Submission
Tobias Hauser


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Tobias Hauser, W27, installation view, 2022.
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Tobias Hauser, A long black cloud is coming down, MDF, wood, caseint paint, 49 x 86 x 12 cm, 2020; Hinterm Horizont, MDF, wood, caseint paint, 55 x 75 x 15 cm, 2018.
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Tobias Hauser, 53 Millionen Lichtjahre, MDF, wood, casein paint, 62 x 76 x 15 cm, 2019.
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Tobias Hauser, Dead Man, MDF, wood, casein paint, 46 x 61 x 14 cm, 2019; Laughing Stock, MDF, wood, casein paint, clamps, 165 x 125 x 22 cm, 2020.
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Tobias Hauser, Schneeregen, MDF, wood, casein paint, 56 x 76 x 15 cm, 2018.
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Tobias Hauser, W27, installation view, 2022.
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Tobias Hauser, W27, installation view, 2022.
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Tobias Hauser, Fallende Blätter, lime wood, 3-parts, total 280 x 200 cm, 2021.
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Tobias Hauser, Dead Man, MDF, wood, casein paint, 46 x 61 x 14 cm, 2019.
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Tobias Hauser, Hinterm Horizont, MDF, wood, caseint paint, 55 x 75 x 15 cm, 2018.
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Tobias Hauser, 53 Millionen Lichtjahre, MDF, wood, casein paint, 62 x 76 x 15 cm, 2019; Schneeregen, MDF, wood, casein paint, 56 x 76 x 15 cm, 2018.
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Tobias Hauser, A long black cloud is coming down, MDF, wood, caseint paint, 49 x 86 x 12 cm, 2020.
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Tobias Hauser, Laughing Stock, MDF, wood, casein paint, clamps, 165 x 125 x 22cm, 2020.

The solo exhibition W27 at fiebach, minninger presents new works by Tobias Hauser, as well as the artist’s current catalog. The title of the exhibition, W27, alludes to Hauser’s studio space in the Allgäu region of Swabia, where the works were created.

In some of these pieces, structures of bone – which have accompanied Hauser’s works for decades, although they are also constantly reinvented in them – seem almost intimidating, with their dark and strong colors. In other works, with which the former are often juxtaposed, these structures capture our attention, brightening up the room with their vivid whites. The play of light and shadow in the diaphonous skeletal structures is set in wooden frames, which provide the sculptures with their own space for reflection, and serve to contain them for the viewer. This efffect is reinforced in the work 53 Million Years by black, reflective plexiglass, reminiscent of modern technologies. The bones, which can also be read as dense thickets or networks of roots, establish themselves as centers of calm. The words hidden in the scaffolding are clues, too, to the referents of the respective works, much like the anthropomorphic contours to be discovered in them.

The titles of the works often contain pop-cultural allusions to music or film, as in the work Laughing Stock, which plays on the cover of TALK TALK’s album of the same name. If the tree on the album cover is supposed to represent a symbol of life or a hierarchical structure, the rotten fruits of the three-part sculptural work Falling Leaves, made of limewood, render this symbolism morbid, and expose nature as a space perpetually permeated by power structures and violence.

Falling leaves play in the wind, whirling around and falling somewhere.
Element of Crime