Max Brück

Spolie Manheim-alt 2022 object. together w/ @mathiasweinfurter wood, steel, street lamp from Manheim NRW 200 x 50 x 50cm Based on the exhibition "Offenbach-neu" together with @mathiasweinfurter in the Kressmannhalle of @yrd.works in Offenbach in 2021, we developed a series of four independent sculptures. The work "Spolie Manheim-alt“ consists of found objects from the village of Manheim in NRW that has recently fallen victim to the coal mining. In the base of the lamp post is a concrete piece of an original street lamp of the village. These were the last things left of the civilization before the area sank into the open pit crater. the work poses questions about collective memory and its relocation. The project was curatorially supported by @elenafrck #contemporarysculpture #maxbrueck #mathiasweinfurter #collectivememory #elenafrickmann #kressmannhalle

'Bauboom' - Installation in Action; burning the woodboards from the concretemold 🔄 heating up 🔝 . . . 📸 @kattungelm #bauboom #urbanism #concreteart #stiftungkunstfonds #artseries #artinpiblicplaces #bonfire #ofenmeister #oscartuazon #betonarchitektoniczny #schalungsbau #fertigbau #beton #minimalart #artandarchitecture #kunstambau #galeriekunst #berlinkunst #offenbach #giessencity #concretefurnituredesign #frankfurterkünstlerhilfe #installationart #woodworking #maxbrueck #postvandalism #contemporarysculpture #conceptualart #artcollector #artberlin @residency.wachturm @opelvillen

A new era begins! I’m excited about the upcoming collaboration with @galerieb2_ in Leipzig on the Spinnerei site (@spinnereigalleries ). I’m also happy about the joint start with the new gallery director #monabarmeier . Here’s to an intensive collaboration! Solo exhibition coming soon. (more info see link in bio) »STAUB« (View from the group exhibition @galerieb2_ ) 2024 Object Museum displays, ventilation system, dust from art and culture institutions from Frankfurt(Main) Size variable Group exhibition together with @utakoslik @flomerdes #gallerieb2 #leipzig #spinnerei #maxbrueck #monabarmeier 📷©️Georg Brückmann [english version below] Der immer gleiche Staub wird dröhnend durch ein hermetisches System geblasen. Am Boden und in den Ecken der ausrangierten Museumsvitrinen, wird er als Kneul sichtbar, verfängt sich, reist sich wieder los und wird eingesaugt. In der Arbeit »Staub« gibt es genau das zu sehen, was der Titel verspricht: Staub in hoher Konzentration. Gesammelt wurde der Staub in Frankfurter Museen und über Monate hinweg entstand ein umfangreiches Staubarchiv. Unsere großen Institutionen sehen sich konfrontiert, denn der Staub der Depots und Archive muss in Bewegung kommen, stetige Macht-Kreisläufe gebrochen werden. Die leeren Vitrinen stellen Fragen nach dem Abwesenden, nach der Herkunft der Exponate und einer Stellungnahme zu Kolonialer Vergangenheit. [ENG] The same dust is always blown through a hermetic system. On the floor and in the corners of the discarded museum display cases, it becomes visible as a lump, gets caught, travels away again and is sucked in. The work „Dust“ shows exactly what the title promises: dust in high concentration. The dust was collected in Frankfurt museums and an extensive dust archive was created over a period of months. Our large institutions are confronted with the fact that the dust in the depots and archives has to be set in motion, constant cycles of power have to be broken. The empty display cases pose questions about what is absent, the origin of the exhibits and a statement on the colonial past.

Ein Stück Wohlfühlleben trotz Krisenzeiten. Unser Förderkünstler Max Brück hat mit seiner Skulptur “Stand by me, 2026” einen Beitrag für die diesjährige Skulpturen-Triennale Bingen geschaffen, die genau diesen Widerspruch verhandelt 🎥 🎞️👏 @maxbrueck @sakrbe @new_on_the_table #skulpturentriennale #kulturufer #bingenamrhein #bingerkulturufer #kunstimmittelrheintal

(2/2) PRÄGUNG What a project! It’s been a year since the exhibition „PRÄGUNG“ opened @galerieb2_ . The conversations and impressions have stayed with me for a long time. Currently, you can visit our group exhibition „Collezione Grande“ there! Prägung Max Brück 2025 Installation Shredded old clothes, blower, hydraulic press, various materials Size variable View @galeireb2 @spinnereigalerien

(1/2) PRÄGUNG What a project! It’s been a year since the exhibition „PRÄGUNG“ opened @galerieb2_ . The conversations and impressions have stayed with me for a long time. Currently, you can visit our group exhibition „Collezione Grande“ there! Prägung Max Brück 2025 Installation Shredded old clothes, blower, hydraulic press, various materials Size variable View @galeireb2 @spinnereigalerien

