepressible urge for experimental play. His work serves as a personal diary, fueled by the rhythms of everyday life and rendered through a lens of biting satire and deceptive simplicity.
Breuning’s practice is remarkably multifaceted, refusing to be tethered to a single medium. He moves fluidly between photography, film, ceramics, engraving, and drawing, creating a body of work that feels both direct and deliberately regressive. In recent years, he has expanded his repertoire to include painting, utilizing naïve, almost childlike forms and colors applied via woodcut stamps made from solid wooden blocks. This tactile, rhythmic method of creation adds a layer of raw, physical presence to his explorations of contemporary reality. Whether through the stillness of a photograph or the three-dimensionality of a sculpture, Breunding’s art seeks to undermine simple readings of our surroundings, forcing the viewer to confront the complexities hidden beneath the surface of the mundane.
The intellectual architecture of Breuning’s work is deeply rooted in the traditions of conceptualism. Drawing inspiration from pioneers such as Marcel Duchamp and Joseph Kosuth, he operates within a lineage that prioritizes the potency of the idea over traditional aesthetic perfection. This influence is evident in his use of found objects and unconventional materials to create pieces that are as conceptually dense as they are visually arresting. By juxtaposing disparate elements, Breuning mirrors the fragmented and often contradictory nature of navigating modern life, using irony and humor to interrogate societal norms rather than simply depicting them.
As his career has progressed, a recurring concern for the relationship between humanity and the natural world has become increasingly prominent. His recent series of paintings, for instance, playfully yet poignantly address pressing global issues such as climate change. This evolution demonstrates an artist who is not content to remain static; instead, he adapts his techniques—from the satirical caricatures of his early years to more profound environmental commentaries—to reflect the shifting anxieties of the global community. His work remains a constant dialogue between the whimsical and the weighty, using wit to navigate the heavy themes of identity, vulnerability, and ecological impact.
Breuning’s ascent within the international art scene has been marked by prestigious solo exhibitions and participation in some of the world's most significant contemporary art forums. His work has been showcased in renowned institutions such as:
Through these milestones, Breuning has secured a position as a vital voice in postmodern art. His ability to blend high-concept intellectualism with a sense of play and accessibility ensures that his work resonates far beyond the gallery walls. By utilizing humor as a tool for critique, he invites the audience into a shared space of reflection, making the profound accessible through the absurd. His ongoing commitment to creation—a manifesto to continue until his final breath—promises a legacy of art that will continue to challenge, provoke, and delight for generations to come.