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Achim Kubinski
Born in 1951, Kubinski studied painting at the Stuttgart Academy and Humanities at Tuebingen University,Germany between 1973-77.
His artistic work, which began in 1969, is shown initially at the Weissenhof in Stuttgart ( 1974 ) and the KunsthalleMannheim
(1975 ). With a background debate on the demise of conventional painting ( Tafelbild )going on and in the context of Pollock's "all over" style Kubinski introduces his concept of an open, encompassing
form of painting under the title "Praeludium 0".
The "Objectless Image", as the artist calls it, appears as a deconstructed accumulation of singular elements which, either congregated or dispersed, reflect the infinite manifestations of pictures.Similar to musical structures the "Objectless Image" puts an interpreter between the author and the public,a dealer or collector for example, whose role is to finish and complete the painting which initially could only be created by the artist as a sample, prototype or detail.
Consequently and subsequently Kubinski widened his scope to include a gallery whose program between1976 and 1982 consisted mainly of "fictitious artists": Behind the apparitions Angelika Wiesenthal, Christian Bruegge and Stefan Ravena stands actually the author himself who switches between the roles of producer, dealer and collector and who intends to complete works in cooperation with his close team as a symbiosis of creation and location before they are actually handed over to the public.
With the creation of the "Christian Bruegge Foundation" the fictitious artists step back into anonymity, only to return at the dawn of the 21st century within a larger context. The "Fictitious Collection" develops as a continuation of previous work with different means and concludes 1988 as permanent installation "Olgastrasse 109".
There it garners an archive within the artistic spaces of Kosuth, Knoebel, Foerg and Buren which, during the course of 80 exhibitions, acts as a school and ideas factory and reflects form and unity of a location where personalities like Kippenberger and Lyotand worked. In order to dissolve even that forum and to further project his idea of the "Objectless Image" Kubinskiexpands with new galleries to Cologne and New York. Concepts for exhibitions are realized at the Venice trainterminus and the royal palace of Douala ( Cameroun ).In parallel he prepares for the reappearance of his own persona with three performances at the BurgtheaterVienna, Austria, Kunsthalle Bonn and Schaubuehne Berlin, Germany which dramatize the existantial role ofthe artist throughout the ages.
Since 2002 Kubinski is in preparations for the publication of his Collected Works under the subject title " Picture Theory" which, for Kubinski himself, means the "Objectless Image"
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