Max Weinberg can definitely be considered a very professional and original artist.

He received an award for his artistic achievements from the recently deceased former German president Johannes Rau.

On the one hand Weinberg’s art reflects his experiences of violence in an effort to prevent a “collective return to barbarism”.

“I paint objects that other people suppress”, is Weinberg’s comment on his oversized paintings called “Aesthetics and Violence”. They show extreme collisions, the direct impact between the delinquents, brutal violence and victims and induces an aesthetic need to give up brutality!

His paintings, oil and mixed technique on canvas or paper, usually with extreme black and white contrasts, covered with intense, complex symbols, provoke and move the viewer.

On the other hand the exhibition MEGAFAT showed another side of Max Weinberg - a joyous homo ludens with a playful character, who is strongly attracted to the ‘Eternal Human’ and the ‘Eternal Feminine’.

Weinberg would be interested in exhibiting this cosmic erotic oeuvre – aesthetic free, large paintings on canvas and paper, colour lithographies, drawings and sculptures.

Weinberg enjoys experimenting shapes and is youthful in spirit. As a painter, he has an impulsive artistic temperament with “evidently great inventive impartiality”. His playful creativeness provokes new perceptions. Throughout the years little scenes have extracted themselves out of his paintings, become independent and turned into monumental formats.

Weinberg works with ironic exaggeration and refraction but also with self-irony: from art models to fashion models – he plays sensually with the reigning beauties of the media, with ironically grotesque broken authorities and the VIP’s of the omnipresent media. From the artist and his art model, the female three-legged and multi-eyed Cyclopes and centaur females to fashion models, No-Angels, Verona Pooth, managers, politicians, professors and moderators.

Omnipotence and omnipresence become an obsession and yet they don’t have anything diabolic or demonic, they are and stay simply heavenly, divine.

To Max Weinberg as a painter the paint – often enhanced with other materials – stays shaped material. He uses a palette knife to spread joint-sealing silicon on the canvas until it looks as if it’s growing rampantly across the picture below the oil paint. The colour pink comes out of a spray can, but doesn’t resemble graffiti at all; it is more than just a colour, it symbolizes a powerful state of mind. Black stripes and contours sweep parts of the composition together to the typical Weinberg elements and still avoid confusing the viewer with formal chaos.

Weinberg uses paints as pictorial. While he works, his art often increases in size and develops huge formats.

Weinberg continuously extends his great motorial drawing talent. He’s a master at producing stupefaction with self-irony and dissonances. Even his small, lapidary portraits provoke the viewer.

He layers paint coats and uses the frottage technique on paper. Sometimes he dynamically enlarges the portraits to a '‘worldly size”. His miniatures sized A4 and A3 are mostly mixed technique – oil, wax and pencil or collage.

So he has developed an ironic wise broken, narrative kaleidoscope of mundane instincts.

In 1997 Weinberg created his first huge vital sculpture: a wonderful 19.03 feet toll “Celestial woman”

who was exhibit at the “Expo 2000” in Hannover and in 2004 in the “Luxemburger Artisten Centrum”.

Despite his age, experts consider his art youthful, vital and ingeniously unusual.

Success is therefore not a question of age. Live and vitality have triumphed over his memories

                                                                                                                        Brigitta Amalia Gonser