FABIAN TREIBER

EXHIBITION CATALOGUE

DREAM HOME HEARTACHE

_____________________

galleri KANT

STORE KONGENSGADE 3

1264 COPENHAGEN K

INFO@GALLERIKANT.DK

WWW.GALLERIKANT.DK

+0045 29 46 63 31

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_M2001/23 SOLD

A DAY ON

2020 Acrylic, ink and synthetic resin paint on canvas, 170 x 145 cm. / 66 x 57 in.

7 245 EUR. / 54 000 DKK.

FT_M1902/27

STUDIO

2020

Acrylic, ink and synthetic resin paint on canvas,

140 x 390 cm. / 58 x 195 in.

14 300 EUR. / 106 500 DKK.

FT_M2003/22 SOLD

ANYWAY

2020 Acrylic, ink and synthetic resin paint on canvas, 145 x 130 cm. / 57 x 51 in.

6 050 EUR. / 45 100 DKK.

FT_M2004/23

CALL

2020

Acrylic, ink and synthetic resin paint on canvas,

165 x 145 / 65 x 57 in.

7 130 EUR. / 53 000 DKK.

FT_M2005/22

COLLAPSE ALL

2020

Acrylic, ink and synthetic resin paint on canvas,

95 x 95 / 37 x 37 in.

4 180 EUR. / 31 150 DKK.

FT_M2006/22

DESK

2020 Acrylic, ink and synthetic resin paint on canvas, 145 x 130 cm. / 57 x 51 in.

6 050 EUR. / 45 100 DKK.

FT_M2007/27

GLASS TABLE

2020

Acrylic, ink and synthetic resin paint on canvas,

180 x 220 cm. / 86,5 x 71 in.

10 800 EUR. / 80 500 DKK.

FT_M2009/22 SOLD

LIGHTS OUT

2020 Acrylic, ink and synthetic resin paint on canvas, 95 x 95 / 37 x 37 in.

4 180 EUR. / 31 150 DKK.

FT_M2010/22 SOLD

FACADES

2020 Acrylic, ink and synthetic resin paint on canvas, 80 x 65 / 31 x 25,5 in.

3 300 EUR. / 24 600 DKK.

FT_M2011/27

MINIBAR No.3

2020

Acrylic, ink and synthetic resin paint on canvas,

80 x 65 / 31 x 25,5 in.

3 300 EUR. / 24 600 DKK.

FT_M2012/22

SUDDEN CRAVING

2020

Acrylic, ink and synthetic resin paint on canvas,

100 x 85 / 39 x 33 in.

4 070 EUR. / 30 300 DKK.

FT_M2013/22 SOLD

SUN SETS SOONER

2020 Acrylic, ink and synthetic resin paint on canvas, 95 x 95 / 37 x 37 in.

4 180 EUR. / 31 150 DKK.

FT_M2014/22 SOLD

TEMPTING

2020 Acrylic, ink and synthetic resin paint on canvas, 80 x 65 / 31 x 25,5 in.

3 300 EUR. / 24 600 DKK.

FT_M1913/27

PALAZZO

2019

Acrylic, ink and synthetic resin paint on canvas,

220 x 180 cm. / 86.5 x 71 in.

10 800 EUR. / 80 500 DKK.

FT_M1914/22

CLOSET

2019

Acrylic, ink and synthetic resin paint on canvas,

130 x 95 cm. / 51 x 37 in.

4 950 EUR. / 36 900 DKK.

FT_M2015/27 SOLD

YOUR BED AT NIGHT

2020

Acrylic, ink and synthetic resin paint on canvas,

175 x 300 cm. / 69 x 118 in. (Diptych)

12 825 EUR. / 95 550 DKK.

FT_M1915/22

SUPPER

2019

Acrylic, ink and synthetic resin paint on canvas,

120 x 95 cm. / 47 x 37 in.

4 730 EUR. / 35 250 DKK.

FT_M1810/22

NECESSITIES No.18

2018

Acrylic, ink and synthetic resin paint on canvas,

45 x 38 cm. / 17 x 15 in.

1 830 EUR. / 13 500 DKK.

