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Jessica Morgan

In his characteristically evasive fashion, Michael Krebber used his solo exhibition at Vienna’s Secession this past summer to launch two books and present what appeared to be an addendum of just twelve framed works and a single slide projection of a pink sea anemone. The two publications—a catalogue following the Secession’s classic template designed by Heimo Zobernig and an artist’s book reflecting on the subject of dandyism—seemed to take pride of place. At least that was the impression I gained from a conversation with the artist, a sense that was reinforced on being offered both catalogues before entering the show itself. But then a practice of avoidance and deflection, of postponement, is precisely what one has come to expect from Krebber, an artist who has studiously resisted identification with any apparent aesthetic, style, mode of production, or, for that matter, even the appearance

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