Stephan Huber was born in Germany, in Allgäu, in 1952. His work is rich, magnificent, but at the same time, cold and pitiless in its continuity, ironic, obscure critique in the comparisons of the political and social situation.
The point of departure of his work can retrieve itself in the student movement of ‘68, that involved also the Academies of Beautiful Arts (that is he suggested a few reflections on the position of the artist in the company).
Huber was leaning towards giving his theoretical reflections a particular form, already from the first works… in this way his works, even if splayed out and always at the limit of breaking, they used to load with prickly, corrosive deliberateness. In many of these works, Huber gathers objects belonging to daily life and uses them, in a certain sense, as sculptures, without a material transformation of the single elements: what counts is the choice and disposition of the objects.
The process with which he arrives at the definition of “his” image has, however, a precise planned origin; it does not depend on the randomness of found objects; therefore his is not an operation of dada or new dada characters; there is no reference to the ready-made of Duchamp.
On the contrary, Huber sometimes intervenes on the objects, almost attempting to ennoble them …
Lara Vinca Masini