FT_M1633/22

COMMON THINGS No.33

2016

Acrylic, ink and synthetic resin paint on canvas,

60 x 47 cm. / 23,5 x 18,5 in.

2 350 EUR. / 13 500 DKK.

FT_M2025/22

CAMPANIONS No.1

2020

Acrylic, ink and synthetic resin paint on canvas,

45 x 38 cm. / 17 x 15 in.

1 830 EUR. / 13 500 DKK.

FT_M2026/22

OTHERS No.26

2020

Acrylic, ink and synthetic resin paint on canvas,

45 x 40 cm. / 17 x 15 in.

1 870 EUR. / 13 900 DKK.

FT_M2026/22

OTHERS N.27

2020

Acrylic, ink and synthetic resin paint on canvas,

45 x 40 cm. / 17 x 15 in.

1 870 EUR. / 13 900 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 Born 1986 in Ludwigsburg - Germany

2015—2016 Meisterschüler im Weißenhof-Programm der Bildenden Kunst, Staatliche Akademie der Bildenden Künste Stuttgart

2007—2015 Studium der Bildenden Kunst an der Staatlichen Akademie der Bildenden Künste Stuttgart bei Prof. Reto Boller, Discoteca Flaming Star (Prof. Christina Gomez Barrio und Prof. Wolfgang Mayer) und Prof. Andreas Opiolka

Lives and works in Stuttgart Member of the Artist Association Baden-Württemberg

GRANTS & PRIZES

2018 Karl Schmidt-Rottluff Stipendium Marianne-Defet-Malerei-Stipendium Publikationsförderung des Ministeriums für Wissenschaft, Forschung & Kunst Baden-Württemberg

2017 Silkscreen Grant, Lepsien Art Foundation, Luxemburg (LUX) [ES]positivo 7B Art Residency, Madrid (ES)

2016 Aterlierförderung der Stadt Stuttgart

2014 Walter Stöhrer-Preis für Grafik (Anerkennung)

2013 12. Kunstwettbewerb Klett-Kunstaktionen, Stuttgart

2011 Herbstförderung der Karin Abt-Straubinger Stiftung, Stuttgart

2008 Akademiepreis der Staatlichen Akademie der Bildenden Künste Stuttgart

SELECTED SOLO EXHIBITIONS

2020 DREAM HOME HEARTACHE - KANT - Copenhagen FOR A WHILE LONGER - Philipp Haverkampf - Berlin Galerie Mark Müller - Zurich (CH) (Forthcoming)

2019 Kunstverein Ludwigsburg - "Common Things" A Minibar in a large scale room, Kunsthalle Nürnberg MORE FEELING, Ruttkowski 68, Cologne

2018 CANDLE CANDLE, Galerieverein Sebastianskapelle Ulm e.V.

AUTOGRILL, Strzelski Galerie, Stuttgart

2017 BODY DOESN‘T KNOW, Galerie Mark Müller, Zürich (CH) FRONT YARD, pop68, Ruttkowski68 Gallery, Köln SLEEPING IN AN UNMADE BED, Galerie Tristan Lorenz, Frankfurt a.M.

2016 THERE WAS ALWAYS SOMETHING DISTURBING., Strzelski Galerie, Stuttgart

2015 MOVE YOUR ASS AND YOUR MIND WILL FOLLOW (HOST KAIROS), Experimentierbühne Heusteigtheater, Stuttgart 2014 BLUE BEACH, PINK LOVE, PALE COBRA, Strzelski Galerie, Stuttgart 9 MINUTEN VOR VEGAS, Schloss Dagstuhl, Leibniz Gesellschaft, Saarbrücken/Wadern

2013 THE DRUM BEATS OUT OF TIME, Strzelski Galerie, Stuttgart

2011 JAGDGESELLSCHAFT, Arbeitstitel, Stuttgart

SELECTED GROUP EXHIBITIONS

2020 Mixed Pickles 7, (The Ghost Edition) Ruttkowski;68 Cologne SIGN OF THE TIMES, König Gallery, Berlin (forthcoming)

2019 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 Artifacts, Nevven Gallery, Göteborg (SE) SINGLE BUT HAPPY, Galerie Mark Müller, Zürich A TAKE ON PAPER, KANT - Copenhagen MIXED PICKLES 4, Michael Horbach Stiftung, Köln

