JAKOB

GREBERT

 

Artist's statement

Jakob Grebert is a visual artist and a member of the artist group Wet Dog Collective (formerly called Studio 18). He lives and works in Hamburg.

In 2017 he received an MA in Fine Arts from the Muthesius University Kiel, Germany. From 2012 until 2016 he was a fellow of the German Academic Scholarship Foundation. In 2017 he participated in “Project Network”, the Emerging Artist Recidency Programme of Guldagergaard International Ceramic Research Center in Denmark. In 2018 he was awarded a working grant from the Schleswig-Holstein Culture Foundation.  In 2019 he was taking part in the Maumaus Independent Study Programme in Lisbon, a seven month critical theory programme for artists.

He was nominated for the „Gottfried Brockmann Prize 2017“ of the Kiel City Gallery and the „Muthesius Prize 2018“ at Kunsthalle Kiel, where he was awarded the Muthesius Advancement Prize. He has exhibited in group-shows at Galerie Handwerk Munich, Guldagergaard Skælskør, Denmark, White Concepts / r-k Galerie Berlin, Kunsthalle am Hamburger Platz Berlin and Künstlerhaus im Anscharpark Kiel. Studio 18 has performed in Prima Kunst Kiel, Museum Five Continents Munich, at the Open Out Festival in Tromsø, Norway and at Asia Network Beyond Design in Tokyo.

In his work, Jakob Grebert creates fragmented narrations, which revolve around everyday life and our relation to the objective realm. His methods include distortion, exaggeration, switching of places, amalgamation and caricature. The viewers are dragged into a narration that resists a final disentanglement, as important nexuses of the storyline are seemingly missing. Thus the need to make sense of things and the process of constructing meaning come into the limelight.

 

Jakob Grebert chooses from project to project what medium to use and which subjects to investigate. Most frequently he works with sculpture, installation or drawing. He sees artistic identity as something that is fluctuating, which led him to the choice not to define what his practice is in the first place. He tries to keep his works approachable and likes to use humor. Lately his work has been increasingly dealing with more political subjects such as inequality and climate change, which he is exploring through politcal satire and social practice.

 

# 11  (Link)

your troubles will be faded

by the luck you will soon have

 

Eine künstlerische Begegnung von Taipei/Kiel über Wien/Lissabon nach Kiel zurück

#20 (Link)

»STIPENDIATINNEN & STIPENDIATEN DER KULTURSTIFTUNG DES LANDES SCHLESWIG-HOLSTEIN 2018/2019«

 

 

HIGH FIVE REGIONALE KEEP IN TOUCH

Plus #01 (Link)

»IT is what it is«

 

Gallery Cubeplus + Hoop Stuio

 

„ES IST GENUG FÜR ALLE DA"

kunsthalle zu Kiel

AUSSTELLUNGSANSICHT

fast ein stein

AUS DER INSTALLATION-

„Es ist genug für alle da“

CA. 29 X 41 X 27 cm

KERAMIK, 2018

O.T. (Faust)

AUS DER INSTALLATION-

„Es ist genug für alle da“

CA. 20 X 19 X 17 cm

KERAMIK, 2018

Giacometti im dunkeln

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"Es ist genug für alle da“

CA. 25 X 34 X 34 cm

KERAMIK, 2018

o.t. ( knospe )

AUS DER INSTALLATION-

„Es ist genug für alle da“

CA. 26 X 24 X 19 cm

KERAMIK, 2018

kunstwerk, an dem man nichts

kritisieren kann

AUS DER INSTALLATION-

„Es ist genug für alle da“

CA. 41 X 12 X 21 cm

KERAMIK, 2018

o.t. ( kanne )

AUS DER INSTALLATION-

„Es ist genug für alle da“

CA. 45 X 25 X 20 cm

KERAMIK, 2018

wo hast du geparkt?

AUS DER INSTALLATION-

„Es ist genug für alle da“

CA. 16 X 48 X 5 cm

KERAMIK, 2018

o.t.

aus der Installation-

„Gedenkstätte für die Müden“

ca. 12.5 x 13.5 x 17.5

Keramik und Wachs, 2014

( Preis auf anfrage )

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longtemps, je me suis couché

de bonne heure

AUS DER INSTALLATION-

„Es ist genug für alle da“

C.A. 30 X 36 X 19 cm

KERAMIK, 2018

(IN PRIVATBESITZ)

sind wir hier richtig?

AUS DER INSTALLATION-

„Es ist genug für alle da“

C.A. 31 X 25 X 22 cm

KERAMIK, 2018

(IN PRIVATBESITZ)