FABIAN TREIBER EXHIBITION CATALOGUE WORKS ON PAPER DREAM HOME HEARTACHE
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_____________________ galleri KANT STORE KONGENSGADE 3 1264 COPENHAGEN K INFO@GALLERIKANT.DK WWW.GALLERIKANT.DK +0045 29 46 63 31 FABIAN TREIBER EXHIBITION CATALOGUE WORKS ON PAPER DREAM HOME HEARTACHE
Common Things. Things in Common. (an excerpt) Dr. Invar-Torre Hollaus, Basel (CH) Despite all the familiarity and objectivity suggested by some of the representational, recognisable motifs and objects, at least at a fleeting glance the viewer finds himself face- to-face with irritating pictorial worlds, in which nothing seems to fit but ultimately everything is consistent. Making an intense study of these images, the viewer finds himself – to adopt sporting jargon (forgive the metaphorically rather casual comparison!) – in a boxing ring, where he is positively assaulted visually, intellectually and emotionally by the images. Fabian Treiber’s painting challenges the viewer. He never provides visual fields of well-being, which are merely aesthetically attractive and suitably arranged. In terms of motif and painting method, the images remain in a floating state, for the apparently figurative and the abstract, the descriptive and the contingent, the complete and the incomplete seem to be held in a permanent fragile balance. Fabian Treiber does not play off the concepts of abstraction and figuration against each other here. Instead, in debate with his painting, the inadequacy of such concepts is revealed, as well as whatever is seen as “real” or “normal” in accordance with conventional perceptions. Fabian Treiber is always concerned, therefore, with a painterly questioning of the two poles that shape our perceptions of the world, figuration/representation and abstraction/ the non- representational, which inevitably arise from the uncertainty – and thus the abstraction – of the visual data that we are constantly called upon to process. Do we see what we see, or do we see what we know? There are different ways of seeing the world: there is the humane standpoint – characterised by the rational-intellectual and the sensory- empathic –, and in contrast a perhaps irrational but concrete nature, as well as a media-based, abstract-reduced perception. Reality, or rather a better understanding of the contexts of our world, is probably only conceivable and comprehensible when we are aware of all these levels. Fabian Treiber’s images combine all these types of perception. In this case, art – insofar as it refers critically and with differentiation to its environment and also originates in this same world, not simply aiming to promote an aesthetic sense of well-being – provides an elementary aid for the individual wishing to establish his own position.
FT_P2005/18.8 DREAM HOMES No.5 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2011/18.8 DREAM HOMES No.11 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2012/18.8 DREAM HOMES No.12 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2015/18.8 DREAM HOMES No.15 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2017/18.8 DREAM HOMES No.17 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2018/18.8 DREAM HOMES No.18 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2018/19.8 DREAM HOMES No.19 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2024/19.8 DREAM HOMES No.24 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2006/19.8 DREAM HOMES No.6 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2016/19.8 DREAM HOMES No.16 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2022/19.8 DREAM HOMES No.22 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2030/19.8 DREAM HOMES No.30 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2031/19.8 DREAM HOMES No.31 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2033/19.8 DREAM HOMES No.33 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2034/19.8 DREAM HOMES No.34 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FT_P2029/19.8 DREAM HOMES No.29 2020 Oil pastels and ink on paper Image size: 33 x 24 cm. Frame size: 39 x 30 cm. 1 300 EUR. / 9 685 DKK.
