16 February – 31 March 2013
Private view: Saturday 16 February 6.30 – 8.30 pm
Maureen Paley is pleased to announce a solo presentation of new work by Michael Krebber. This will be his fourth
exhibition at the gallery.
Would you confirm that ‘painting’ is used / explored by you as a filter?
Might that question ask about a possible
programme of ‘painting’? Its application? In that case: painting, as well as any other activity, runs as an
application that regularly and constantly changes, from for one person communicating with himself, to two people
or more. Like society, here the programme runs wild, everyone might be in a different programme, either actively
Is ‘painting’ still seen as a controversial activity?
Jack Smith said that buying and possessing art was wrong, it was against the idea of art. Here lies the
contradiction. But painting is also qualified as an image of the enemy, it therefore can easily seem to be used as a
controversial activity. This became kind of common knowledge for the ‘knowing ones’ and I think I benefit a bit
from that. And it is still an open game.
Please read my text ‘Puberty in Painting’.
Do you have to ‘defend’ artistically the use of painting as a medium?
I think ‘Puberty in Painting’ says it all and I do not want to defend or preserve it.
Instead of ‘defending’, I would prefer to throw in the idea of: identification with the aggressor.
Is painting an idea? A concept? A category?
There is the issue of painting’s production against the issue of the institution of painting.
What type of information does your painting contain?
Depends on who will look at it. Mixed in with all kinds of personal issues of mine. This could also become a game,
if somebody wanted to play.
Anecdotes, references, social networks have become an integrated visible part in your work. Does it belong to
I heard somebody using the term ‘expanded painting’. In his text ‘Painting beside itself’, David Joselit quotes
Martin Kippenberger who said in an interview about a painting, that not only the painting was important, but
everything around it too, the people that the painter talked to, his whole network and also the noodles that he ate.
Michael Krebber in conversation, CAPC musée d’art contemporain, Bordeaux, France, 2012.
Born in 1954, Michael Krebber lives and works in Cologne, Germany. He is currently a professor at the
Städelschule, Frankfurt am Main, Germany.
Recent solo exhibitions include Les escargots ridiculisés, CAPC musée d’art contemporain, Bordeaux, France,
2012 (C); C-A-N-V-A-S, Uhutrust, Jerry Magoo and guardian.co.uk Painting, Greene Naftali, New York, USA,
2011; Here Comes The Sons, Real Fine Arts, New York, USA, 2011; FROM MCB TO MBC, Richard Telles Fine
Art, Los Angeles, USA, 2010; Miami City Ballet, Galerie Daniel Buchholz, Berlin, Germany, 2010 and Pubertät in
der Lehre/Puberty in Teaching, Kölnischer Kunstverein, Cologne, Germany, 2008 (C). Selected group exhibitions
include Gambaroff, Krebber, Quaytman, Rayne, Bergen Kunsthall, Bergen, Norway, 2010 (C); Morror, Michael
Krebber and Michaela Eichwald, International Project Space, Birmingham, UK, 2010; Held Up By Columns,
Renwick Gallery, New York, USA, 2010; At Home/Not At Home: Works from the Collection of Martin and
Rebecca Eisenberg, CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY, USA, 2010; Conditions of
Display, The Moore Space, curated by Gean Moreno, Miami, USA, 2007; It Takes Something to Make Something:
The Rausch Collection, Portikus, Frankfurt am Main, Germany, 2007; Dracularising, Neue Alte Brücke, Frankfurt
am Main, Germany, 2007; The Most Contemporary Picture Show, Actually, Kunsthalle Nürnberg, Germany, 2006;
Formalismus, Kunstverein Hamburg, Germany, 2004 and Rhinegold: Art from Cologne, Tate Liverpool, Liverpool,