Fabian Seiz is known for assemblages of bulky garbage of bits of wood, plastic and other “poor material” — these works bear strange names such as Binärapparat für Entscheidungsunwillige (Binary Apparatus for Those Unwilling to Decide), paternoster naked or Rahmen kaputt (Frame Broken). The artist transformed the showcase into a wooden shed reminiscent of non-places or city peripheries. He made his photographs using specifically fabricated models of the site which he then enlarged to the “real” size which gave the installation an illusionist nature. As an anachronistic disturbing element in the urban surroundings, the showcase now conveyed the idea of a state of emergency of whatever kind or of a civilization desert in the heart of the metropolis. As often, Fabian Seiz thereby confused the viewers and invited them to an artistic mystery game transcending issues of production and looking for the sense of this strange barricading. Of course, Fear of, as the artist himself had entitled the work, provided no absolute answer. It rather provoked in the viewers many kinds of associations of frightening situations that integrate themselves seamlessly into the daily flood of news messages about catastrophes and accidents.
In connection with his sculptures, Fabian Seiz tends to speak of “thinking machines” — a description that turns to the viewers as an instruction for action, but which conversely also applies to his working method: the artist binds together raw set pieces in the sense of a bricolage, a “Bastelei”, and braces them against one another. In line with the French ethnologist Claude Levi-Strauss and his “wild thinking,” now the socially menial and discarded finds its exaggerated equivalent in the artwork. The allure lies in the ironic negotiation of traditional models to explain the world and conventional perspectives. As an artistic principle, multifacetedness and a high level of abstraction mark Fabian Seiz’s entire work, which represents catalytic processes. It culminates in a questioning of boundaries that — as in Fear of — marks the dissolution of the same by drawing boundaries marking the space.
schaufenster KÖR at Kunsthalle Vienna public space karlsplatz, Treitlstrase 2, 1040 Vienna
*1975 in Vienna, lives and works in Vienna