In the fifteenth century, in many houses and palaces in Italy, and later all over Europe, we see the emergence of ‘studioli.’ These small rooms, hidden from the public eye, became retreats where one could write, read, meditate, assemble collections of works of art, books, manuscripts, precious objects, mirrors, musical instruments, and occasionally receive friends and visitors.

Approaching the studiolo as a space that sets in motion conversations about networks of exchange, works of art as material signifiers, the circulation of objects and registers of desire and taste, we inaugurate the exhibition series with an installation by German artist Michael Krebber, from a private collection.

Michael Krebber (*1954, Cologne) has been called a dandy, lazy, self-referential, someone leading a double life. An influential painter and Professor at the Städel School in Frankfurt where he taught until 2016, Krebber often cites Paul Valéry’s “Monsieur Teste.” In the preface of his exhibition catalogue “Puberty in Teaching” (2008), Krebber writes: “Herr Krebber is an adaptation of Monsieur Teste, who is incapable of identifying with any one role, whatever it might be, and who is aware of the possibility that forgery too can be forged.”

“I would like to try to be post-author, post-dandy, post-against-authenticity, post-split-personality and so on.”

“Studiolo” is the title of an exhibition series featuring works by contemporary artists, drawn from private collections in Athens.

For Studiolo #1 we reconstruct Michael Krebber’s solo exhibition “Ohne Titel, bitte nicht wegwerfen. Die falschen Bäume anheulen” [Untitled, please don’t throw it away. Barking up the wrong tree], first shown at Galerie Christian Nagel, Berlin (January 11–March 1, 2003).