FABIAN TREIBER IN DIALOGUE WITH FREDERIKE EBERT You experiment with very different formats—is there a correlation between motif and size? The variety of formats and their relation to human scale influence me a lot while painting and shape my decisions. I think that the size of a motif determines what it does to us. For example, a small portrait format has something very intimate about it—you have to take that into account if you want to reach the viewer. In fact, the size of the format is the first decision you make as a painter. Irrespective of the size of their representation, the objects in your pictures do not appear to be positioned in perspective, but rather stacked or layered—the situation is similar with the different color fields. How is this impression created and what effect is it supposed to achieve? This aspect is mainly due to my approach. Starting from the unprimed canvas, I slowly arrive at the forms—and eventually the objects—that “inhabit” my paintings, first by applying thinly glazed color fields, then overlapping lines. This takes place over countless thin layers, resulting in very thickly painted concretions. In addition, I always make decisions on a formal, not narrative, basis. This leads to this strange state where the images are somehow “wrong” but nevertheless accurate. The very welcome effect of this is that this particular “error” actually emancipates painting as an autonomous entity. In your works, the process and the imperfections of the techniques used clearly shine through. Are you interested in making the creative process visible to the viewer? The imperfect is something very beautiful and unique—it’s actually only imperfect if you compare it with the supposedly perfect. But perhaps for painting it is actually just right. In each painting, a framework emerges that develops its own regularities, which in turn only exist there. A crooked line drawn by hand, for example, can be so beautiful, so vibrant, and exactly right. Painting can also kill off perfection. Spray painting is precisely one such technique—I can use its fine mist of colour to render surfaces and materials more visible instead of wanting to use it to conceal them and consequently my inscriptions. You told me that your “compass for good paintings is actually always the strange”…Is this affinity for the strange also reflected in the way the works are arranged, for which you were also responsible? It is the attempt to verbalise something that is actually more of an interior orientation, a feeling. The image of a compass seemed quite apt to me. In principle, I make my decisions alone when it comes to painting, and there must be something that guides me. Of course, this is something very subjective, perhaps even irrational, but also beautiful, because this is what makes them “my” paintings. Especially as I also appreciate the strange in other artworks and I have always been of the opinion that this “incomprehensible,” perhaps even unmanageable, aspect can be a good indication that one is dealing with something independent, one’s own unique creation. In terms of hanging art, it’s a little different. It is the attempt to sharpen the images, the painted object or the painted spaces, and to make them “encroach” on our space—like small adjusting screws that could change the view of the painting and its relationship to us. I believe that this can trigger a constructive misunderstanding, a positive disruption. Thus, I’m not a doormat, I’m a painted doormat. A remembered doormat…
FABIAN TREIBER AUTOGRILL, Strzelski Galerie, Stuttgart
Born 1986 in Ludwigsburg - Germany
2017
2015—2016 BODY DOESN‘T KNOW, Galerie Mark Müller, Zürich (CH)
Meisterschüler im Weißenhof-Programm der Bildenden Kunst, Staatliche Akademie der Bildenden FRONT YARD, pop68, Ruttkowski68 Gallery, Köln
Künste Stuttgart SLEEPING IN AN UNMADE BED, Galerie Tristan Lorenz, Frankfurt a.M.
2007—2015 2016
Studium der Bildenden Kunst an der Staatlichen Akademie der Bildenden Künste Stuttgart bei Prof. THERE WAS ALWAYS SOMETHING DISTURBING., Strzelski Galerie, Stuttgart
Reto Boller, Discoteca Flaming Star (Prof. Christina Gomez Barrio und Prof. Wolfgang Mayer) und Prof.
Andreas Opiolka 2015
MOVE YOUR ASS AND YOUR MIND WILL FOLLOW (HOST KAIROS), Experimentierbühne
Lives and works in Stuttgart Heusteigtheater, Stuttgart
Member of the Artist Association Baden-Württemberg 2014
BLUE BEACH, PINK LOVE, PALE COBRA, Strzelski Galerie, Stuttgart
GRANTS & PRIZES 9 MINUTEN VOR VEGAS, Schloss Dagstuhl, Leibniz Gesellschaft, Saarbrücken/Wadern
2018 2013
Karl Schmidt-Rottluff Stipendium THE DRUM BEATS OUT OF TIME, Strzelski Galerie, Stuttgart
Marianne-Defet-Malerei-Stipendium
Publikationsförderung des Ministeriums für Wissenschaft, Forschung & Kunst Baden-Württemberg 2011
JAGDGESELLSCHAFT, Arbeitstitel, Stuttgart
2017
Silkscreen Grant, Lepsien Art Foundation, Luxemburg (LUX) SELECTED GROUP EXHIBITIONS
[ES]positivo 7B Art Residency, Madrid (ES)
2020
2016 Mixed Pickles 7, (The Ghost Edition) Ruttkowski;68 Cologne
Aterlierförderung der Stadt Stuttgart SIGN OF THE TIMES, König Gallery, Berlin (forthcoming)
2014 2019
Walter Stöhrer-Preis für Grafik (Anerkennung) Frau A.S. trifft Volker Böhringer, zu Gast Fabian Treiber, Villa Merkel Galerien der Stadt Esslingen a.N.
