Klaus-Martin Treder: YES - WHAT

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Open: Fri-Sat 11am-6pm

Jägerstrasse 5, 10117 Berlin, Berlin, Germany
Open: Fri-Sat 11am-6pm


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Klaus-Martin Treder: YES - WHAT

Berlin

Klaus-Martin Treder: YES - WHAT
to Sat 7 Mar 2020
Fri-Sat 11am-6pm

FeldbuschWiesnerRudolph Klaus-Martin Treder 1

FeldbuschWiesnerRudolph Klaus-Martin Treder 2

FeldbuschWiesnerRudolph Klaus-Martin Treder 3

FeldbuschWiesnerRudolph Klaus-Martin Treder 4

FeldbuschWiesnerRudolph Klaus-Martin Treder 5

FeldbuschWiesnerRudolph Klaus-Martin Treder 6

Klaus-Martin Treder explores painting from very different angles and pushes it to its limits. This makes him an important role model also for a young generation of artists who understand the medium as a spatial event. Even Treder’s most painterly pictures are based on the strategy of montage and combinatorics, with which he makes art permeable for everyday life and society. Thus the monochrome surfaces of his picture-filling paint piles are enriched with the applications of prefabricated drippings alongside consumer items such as tubes, flacons, or colorful candy. It is this progressive approach to the everyday, the personal, the material that gives his paintings and sculptures a new anthropological dimension. Most recently, Klaus-Martin Treder is also regularly present in the exhibitions of public institutions and collections because of his multi-layered references to the (art) history of abstract painting from Pop Art, Concrete Art to Ready Made.

Sonja Klee (art historian) in conversation with Klaus-Martin Treder in preparation for his exhibition “YES – WHAT”

SK: The Snoeck publishing house recently published a comprehensive catalogue of your work of the last ten years. It shows your three groups of works – the pictures, the objects and the posters, to put it in a simplified way – on which you are continuously working, and the archive gives an insight into your experimental series. How essential is this simultaneous multi-perspective approach to painting for you?
My work is based on it; it arises in intervals and the catalogue concept expresses exactly that. I keep the series within the groups of works open; it is a continuous, differently connected process in the interplay of formats. Since 2003, the objects have developed through the division of the images from these into space and into an autonomous category. The first poster was created in 2004; to date there are almost 30.

KMT: Both groups of works accompany, accentuate or contrast the painting, which is my actual starting point and which I think very much from the material, i.e. the colour itself. For this reason, I do without a ductus, bring the colour onto the picture carrier through indirect, naturally also with the play of chance, in drippings and colour pours, which are then again completely calculated and enriched by “artificial” applications of drops and the like. This can sometimes look very wild, as in the series “Loss of Orientation and Aesthetics” or “Super Sensitive Drops”. I set signs of expression, but as a rhetorical gesture, a conceptual expression, so to speak.

SK: In the pictures, especially in your series “Colour Garden”, which are exhibited here, you don’t just see colour, but rather things embedded or placed on top of it, objects that you usually recognise from everyday life, such as cosmetics, can tops and much more. What meaning do these things have in the context of your painting?
For me, the things first become abstract when transferred to the picture, part of the painterly code and contribute to forming the abstract picture. On the other hand, I also treat colour as an object. There’s a beautiful statement by Marcel Duchamp that conveys roughly the perspective I mean. He speaks of the paint tubes the artist uses as manufactured finished products and concludes that all the paintings in the world are assisted ready-mades and also assemblages. In other words, color as a readymade, like things, but at the same time inseparable from its formal, colored, haptic quality, which enters the picture, and ultimately not from its dimension of content. The view of the human being right up to the supermarket shelves and in this sense a humanized abstraction, as it were.

KMT: For me this has a symbolic character. When hair appears in some of my pictures, I see in it a fragment, a pars pro toto, i.e. parts that stand for the whole, in this case the person, and if the hair is mine, we are dealing with a portrait, in a very abstract form, although a DNA comparison could hardly be more personal. Or in the case of the objects, the clothing.

SK: With your spatial objects, you are performing a register change. What is their role?
The posters and the things in the pictures are first and foremost connected with industrial production, whereas in contrast they are prototypes. The objects are designed by me, but then go through the usual production processes. Their forms have basically emerged from my pictures from the early nineties. I had no intention of committing myself only to classical painting and I opened up the field. With a reference to Roy Lichtenstein’s “Cow Going Abstract”, I described the first objects as my ghosts becoming abstract. In this multi-part work, Lichtenstein deliberately dissects a representational motif into an abstraction in the simplest possible way. This is how my objects, which at first virtually split up painting and then became more and more autonomous, are created as a staging between minimalism and banality.

KMT: The current objects have become more and more permeable compared to the early ones, very linear in their form. With this kind of object, the question arises as to what extent one is actually dealing with an object in the sense of a sculpture.
I wouldn’t speak of sculpture; I’m not a sculptor. The objects have an aspect of dilettantism that is very liberating. There are also parallels to the pictures; they are usually composed, for example, of steel with cardboard or paper, or combined with objects. In contrast to the pictures, however, they interact in space and time and, as open, transparent structures, contrast their material presence. A game in the field of tension between assertion and withdrawal.

SK: The title of the exhibition “Yes – What” also works in this sense: Agreement and then demand.

KMT: It is a dialogical title with a Dadaist approach, I would say. At the same time, I feel that the relationship between assertion and questioning, and thus again the problematization of any assertion, is an essential characteristic of art.

Klaus-Martin Treder (*1961 in Biberach a.R., lives and works in Berlin) studied fine arts in the class of Prof. Rudolf Schoofs at the State Academy of Fine Arts Stuttgart (1990- 1995). He received several scholarships, among others from the Kunststiftung Baden-Württemberg, DAAD and others. The artist’s works are represented in institutional collections such as the Würth Collection, the Kunstmuseum Stuttgart, the Paul Ege Art Collection Freiburg, the collection of the Kunstbibliothek Staatliche Museen zu Berlin as well as numerous private collections.

Treders works have been shown in solo exhibitions at FeldbuschWiesnerRudolph/ Galerie Jette Rudolph Berlin (since 2007), at LAGE EGAL Berlin (m. Anja Schwörer) and at Grölle pass:projects Wuppertal as well as at Kunstverein Tuttlingen (2019), FS Art Ravensburg (2017), Stadtgalerie Saarbrücken (2014), Galerie Reinhard Hauff Stuttgart (2012), Kunstverein Friedrichshafen and Städtische Galerie Waldkraiburg (2010), Bruner Collection Weymouth 19 London (2009, with Frank Ahlgrimm), Villa Merkel and La Tangente Marseille (2005) and at the Space for Contemporary Art Lucerne (2003).

Works by the artist are regularly presented in thematic group shows such as Wexford Arts Center Ireland (2019), Collection Würth/ Kunsthalle Würth Schwäbisch Hall (2018), Martin Gropius Bau Berlin (2015), Kunstraum Alexander Bürkle Freiburg i. Br. and Bethanien Berlin (2014), Kunsthaus Nürnberg and Georg Kolbe Museum Berlin (2013), Kunstmuseum Stuttgart (2012), Kunsthalle Erfurt (2011), Beijing 798 Biennial China (2009), Columbus Art Foundation and Kunsthaus Hamburg (2004), Württembergischer Kunstverein, Stuttgart / Städtische Ausstellungshalle am Hawerkamp, Münster / Dundee Contemporary Arts, Dundee, Scotland (2003) and many more.

Courtesy of the artist and FeldbuschWiesnerRudolph, Berlin

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