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Michael Krebber

Galerie Daniel Buchholz

Michael Krebber’s works—comprising not only painting but also artist’s books, arrangements of readymades, and texts—might be identified as symptoms of a diffidence that is interrupted only temporarily, in order to produce material effects, but without allowing for artistic progress. Formats, procedures, and references recur only to continually suspend development. To borrow the terminology of literary scholar Joseph Vogl, one might designate Krebber’s stance as a veritable “system of hesitation” that results in a “specific limbo” in which “opposing forces” simultaneously motivate and block one another. This is not indecisiveness, but rather an “active gesture of questioning” that accompanies and reflects on a culture of work and deed in the manner of a “cutthroat opponent.”

Krebber’s system of hesitation finds its paradigmatic form in tentative painterly markings, as in the case of Miami

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