Who are these Snails?
You will see one on the cover of the catalogue raisonné and some more in the book. I painted some paintings with a similar snail on each one of them.
Who makes a fool of them?
The ridiculized snails is the title for the entire exhibition. I borrowed The ridiculized snails from the performance group Da Group. In my interpretation of the title, the snails, i.e. all my works on view in the exhibition and illustrated in the catalogue, are in fact already ridiculized. Nobody makes a fool of them.
The show at the CAPC is an exhibition of which nature?
Alexis Vaillant, the curator of the exhibition, says it is a survey of my work. It may be a kind of a retrospective but I prefer the term survey. And no new works were made for this exhibition, so it really is a survey.
How was the selection made?
Alexis worked through my archive and made proposals for the selection, which, in most cases, I accepted. This selection also gave the catalogue its form.
How many artworks are showed in the exhibition?
A hundred and fifty two
How are the paintings juxtaposed?
There are different clues for installing (and for juxtaposing) because I think it is not possible to find a single one that works for such a huge and non-homogeneous exhibition. I built it up from different sides or angles. The construction is not very stable, but is hopefully well balanced in the end
Is there a chronology in the exhibition?
There is a kind of chronology in the catalogue, though not consequently drawn through.
Once you said of your works "I can be rented"; what do you mean by that?
'I can be rented' is a title of a work of mine, also a borrowed title. I found it on a Jack Smith leaflet alongside the words "oily actor who acts in anything".
Do you teach?
Yes, I've been teaching a painting class at the Frankfurt’s Städelschule since 2002.
Would you confirm that 'painting' is used / explored by you as a filter? Might that question ask about a possible program 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 2 people or more. Like society, here the programs runs wild, everyone might be in a different program, either actively or passively, and this is why I called this exhibition The ridiculized snails.
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 the ‘painting’?
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.
Would you say you operated with a concept of "painting" that functions in an active manner? An ‘active’ manner that can be used as a medium for criticizing / discussing both conceptual and institutional strategies through the act of painting?
I think lots of things are always possible here. But one is always moving, in a moving set and one should try to watch the two move together.
Is doubt, as a potential qualifier for painting, expressed repeatedly in an encounter with your work?
Yes, I have heard this a lot and it was very touching when I heard it the first time. But turning doubt into a profession and being a professional doubter, would be really ridiculous. Maybe I should dare to take that step, but I think I cannot.
Is your painting doubtful? i.e. Self reflexivity, flexibility, hesitant: ways to produce criticality beyond recognizable strategies.
These are terms that are used a lot these days, but again it would be a funny game, to watch people becoming professional doubters, hesitators, etc.
I once copied a sentence from a magazine. It quoted Birgit Pelzer, who said that Marcel Broodthaers knew about the possibility that forgery too can be forged. I like this sentence so much because it takes the issue to another level.
Looking on 25 years of production, would you ‘sum up’ your œuvre as a succession of digressions, evasive actions with a lack of focus and stability? Or is this a strategy?
I like all of these terms and would like to take all of them into account.
Your painting is woven into an intricate system of external references that are not always apparent. How can one ‘see’ them then? And what thing do they point to, beyond the frame of the picture?
Knowing about the possibility that forgery too can be forged, I would try not to understand a reference that is not immediately apparent, but of course everybody tries to make a joke a bit more complicated from time to time, and sometimes it works out, sometimes not, then one should try to come down elegantly and so on. This is fun.
How do your works go beyond / are a world away from Stella’s statement “what you see is what you get”?
I try to have different notions on offer to be able to choose, for example, the game in which I play.
Is your painting a game then?
One could use it as a game or for whatever purpose, or for no purpose at all, in case this exists.
And what about the surfboards?
I really like them from all point of views, so I try to consider them in terms of painting. I cannot say anything about them, they are sculptures or objects. I enjoy the fact that you destroy something and it is still so beautiful, and I think a surfboard is as beautiful as the idea of surfing to me. I used windsurf boards because they were easier to get. I had the idea of quoting a Donald Judd wall sculpture by installing the cut surfboard pieces on a wall, but a friend told me it was not about Judd, but more about Ashley Bickerton.
Does the way you use painting demonstrate a series of possibilities of how one can engage in painterly activity?
In this exhibition, one can see the way I use painting and one can see that I did not refuse to become implicated in this exhibition, by doing a catalogue.
One does not have to take a look at this, but one could take a deeper look at any person acting in whatsoever and it will offer series of possibilities. This is common sense but from there I would like to answer your question with yes.
Do you agree with the idea that the exhibition The ridiculized snails works as the presentation of the aura your body of works is inhabited by?
Sure, I have to.
Is this survey kind of a recontextualisation of the works?
Yes, I hope so.
Some people say: “Who is this new young artist?” When were you born?
I am 58 years old and I was born in 1954.
Where do you live?
I live in Cologne and Frankfurt too.
Michael Krebber is currently considered to be one of the most emblematic personalities of the international contemporary art scene.
Having had a major influence on the art scene in Cologne during the 80’s and 90’s and ever since, Michael Krebber has a conceptual approach to painting that he explores beyond all pictorial conventions. His practice is marked by ambivalence, subversion, intransigence, and a feigned body language. Krebber is a dandy painter.
Although he appears to be a discreet character, both perplexed and ambivalent about the very nature of his practice, he nevertheless remains an influential first-class smuggler into the world of art on both the theoretical and economic levels. The dialogue that he maintains with his students at the Staatliche Hochschule in Frankfurt, sets him up as a “literary character,” the implementer of his very own process, which has fascinated the emerging generation.
This is the first time that the work of Michael Krebber, with more than 150 pieces exhibited in the nave of the CAPC, meets the general public.
-> Nave of the CAPC
-> Disabled access
-> Price: Entry Fees, 5 € (full rate) ; 2,50 € (reduced rate)
-> Partner(s): Air France, Lyonnaise de Eaux, Château Chasse-Spleen, Présence Capitale, Goethe-Institut Bordeaux, I.Boat, Radio Nova
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