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THE VIEW OF THE INTANGIBLE, review by C. Martin Schmid | Jean-Christophe Ammann calls man a time-binder. Time is stored in works of art and kept in the museum as a collective memory. A temporal dimension can also be seen in works by Klaus Fabricius, in particular in a pictorial sign, a slightly swelling, acute-angled triangle with an oblique base, which appears in pictures bearing the title 'Cathedral'. The cathedral refers to past times, but these are not taken up as sentimental memories, rather they are examined in terms of their current effectiveness. Various ideas and interpretations accumulate on the cathedral over time, which are concentrated and made present in the pictorial sign. Through this overload of interpretive possibilities, the cathedral eludes definition. The relationship between the pictorial sign of the cathedral and the multitude of meanings that the cathedral brings with it can no longer even be determined as an ambiguous one. Rather, the cathedral stands for the idea of the mutability of knowledge and the dissolution of an ultimate judgment. more

MARVELLING ON THIS WORLD, review byy Markus Döbele, Stuttgart 1994 | The first look at Fabricius' painting reveals unorthodox materials: often one sees paper or foil pressed onto PU foam (a spray foam used to seal construction sites) swelling through cracks, or plaster with strong earth-crust-like fractures. Sometimes copies are included in the composition of the image. The result is relief-like, strongly painterly images. Especially the PU foam under the viscous wavy paper layer allows Fabricius to work in the depth of the painting ground. more

OTHERS USE A LIGHTER, BUT THERE IS ANOTHER POSSIBILITY, review by Helge Bathelt 2006 | Museums show the imperishable or what they think is imperishable, galleries show what sells, and art associations show what no one else wants to have. On the other hand, it is difficult to define the mandate of a municipal gallery in a public building. It is somewhere between decoration, entertainment, willingness to compromise, training of taste, duty to inform and sense of mission. The frustration of transience is not insignificant, because where - except perhaps in a press release - is something left of the effort that artists and organizers put into turning a lot of artwork into an exhibition. There should actually be at least one catalog for each exhibition of works. Since this is not financed, there must be an introductory lecture that gives insight, because we can all see and yet remain blind to what the seen is above all. more