Some impressions from my teaching project @hfgoffenbach »NIEMANDSLAND« in 2025 ❤️❤️ At Offenbach’s Bieberer Berg, directly behind the Kickers stadium, lies a section of a four-lane federal highway built in 1975 and still unused today, with access roads and a bridge. Nature has reclaimed the area, and people use the unregulated space as a gray area for various activities. The multidisciplinary project group Niemandsland (No Man’s Land) has developed an open-air exhibition and invites all interested parties to explore Niemandsland together. @antonandrienko_ @fynngoelitz @lebenslangegarantie @felicithas_arndt @isabellratzinger @ivan_zubarev___ @joelle.pidoux @_pasarah @len.osw @le_engl @marco_marker_ @mmikeschaefer @minaschnitzel1 @ni_ne_no @kluge_phillip @pierreverago @rahelpabst @romanvoigt @sonja_drolma_herrmann @stln_u Project in best cooperation with/ @heinerblum @diamant.offenbach

🍴🍴🍴 ALEKTO 2025 Aluminum 50 × 40 cm The aluminum cutlery of ALEKTO was once an inseparable part of East German everyday life — found in summer camps, motorway diners, and night train bistros. The laser-cut 4 mm aluminum plate reproduces a famous fork, based on an original unearthed from the rubble of a demolished canteen of a former state-owned enterprise near Erfurt. Eighteen forks appear in the edition, each representing one of the 18 members of @galerieb2_ The edition is still available via @galerieb2_ - come by during the regular opening times. #artedition #galerieb2 #leipzig #alekto 📸 @florianmerdes @georg_brueckmann @galerieb2_

Abriss, Schotter, Papierschnipsel oder eben Erinnerungsfunde – Max Brück geht stets auf die Suche nach der Geschichte, die auf dem Material liegt. Unser Förderkünstler lässt für die kommende Triennale etwas entstehen, das uns aus der Kindheit bekannt vorkommen könnte... 🎥 🎞️ @maxbrueck @sakrbe @new_on_the_table #skulpturentriennale #kulturufer #bingenamrhein #bingerkulturufer #kunstimmittelrheintal

MAX BRÜCK / Part of the b2_ EDITION 2025 ALEKTO 2025 Aluminium, laser-cut, 50 × 40 cm Edition: 25 + 2 AP The aluminum cutlery of ALEKTO was once an inseparable part of East German everyday life — found in summer camps, motorway diners, and night train bistros. The laser-cut 4 mm aluminum plate reproduces a famous fork, based on an original unearthed from the rubble of a demolished canteen of a former state-owned enterprise near Erfurt. Eighteen forks appear in the edition, each representing one of the 18 members of Galerie b2. Das Aluminiumbesteck von ALEKTO war einst aus keinem Ferienlager, keiner Raststätte und keinem Nachtzugbistro der DDR wegzudenken. Die gelaserte, 4 mm starke Aluminiumplatte zeigt die Reproduktion einer berühmten Gabel – basierend auf einem Fundstück aus dem Schutt einer abgerissenen Mensa eines ehemaligen VEB bei Erfurt. In der Edition werden 18 dieser Gabeln dargestellt, stellvertretend für die 18 Mitglieder der Galerie b2. 📍Numbered and limited! 📍Please don’t hesitate to contact us! 🔗 Link in Bio. @galerieb2_ / Max Brück 📷 Portrait @nevenallgeier #b2_edition2025 @maxbrueck #edition #galerieb2 @spinnereigalleries @spinnereileipzig

[PART 2] Shreddered Textiles ➡️ Medals Thanks @galerieb2_ for having me! Prägung Max Brück 2025 Installation Shredded old clothes, blower, hydraulic press, various materials Size variable “Sometimes it’s stones, corks, fabric scraps or buttons that we unconsciously accumulate in jars— without reason, without purpose. The installation Imprint by Max Brück(@maxbrueck ) explores this innate human impulse to collect: the drive to keep, to hoard, to secure things for later. It traces the societal expressions of this impulse through different systems, right up to the present day. On site, shredded textile waste is transformed into medals that recall historical recycling practices while questioning contemporary patterns of consumption. The exhibition site—the former cotton spinning mill in Leipzig—was once a key industrial hub of textile production in the GDR, shaped by political and economic pressure to innovate in the reuse of materials. This historical layer intersects in Imprint with current challenges in the textile industry: the materials used originate from clothing collection centers in Germany and were shredded in the artist’s studio—a stream of material driven by the good conscience of consumers. The belief that discarded clothing will be put to meaningful reuse is deeply rooted in society—but the actual routes and processes of reuse often remain opaque. A significant portion is incinerated or exported to countries in the Global South, where it distorts local markets and places pressure on ecosystems. The medals produced in Imprint honor the principle of collecting—while simultaneously calling it into question by highlighting the material’s origins. The once life-preserving urge to stockpile resources has become a driving force of excessive consumption. Imprint invites us to rethink the entanglements between need, resource, and system.” @maxbrueck @galerieb2_ @spinnereigalleries With kind support: Liebelt Stiftung Hamburg Crespo Fundation Frankfurt ITA Augsburg