Karl Rottluff - Schmidt “The Exhibition”, Kunsthalle Dusseldorf
2013 Artifacts, Nevven Gallery, Göteborg (SE)
12. Kunstwettbewerb Klett-Kunstaktionen, Stuttgart SINGLE BUT HAPPY, Galerie Mark Müller, Zürich
A TAKE ON PAPER, KANT - Copenhagen
2011 MIXED PICKLES 4, Michael Horbach Stiftung, Köln
Herbstförderung der Karin Abt-Straubinger Stiftung, Stuttgart
2018
2008 OPEN HOUSE – OFFENE PRÄSENTATION DER ARBEITEN DER FINALISTiNNEN DES KARL
Akademiepreis der Staatlichen Akademie der Bildenden Künste Stuttgart SCHMIDT-ROTTLUFF STIPENDIUMS, Alte Münze, Berlin
RUE CHARLOT, Ruttkowski;68 Gallery, Paris (FR)
SELECTED SOLO EXHIBITIONS INTERIOUR MOTIVES, MPV Gallery, Den Bosch (NL)
ON THE HOME FRONT, Galleri KANT, Copenhagen (DK)
2020 THE ART OF LIVING, Arts Projects Australia, Melbourne (AUS)
DREAM HOME HEARTACHE - KANT - Copenhagen EMERGENCIAS DEL ACONTECIMIENTO, Espacio [Es]positivo, Madrid (ES)
FOR A WHILE LONGER - Philipp Haverkampf - Berlin RUDE ASSEMBLY, Campbell project space, Sydney (AUS)
Galerie Mark Müller - Zurich (Forthcoming) LICHTSTRASSE, Ruttkowski;68 Gallery, Köln
MOSTLY ABSTRACT, Galleri Benoni, Copenhagen (DK)
2019
Kunstverein Ludwigsburg - "Common Things" 2017
A Minibar in a large scale room, Kunsthalle Nürnberg GIFC – GOT IT FOR CHEAP, Soulland, Copenhagen (DK), Galleri Golsa, Oslo (NOR) und The Hole
MORE FEELING, Ruttkowski 68, Cologne NYC, New York (US)
WE ARE THE ONES, Carlsberg Byens Galleri & Kunsthal, Copenhagen (DK)
2018 MULHOUSE 017 BIENNIAL OF YOUNG CONTEMPORARY ART, Parc Expo, Mulhouse (FR)
CANDLE CANDLE, Galerieverein Sebastianskapelle Ulm e.V. TRUNK, Kunstverein Lüneburg e.V.2016 PUBLICATIONS & ARTICLES
PRACTICE PROCESS PROGRESS, Villa Merkel – Galerie der Stadt Esslingen a.N.
GRUPPE II, Galerie Tristan Lorenz, Frankfurt a.M. FABIAN TREIBER: PALAZZO – Karl Schmidt-Rottluff Stipendium – The Exhibition, Hrsg. Kunsthalle
CONTENT, Projektraum AKKU, Künstlerbund Baden-Württemberg, Stuttgart Düsseldorf & Studienstiftung des dt. Volkes, Düsseldorf/ Berlin 2019
2015 FABIAN TREIBER: LATE NIGHT ON THE SHOP FLOOR, WHAT LANGUAGE WAS I SPEAKING
ÜBERMORGENKÜNSTLER, Staatliche Kunsthalle Baden-Baden Hrsg. Kunsthalle Nürnberg & Institut für moderne Kunst, 2019
SMALL & MIGHTY, Galerie Filser & Gräf, München
ENGE GEBIERT …, Ostertagshof, Kunstverein Neuhausen FABIAN TREIBER: CANDLE, CANDLE, Katalog anlässlich der gleichnamigen Einzelausstellung, Hrsg.