2018 OPEN HOUSE – OFFENE PRÄSENTATION DER ARBEITEN DER FINALISTiNNEN DES KARL SCHMIDT-ROTTLUFF STIPENDIUMS, Alte Münze, Berlin RUE CHARLOT, Ruttkowski;68 Gallery, Paris (FR) INTERIOUR MOTIVES, MPV Gallery, Den Bosch (NL) ON THE HOME FRONT, Galleri KANT, Copenhagen (DK) THE ART OF LIVING, Arts Projects Australia, Melbourne (AUS) EMERGENCIAS DEL ACONTECIMIENTO, Espacio [Es]positivo, Madrid (ES) RUDE ASSEMBLY, Campbell project space, Sydney (AUS) LICHTSTRASSE, Ruttkowski;68 Gallery, Köln MOSTLY ABSTRACT, Galleri Benoni, Copenhagen (DK)

2017 GIFC – GOT IT FOR CHEAP, Soulland, Copenhagen (DK), Galleri Golsa, Oslo (NOR) und The Hole NYC, New York (US) WE ARE THE ONES, Carlsberg Byens Galleri & Kunsthal, Copenhagen (DK) MULHOUSE 017 BIENNIAL OF YOUNG CONTEMPORARY ART, Parc Expo, Mulhouse (FR) TRUNK, Kunstverein Lüneburg e.V.

2016 PRACTICE PROCESS PROGRESS, Villa Merkel – Galerie der Stadt Esslingen a.N. GRUPPE II, Galerie Tristan Lorenz, Frankfurt a.M. CONTENT, Projektraum AKKU, Künstlerbund Baden-Württemberg, Stuttgart

2015 ÜBERMORGENKÜNSTLER, Staatliche Kunsthalle Baden-Baden SMALL & MIGHTY, Galerie Filser & Gräf, München ENGE GEBIERT …, Ostertagshof, Kunstverein Neuhausen MARIA, MARIA I LIKE IT LOUD!, Brenzkirche (Atelierkirche 2015), Stuttgart MONOCHROMOSOMEN, Domagk Ateliers, München

2014 WALTER STÖHRER PREIS, Galerie Klaus Gerrit Friese, Stuttgart BABY YOU CAN DRIVE MY CAR, Kunstverein Gästezimmer e.V., Möhringen STAND.JETZT, Fritz und Hildegard Ruoff-Stiftung, Nürtingen TO HEAVEN AND BACK, Kunstverein Neuhausen AUSSTELLUNG DER ARBEITEN DER FINALISTiNNEN DES EB-DIETZSCH SHOW 3, Soglia Artspace, Leipzig WEDER BREIT NOCH TIEF VERLÄNGERT, Staatliche Akademie der Bildenden Künste Stuttgart

2013 NO PLACE TO HIDE – ORT KONTROLLE PRODUKTION, Agentur für Arbeit, Stuttgart NO PLACE TO HIDE – RETURN TO SENDER, KW Institute for Contemporary Art, Berlin GELB SPIELT KEINE ROLLE, Hochschule der Bildenden Künste Saar, Saarbrücken KUNSTAKTIONEN KLETT-PASSAGE: „NEXT BIG GEM“, Arnulf-Klett-Platz, Stuttgart

2012 VERGESSEN SIE NICHT DIE WUCHSKRAFT DER BAMBUSWURZELN – KLASSE RETO BOLLER, Villa Merkel – Galerie der Stadt Esslingen a.N. JETZT, JETZT, Städtische Galerie & Kunstverein, Reutlingen OFFENE PRÄSENTATION DER ARBEITEN DER FINALISTiNNEN DES STIPENDIUMS DER STUDIENSTIFTUNG DES DEUTSCHEN VOLKES, Hochschule für Bildende Künste Braunschweig CLOSEST TO PARADISE, Kunstverein Oberer Neckar, Horb a.N.

