Christian Probst

Biography

2008
Studium der Malerei bei Prof. Karin Kneffel an der Akademie der Bildenden Künste, München

2012
Jahresstipendium des DAAD nach Japan

2012-2013
Stipendienaufenthalt an der Tokyo University of the Arts bei Sakaguchi Hirotoshi

2015
Meisterschüler von Karin Kneffel

2016 Diplom

2021 MEXT Stipendium der Japanischen Regierung

EXHIBITIONS (SELECTION)

2021
Re-Inszenierung”, Galerie Filser & Gräf, München

2020
Aurum, Galerie Orange, Tegernsee

2019
Chronicle, Projektraum-Kunstquartier Bethanien, Berlin

2018
“MNEMOSYNE” – Sebastian Maas & Christian Probst, Galerie Filser & Gräf, München

2017
Tandem, Galerie Orange,Tegernsee
The Proof is in the Pudding,Galerie Noah,Augsburg

2016
Meistern, Galerie Evelyn Drewes, Hamburg

2013
Tokyo, Banbinartgallery,Tokyo

2012
Reality Bites, Galerie Filser & Gräf,Munich

2012
Null Point, Art Space, Tokyo Geijutsu Daigaku, Tokyo

2011
Review und Ausblick – 7 Jahre Galerie T40, Galerie T40, Düsseldorf

2010
EXCHANGE DUS-MUC, mit der Galerie Filser & Gräf in der E.ON Zentrale,Düsseldorf

2010
Muenchen 1, Galerie T40, Duesseldorf
Coming Soon, Cordonhaus Cham,Cham
EXCHANGE MUC-DUS, mit der Galerie Filser & Gräf in der whiteBOX e.V., Münche

Description

In his works, Christian Probst explores the boundaries between attraction and rejection and also creates a state that cannot be described using conventional parameters. In order to artistically interpret the most familiar form for us, namely that of the human body, he takes an unusual approach. The body is paraphrased as a sculpture or as an object with anthropomorphic initial forms in painting, manipulated, as the artist himself says, dislocated, deconstructed and depicted in an unprecedented form between familiarity and alienation. Interestingly, the artist never uses the human body or photography as models, but rather sculpture, whose three-dimensional, static character he uses in painting for a two-dimensional representation by adding several levels and perspectives to one perceptual surface.

Nevertheless, the sculptural character of the pictorial objects in Probst’s compositions is clearly recognizable. Both the depiction of the surface structure and the materiality as well as the background, the position and the staging of the depicted object body contribute significantly to this.

Enquiry