About Albert

Albert Janzen was born in 1989 in Siberia and grew up in Germany. After 13 years at the School of Music and Art he decided to follow his artistic path autonomously alongside studying Philosophy and Mathematics in Berlin. It was during this time that he discovered his love for the line. He went to London to study Logic and became acquainted with the contemporary art scene. There he became inspired by the autonomous work of Cy Twombly, Gerhard Richter and Zao Wou-Ki. In 2015 Albert won the first Luxembourg Art Prize whilst finishing his Masters in Logic at the University of Amsterdam.


  • 2017 Luxembourg Art Week 2017Galerie Hervé Lancelin, City of Luxembourg, Luxembourg
  • 2017 Der Weg zur Linie, Sennestadthaus, Bielefeld, Germany
  • 2017 VISIONS, Palazzo Ca’ Zanardi, Venice, Italy
  • 2017 Art2Cure, BIL, City of Luxembourg, Luxembourg
  • 2016 Luxembourg Art Week 2016Galerie Hervé Lancelin, City of Luxembourg, Luxembourg
  • 2016 Solo Exhibition as the laureate of the Luxembourg Art Prize 2015
    Galerie Hervé Lancelin, City of Luxembourg, Luxembourg
  • 2015 Group Exhibition of the Nominees of the Luxembourg Art Prize 2015
    Galerie Hervé Lancelin, City of Luxembourg, Luxembourg
  • 2011 I Hate colours, Atelier Anny Borowy, Berlin



You can contact me at info@albertjanzen.com.

Code and design by Bas Cornelissen

On lines

I examine fundamental aspects of images, the line. Lines are among the most intuitive means to perceive and understand our environment. Every recognition of visual structures depends on a recognition of lines.

This dependence is due to the absolute simplicity of lines. They are so basic that there is nothing we can conceive beyond them. Anything can be constructed with lines but nothing constructs lines. The only candidate for an underlying structure of the line is the dot. However, as the dot is part of my drawings I take them to be equally fundamental. The ultimate simplicity of the line provides its independent aesthetics. It does not represent an idea as it is not constructed by anything else than itself. To reveal this aesthetic power the line has to be self-referential.

I draw lines not to construct something, but to draw lines. The shapes and patterns occurring in my drawings have no other purpose than to reveal the movements of lines. The observer of my lines is confronted with an independent entity.