2011 FLUTEN, Galerie Müller-Roth und Galerie Michael Sturm, Stuttgart SHOW ME YOURS, I SHOW YOU MINE, Wilhelmspalais, Stuttgart CAMILLO-MICHELE-GLORIA-PREIS, GVS Förderung junge Kunst, Stuttgart

PUBLIC COLLECTIONS

Kunstmuseum Stuttgart Ståhl Collection, Norrköping (SE) Kunstmuseum St. Gallen – Dauerleihgabe Privatsammlung (CH) Graphische Sammlung der Stadt Esslingen a.N. Graphothek der Stadtbibliothek Stuttgart 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)

PUBLICATIONS & ARTICLES

FABIAN TREIBER: PALAZZO – Karl Schmidt-Rottluff Stipendium – The Exhibition, Hrsg. Kunsthalle Düsseldorf & Studienstiftung des dt. Volkes, Düsseldorf/ Berlin 2019

FABIAN TREIBER: LATE NIGHT ON THE SHOP FLOOR, WHAT LANGUAGE WAS I SPEAKING Hrsg. Kunsthalle Nürnberg & Institut für moderne Kunst, 2019

FABIAN TREIBER: CANDLE, CANDLE, Katalog anlässlich der gleichnamigen Einzelausstellung, Hrsg. Fabian Treiber & Nicolas Zupfer, Verlag für moderne Kunst, Wien 2018

FABIAN TREIBER: SLEEPING IN AN UNMADE BED, Katalog, Hrsg. Galerie Tristan Lorenz, Eigenverlag, Frankfurt a.M. 2017

FABIAN TREIBER: STARING INTO SPACE, ausgehängte Einzelheftedition aus Meisterschüler-Katalog, Hrsg. Staatliche Akademie der Bildenden Künste Stuttgart und Villa Merkel – Galerie der Stadt Esslingen a.N., Eigenverlag, Stuttgart und Esslingen 2017

FABIAN TREIBER, PRACTICE PROCESS PROGRESS, Katalog anlässlich der gleichnamigen Gruppenausstellung der Meisterschüler im Weißenhof-Programm der Bildenden Kunst, Hrsg. Staatliche Akademie der Bildenden Künste Stuttgart & Villa Merkel – Galerie der Stadt Esslingen a.N., Eigenverlag, Stuttgart und Esslingen 2017

FABIAN TREIBER, EINIGE ARBEITEN 2014–15, Künstlerbuch, Hrsg. Strzelski Galerie, Eigenverlag, Stuttgart 2015

DECORATIVE MODERNISM, Künstlerbuch, Hrsg. Fabian Treiber und Nicolas Zupfer, Eigenverlag, Stuttgart 2015

TO HEAVEN AND BACK & BABY YOU CAN DRIVE MY CAR, Katalog anlässlich der gleichnamigen Gruppenausstellung der Klasse Reto Boller im Kunstverein Gästezimmer und im Kunstverein Neuhausen, Hrsg. Staatliche Akademie der Bildende Künste Stuttgart, Eigenverlag, Stuttgart 2015

STAND JETZT, Katalog anlässlich der gleichnamigen Gruppenausstellung des Walter Stöhrer-Preises für Grafik 2014 in der Galerie Klaus Gerrit Friese, Hrsg. Walter Stöhrer-Stiftung, Stuttgart 2014

SHOW ME YOURS, I SHOW YOU MINE, Ausstellungskatalog anlässlich der gleichnamigen Gruppenausstellung im Wilhelmspalais Stuttgart, Hrsg. Staatliche Akademie der Bildenden Künste Stuttgart, Stuttgart 2011

JETZT, JETZT, Katalog anlässlich der gleichnamigen Gruppenausstellung in der Städtischen Galerie Reutlingen und dem Kunstverein Reutlingen, Hrsg. Staatliche Akademie der Bildenden Künste Stuttgart, Eigenverlag, Stuttgart 2011

JUGEND FORSCHT, Katalog anlässlich der gleichnamigen Gruppenausstellung der Klasse Reto Boller im Labor 1 Ludwigsburg, Hrsg. Staatliche Akademie der Bildenden Künste Stuttgart, Eigenverlag, Stuttgart 2009