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Galerie Jette Rudolph presents Klaus-Martin TREDER - Colour Garden

Archive | Information & News

27 May 2016 to 15 July 2016
open: Tues- Sat 12- 6 pm
Galerie Jette Rudolph
Strausberger Platz 4
D- 10243
T: +49 (0)-30- 613 03 887
F: +49 (0)-30- 613 03 887

Klaus-Martin Treder, COLOUR GARDEN 02 (detail), 2015
Mixed media on canvas. 200 x 100 cm
Photo: Lepkowski Studios

Artists in this exhibition: Klaus-Martin Treder

Klaus-Martin TREDER
Colour Garden

Opening: Friday, 27 of May 2016, 6 - 10 pm

In the exhibition entitled “Colour Garden,” Klaus-Martin Treder (born in 1961 in Biberach; lives and works in Berlin) presents an interconnected series of eight equal-sized canvases as well as a sculptural arrangement in different colors, featuring minimally curved metal rods and utilizing the room’s full height.

Every canvas serves up a rich, monochrome splash of color that covers the canvas all over, at times creating the effect of a cratered landscape. Drops and splatters are scattered across these color landscapes, isolated or in concentrations, in various shades of the same tone or in different colors for contrast. Moreover, the paintings are also populated with objects, including cosmetics, soap, fake nails, coffee beans, licorice, and other Haribo candy treats, plastic twist ties, or an asthma inhaler – objects you wouldn’t expect to see because they look painterly from a distance. Smears of nail polish leave a trail across the colored surface, thereby indirectly becoming a painting tool. By contrast, the drops of color look like they are artificially elevated, grafted on, applied hyper-distinctly to cast visible shadows, which simultaneously shows that they were produced independently of the image and added later. The physicality of the color material takes plastic shape in the variously formed drops and emerges intensely for us to contemplate.

In his paintings, as in his sculptures and objects, Klaus-Martin Treder appropriates art-historical memories of such strategies as the Readymade or Minimal art. He combines these with references to the methodologies of piracy by assembling everyday components. However, Treder is affected differently by this culture of sampling, remixing and mashups that has been adapted from fashion, music and design. Instead, it makes him ask tongue-in-cheek questions that are situated halfway between everyday life and the art world – questions like “Why a picture?” and “Why painting?”. The homogeneity of his canvases negates any inscription of a personal style, segueing as it does from a position of “atemporality” (William Gibson) and as such putting the emphasis on an elastic understanding of the present.  But it also steers clear of playing with the promiscuity of styles, in that Treder keeps insisting on the performative and decidedly material dimensions characterizing the act of image generation.

In view of this method, it becomes clear that Treder’s relationship to the gesture is clearly analytical and even rhetorical. As a collage-borne gesture, the art of painting takes place as an event in the image – if doubly abstracted. By putting to use the various applications and mockups, it manages to establish a metalevel. Painting becomes an action that discloses its calculated traces.

In addition, there’s a tension created by way of the objects in the painting: A tension between the supposedly subjective expression of painting within the artwork and the alien material embedded within; between individuality and mass product, between private and public. The sense of self-sufficiency and self-expression assigned to the art of painting – still effective, even if just feigned – collides with the objective aspect of that which is generally available, the Readymade. But the confrontation becomes the occasion for something beyond, a painterly synthesis: The three-dimensionality of the objects morphs into the two-dimensionality of the image, thus becoming an integral part of the staged enactment, whose goal is to create a picture which, at the same time, is based on Marcel Duchamp’s approach to art: “Since the tubes of paint used by the artist are manufactured and readymade products, we must conclude that all the paintings in the world are ‘readymades aided’ and also works of assemblage.”


Galerie Jette Rudolph GmbH
Strausberger Platz 4, D-10243 Berlin
T, F: +49-30-613 03 887, mobil +49-177-613 03 88

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