“(…) Fabian Vogler studied at the University of Applied Art in Vienna and received his Masters Degree in London in 2007. Here he discovers the balloon – as a way of “a spontaneous supporting armature”, he says. He further developed technical variations leading from “over modelling” then back to moulding. He uses these technoid materials such as balloons, tires from cars, bicycles and tractors in contrast to his archaic topics.
All this could turn out round and nice and pretty and fluffy – but this is definitely not the essence of Voglers aesthetic competence.
The disruptions, fragments, left over plaster and damages are his essence. I am talking about the deformation of a boring, perfect balloon, of ties and knots of tires, all their passive means of structural forms like valves, brand names, linear patterns of fabrication and traces of wear and tear, patches, themarks of sculpture tools – anything that creates tension, excitement and sensation in a piece of artwork. The work is under constant surveillance, Fabian Vogler does not leave it, from the first sketch to the finishing touches of the bronze surface. This is not self-understood nowadays; more often than not it is just an idea from the artist and delegated to a team of craftsmen. One should not underestimate the necessity of the perfect combination between the manual as well as the mental work. Fabian Vogler is an eminent example, an example how one deals with two- and three-dimensional images. (…)” PROF. DR. MARION ELIAS | UNIVERSITY FOR APPLIED ARTS • VIENNA
“(…) Born in Hamburg, grown up in Vienna, from the start Fabian Vogler was looking beyond Northern Germany. This perspective hasremained characteristic in him; he would otherwise not have chosen Las Palmas de Gran Canaria, Flensburg, Vienna as well as London as places for his education.His studies in Vienna with Gerda Fassel and Monika Verhoeven are considered as a central part of his training. His apprenticeship, however, in wooden sculpture in Flensburg (since Sauermann traditional) has also made an essential contribution.
In 2007, motivated by diverse support, the young sculptor, just thirty years old, settled down in the remote North Frisian village of Bargum. Here he has his studioin a spacious former school. His frequent participation in international exhibitions and international commissions reveals how right his decision has been. Vogler’s intensive work in the countryside where he finds his inspiration is ideally connected with the cosmopolitan world of art. (…)” DR. THOMAS GÄDEKE | LANDESMUSEUM SCHLESWIG-HOLSTEIN • SCHLESWIG
Edited by Katinka Schweizer and Fabian Vogler
Campus Verlag (Frankfurt | New York)
With essays by Inga Becker, Peer Briken, Franziska Brunner, Georgiann Davis, Katharina Fegebank, Lutz Goetzmann, Michael Groneberg, Sonia Grover, Uwe Haupenthal, Peter Hegarty, Alex Jürgen, Uta Kuhl, Ilka Quindeau, Ute Lampalzer, Viktoria Märker, Konstanze Plett, Wilhelm F. Preuss, Karl Reber, Almut Rudolf-Petersen, Barbara Ruettner, Katinka Schweizer, Volkmar Sigusch, Lucie Veith, Jochen H. Vennebusch, Silvia M. Ventosa, Fabian Vogler, Heinz-Jürgen Voß, Katrin Zehnder and multiple, artistic cooperations.
LIMBO WEEKS IS FESTIVAL WINNER (CATEGORY BERLIN ORIGINALS)
BERLIN EXPERIMENTAL FILM FESTIVAL
»LIMBO WEEKS« BY BIANCA KENNEDY & FABIAN VOGLER
Stop motion animation | 8:09 min | 2017 |
Limbo Weeks is a Matryoshka doll puppet of a film. Layers inside layers, mothers hidden inside mothers, giving birth to even younger mothers, the sculptural themes are like interwoven skins of a slowly peeling onion. Bianca Kennedy stages the plaster and bronze figures of sculptor Fabian Vogler inside intricately detailed miniature sets, depicting a very peculiar state of human development: The short time frame of seven weeks, where nature hasn’t decided on a specific gender for its fetus yet. In this state of blissful limbo the characters try to influence their own destiny through changing the water temperature of the bathing mother or playing with the wheel of evolutionary fortune. Several feti’s journeys are being depicted, as they fight their way out of wombs, lose themselves in ritualistic dances and finally shed their golden skin, before reattaching to the severed navel string. Limbo Weeks combines colorful handmade rooms and unique sculptures with ambiguous genders, illuminating thefact, that everybody is the result of cosmic coincidence and fate.
“Based off of Volger’s exhibition LIQUID GENDER, Espronceda hosted a panel debate Thursday, October 23rd, entitled ART / FASHION / GENDER: crossover at the age of fluid thought, with the aim of discussing the links between these three areas. The discussion was facilitated by Valentina Casacchia, a curator based in Milan, and the panelists included Vogler himself, the fashion designer duo Elisabet Carlota and Elisenda Oms, fashion designer Guile Rodriguez Bernat, and curator at the Museu del Disseny de Barcelona Sílvia Ventosa Muñoz.” MELANIE ERSPAMER | CULTURE TRIP
“(…) In his series of sculptures called Menina, Vogel dramatizes the form imposed on the girl by her dress, which tightens her waist and makes her almost extend horizontally rather than vertically, until her shape seems unnatural and inhuman. Thus even a (traditionally) most feminine form becomes agender and strange when taken to its extreme.
Vogler plans on exploring the idea of intersex and liquid gender even further in the future. Not all the sculptures in this exhibition initiated with the idea of intersex, though their later development and installation at Espronceda brought out the way they challenged the strict binary of gender. ‘I’ve always been bored by male stereotypes,’ he said. Now he will be working on a book that was inspired by talking with Dr. Katinka Schweizer from the University Medical Center Hamburg, a book that will broach the subject of intersex from a breadth of different perspectives, including philosophical, art historical, and medical. Volger will create artwork based on the articles included, ensuring that the discussion remain visual as well as theoretical.(…)”
“(…) 1977 in Hamburg geboren, verbrachte Fabian Vogler einen Großteil seiner Kindheit in Wien. „Geknetet“ habe er damals schon“, sagt der 38-Jährige, doch nach dem Abitur wollte er einfach wissen, ob mehr dran ist an dieser Sache, ob tatsächlich ein Bildhauer in ihm schlummert. Eine Kunstschule in Santa Cruz de La Palma, wo eine Familienangehörige lebt, sollte ihm Antwort geben und zugleich seine Spanisch-Kenntnisse aufpolieren helfen. Stattdessen verschlug es den 19-Jährigen jedoch auf eine andere Kanaren-Insel, sammelte er an der Escuela de Artes Aplicadas in Las Palmas auf Gran Canaria erste bildhauerische Erfahrungen.
Schnell fand Vogler heraus, dass er mehr wollte als „das spanische Tempo“ ihm vorgab. So nahm er – wieder zurück in Deutschland – eine Holzbildhauerlehre an der Werkkunstschule Flensburg auf. Der Funke war übergesprungen: Vogler studierte Bildhauerei an der Akademie für Angewandte Kunst in Wien und absolvierte 2007 seinen Master of Fine Art an der University of East London. (…)” RÜDIGER OTTO VON BROCKEN | SHZ
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