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Review by Nikolai B. Forstbauer
Gallery at Kornhaus | Ulm | 1986

Every text, including this one, presupposes a vocabulary that only seems to arise freely, but is in fact largely predetermined, oriented to the subject matter to be treated or to the persons to be discussed or addressed. Generally, this becomes apparent to the reader in the course of dealing with the text - and far more quickly than the author would ever admit, the text is judged according to precisely this vocabulary and according to just such grids. I would rather lay my cards on the table right away, or better: make my vocabulary known. Of course, not without claiming that this approach is fundamentally and unmistakably related to the work of Klaus Fabricius. Which can mean nothing else than that already the choice of vocabulary is a determination of position - and thus an assertion.

The vocabulary: Distance - Analysis - Archive - Concept - Assertion - Participants - Securing facts - Factor - Field of art - Film - Friends - Gesture - Reason - Information - Category - Commentary - Copy - Concrete - Constants - Constitute - Construct - Constructive - Context - Artistic expression - Artistic action - Landscape - Material - Pattern - Order - Places - Place of art - Presentation - Precision - Production - Process - Frame - Grid structure - Reflection - Rulefulness - Cut - Skepticism - Still life - Structure - Pieces - Systematics - Support.

Art historians and art audiences mostly agree that the "shattering" of the world described in the literature of the late 19th century, for example by Wilhelm Raabe, was most clearly felt in the visual arts. And whatever position is taken in each case, we assume that the reflection of the shattering continues, and it is precisely this that makes it so difficult to name the constants for artistic expressions that are always longed for. The shattering, however, has, so to speak, received competition from its own camp - after the indulgent scenarios of the 19th century, a much older agreement has regained weight in our days, namely that works of art are information carriers. The hope associated with this is to create structures that allow something supposedly lost to be reconstructed or reconstituted: Order.

Klaus Fabricius shows works that refer to pictorial tradition and the tradition of their alleged destruction. Fabricius, born in 1956, is not satisfied with the problem of painting after painting or with the dialogue between figure and ground. Once trained as a glass and porcelain painter, he also incorporates materials reserved for the plastic, especially a spray foam that serves as a seal, into the development of the picture. Fabricius' works freely admit to being singular inventions; they do not even attempt to conceal, since they play on a constructed surface of action, dig into it, scratch it, reject it.