Jan Pleitner

Jan Pleitner
Untitled 2019
oil on canvas
200 x 300 cm / 78.7 x 118.1 in  

Jan Pleitner, Untitled, 2021, oil on canvas, 91.5 x 71.5 cm / 36 x 28.1 in framed

Jan Pleitner, Untitled, 2021, oil on canvas, 63.2 x 39.1 cm / 24.9 x 15.4 in framed

Jan Pleitner, Untitled, 2021, oil on canvas, 91.5 x 71.5 cm / 36 x 28.1 in framed

Jan Pleitner 
Dreams of Ganymed 2019
oil on canvas
180 x 130 cm / 70.9 x 51.2 in   

Jan Pleitner, field theory, 2019, oil on canvas, 200 x 300 cm, 78.7 x 118.1 in  

Jan Pleitner, Untitled 2019, oil on canvas 170 x 120 cm / 66.9 x 47.2 in

Jan Pleitner, Helios, Kerlin Gallery, 20 March – 28 April 2018

Jan Pleitner, Helios, Kerlin Gallery, 20 March – 28 April 2018

Jan Pleitner, Untitled, 2018, oil on canvas, 170 x 250 cm / 66.9 x 98.4 in

Jan Pleitner, Entering the morphogenetic field, 2016, oil on canvas, 253 x 497 cm / 99.6 x 195.7 in

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Jan Pleitner, Water for the Tribe, Kerlin Gallery, 22nd January - 12th March 2016

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Dark Matter Matters
Nanzuka, Tokyo
Apr 28 - May 23, 2015

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b. 1984, Oldenburg, Germany
Jan Pleitner creates striking and expressive abstract painting driven by subconscious thought. Often painted in short bursts of time, or even marathon single sittings, the works are full of movement and energy, with jolting lines pulling the eye up and down the canvas. Pleitner’s highly physical approach to painting sees him scrape through layers of paint as readily as he builds them up, resulting in a highly tactile canvas. His deep colour palette is lively and mercurial, with elemental patches, streaks and lines bleeding into one another and jostling for space aggressively, but not inharmoniously. Imbued with symbolic properties, they point towards a synesthesiac sensibility.Born in Oldenburg, Pleitner is currently based in Düsseldorf, having graduated with an MA from the Kunstakademie Düsseldorf in 2010.
Recent solo exhibitions include: Helios, Kerlin Gallery, Dublin, (2018); Träum Weiter, Kunstverein Heppenheim, Germany, (2017); Water for the Tribe, Kerlin Gallery, Dublin (2016); [kaj`f], Kunstfoyer am Langenweg, Germany, (2014) and Ein weiterer Stein aus der Wand, Stadtmuseum Oldenburg, Germany, (2013). Recent group exhibitions include: Emotional Rescue, Elephant Kunsthall, Lillehammer, Norway, (2018); Deep One Perfect Morning, Kerlin Gallery, Dublin, (2014); Die Stummen Schreie Deiner Socken, Plattenpalast, Berlin, Germany, (2012); show of the week, Freies Museum Berlin, Berlin, Germany, (2012); Von Affen und Pferden, Museum Ludwig, Koblenz, Germany, (2007); Paintings & Wallpapers, Kunstakademie Düsseldorf, Germany, (2007) and I Like To Move It, Infernoesque, Berlin, Germany, (2007).
Pleitner was awarded a grant by the Kulturstiftung der Öffentlichen Versicherungen Oldenburg.


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Jan Pleitner, Träum Weiter!

Kunstverein Heppenheim

17 February – 10 March 2017

Solo exhibition. Opeing reception Friday 17 February, 6pm.

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The Irish Times

Visual art round-up: Vivid displays of painterly power

16 February 2016

Jan Pleitner does not shy away from jarring colour clashes. Acid-tinged hues – especially blues, greens and reds – are dragged in intersecting swathes across the surfaces of his canvases. They meet, skirmish, collide and retreat. He piles pigment on and scrapes it away. It never accumulates to any degree. The surface remains tenuous, slippery, uneasy.

He is deeply influenced by science fiction, and takes his show’s title from Frank Herbert’s novel Dune, although not necessarily David Lynch’s film adaptation of it. Unlike the film, there is a jittery, nervous energy to Pleitner’s canvases. They set our eyes going and never let them rest. Pleitner has in mind our souped-up world of instantaneous communications. Moving beyond the technology of the web and its various platforms, he tries to envisage the way our brains process information, and information’s speed-of-light negotiation of the spaces between people and their devices.

He comes close to Gerhard Richter when he argues that he is not making abstractions as such, but coaxing out implicit, unseen aspects of our familiar world. Rather than being “anti-image” he is trying to unearth unknown or hidden images.

Although at first glance his paintings seem to bristle optically and almost deter vision, give them time and their sizzling energies settle down. Give them time, and perhaps a little space. Certainly, they define and enhance the Kerlin’s main gallery.—Aidan Dunne

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The Dublin Inquirer

Jan Pleitner: Water for the Tribe

20 January 2016

Jan Pleitner’s paintings are vibrant, full of movement and saturated colour that alternately bleeds or is layered thickly, with zigzags that scratch or form deeper cuts. The gaze is not so much drawn in as it is thrust towards different paths that fight for attention. Referencing, in its title, Frank Herbert’s Dune, the intensity of Pleitner’s collection reflects, on one hand the dizzying pace of the physical world as well as his durational approach to painting. His palette, meanwhile, is otherworldly.—Zoê Jellicoe

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The Guardian

Jan Pleitner, Dublin

16 January 2016

The title of Jan Pleitner's exhibition, Water For The Tribe, is a reference to Frank Herbert's Dune ("A man's flesh is his own; the water belongs to the tribe"). Indeed, Pleitner's abstract paintings have something of the unashamed flash of best-selling sci-fi. Pleitner's heavily saturated colours are punctuated by sparks of white light, so his sharp-edged compositions constantly give you the eye. The paint is smeared, clawed at, squeegeed and shoved around so the paintings look thoroughly lived in, while at their more defined, they have something of the uplifing thrust of gothic stained glass.—Robert Clark


Jan Pleitner

January 2016

This may not be the first time that you've seen German artist Jan Pleitner's work in Dublin – he showed in the Kerlin Gallery's group show, Deep One Perfect Morning, over a year ago. That show also displayed such art-world luminaries as Sam Keogh, Isabel Nolan and Mark Francis in an eccentric, punky exhibition, making it the perfect introduction to Pleitner's work which is returning to the Kerlin Gallery in this solo exhibition.

Pleitner's work is loud. It's bright and brash, and despite being oil painted on canvas it somehow resembles ceramics in its textures. The pieces conjure up abstract scenes unique to the viewer. Flowers, wizards, the natural and the unnatural, Pleitner's work is a conundrum only you can solve.