MARIA, MARIA I LIKE IT LOUD!, Brenzkirche (Atelierkirche 2015), Stuttgart Fabian Treiber & Nicolas Zupfer, Verlag für moderne Kunst, Wien 2018
MONOCHROMOSOMEN, Domagk Ateliers, München
FABIAN TREIBER: SLEEPING IN AN UNMADE BED, Katalog, Hrsg. Galerie Tristan
2014 Lorenz, Eigenverlag, Frankfurt a.M. 2017
WALTER STÖHRER PREIS, Galerie Klaus Gerrit Friese, Stuttgart
BABY YOU CAN DRIVE MY CAR, Kunstverein Gästezimmer e.V., Möhringen FABIAN TREIBER: STARING INTO SPACE, ausgehängte Einzelheftedition aus Meisterschüler-Katalog,
STAND.JETZT, Fritz und Hildegard Ruoff-Stiftung, Nürtingen Hrsg. Staatliche Akademie der Bildenden Künste Stuttgart und Villa Merkel – Galerie der Stadt Esslingen
TO HEAVEN AND BACK, Kunstverein Neuhausen a.N., Eigenverlag, Stuttgart und Esslingen 2017
AUSSTELLUNG DER ARBEITEN DER FINALISTiNNEN DES EB-DIETZSCH
SHOW 3, Soglia Artspace, Leipzig FABIAN TREIBER, PRACTICE PROCESS PROGRESS, Katalog anlässlich der gleichnamigen
Gruppenausstellung der Meisterschüler im Weißenhof-Programm der Bildenden Kunst, Hrsg. Staatliche
WEDER BREIT NOCH TIEF VERLÄNGERT, Staatliche Akademie der Bildenden Künste Stuttgart
Akademie der Bildenden Künste Stuttgart & Villa Merkel – Galerie der Stadt Esslingen a.N., Eigenverlag,
Stuttgart und Esslingen 2017
2013
NO PLACE TO HIDE – ORT KONTROLLE PRODUKTION, Agentur für Arbeit, Stuttgart FABIAN TREIBER, EINIGE ARBEITEN 2014–15, Künstlerbuch, Hrsg. Strzelski Galerie, Eigenverlag,
NO PLACE TO HIDE – RETURN TO SENDER, KW Institute for Contemporary Art, Berlin Stuttgart 2015
GELB SPIELT KEINE ROLLE, Hochschule der Bildenden Künste Saar, Saarbrücken
KUNSTAKTIONEN KLETT-PASSAGE: „NEXT BIG GEM“, Arnulf-Klett-Platz, Stuttgart DECORATIVE MODERNISM, Künstlerbuch, Hrsg. Fabian Treiber und Nicolas Zupfer, Eigenverlag,
Stuttgart 2015
2012
VERGESSEN SIE NICHT DIE WUCHSKRAFT DER BAMBUSWURZELN – KLASSE RETO BOLLER, TO HEAVEN AND BACK & BABY YOU CAN DRIVE MY CAR, Katalog anlässlich der gleichnamigen
Villa Merkel – Galerie der Stadt Esslingen a.N. Gruppenausstellung der Klasse Reto Boller im Kunstverein Gästezimmer und im Kunstverein
JETZT, JETZT, Städtische Galerie & Kunstverein, Reutlingen Neuhausen, Hrsg. Staatliche Akademie der Bildende Künste Stuttgart, Eigenverlag, Stuttgart 2015
OFFENE PRÄSENTATION DER ARBEITEN DER FINALISTiNNEN DES STIPENDIUMS DER
STUDIENSTIFTUNG DES DEUTSCHEN VOLKES, Hochschule für Bildende Künste Braunschweig STAND JETZT, Katalog anlässlich der gleichnamigen Gruppenausstellung des Walter Stöhrer-Preises
CLOSEST TO PARADISE, Kunstverein Oberer Neckar, Horb a.N. für Grafik 2014 in der Galerie Klaus Gerrit Friese, Hrsg. Walter Stöhrer-Stiftung, Stuttgart 2014
2011
FLUTEN, Galerie Müller-Roth und Galerie Michael Sturm, Stuttgart SHOW ME YOURS, I SHOW YOU MINE, Ausstellungskatalog anlässlich der gleichnamigen
SHOW ME YOURS, I SHOW YOU MINE, Wilhelmspalais, Stuttgart Gruppenausstellung im Wilhelmspalais Stuttgart, Hrsg. Staatliche Akademie der Bildenden Künste
CAMILLO-MICHELE-GLORIA-PREIS, GVS Förderung junge Kunst, Stuttgart Stuttgart, Stuttgart 2011
PUBLIC COLLECTIONS JETZT, JETZT, Katalog anlässlich der gleichnamigen Gruppenausstellung in der Städtischen Galerie
Reutlingen und dem Kunstverein Reutlingen, Hrsg. Staatliche Akademie der Bildenden Künste Stuttgart,
Kunstmuseum Stuttgart
Eigenverlag, Stuttgart 2011
Ståhl Collection, Norrköping (SE)
Kunstmuseum St. Gallen – Dauerleihgabe Privatsammlung (CH) JUGEND FORSCHT, Katalog anlässlich der gleichnamigen Gruppenausstellung der Klasse Reto Boller
Graphische Sammlung der Stadt Esslingen a.N. im Labor 1 Ludwigsburg, Hrsg. Staatliche Akademie der Bildenden Künste Stuttgart, Eigenverlag,
Graphothek der Stadtbibliothek Stuttgart Stuttgart 2009
Regierungspräsidium Stuttgart
Kunstsammlung Schloss Dagstuhl, Wadern
Graphische Sammlung der Staatlichen Akademie der Bildenden Künste Stuttgart
Sammlung Karin Abt-Straubinger, Stuttgart
Bech-Risvig Collection, Silkeborg (DK)You can also read
