Sebastian Neubauer, Daniel Vier & Svenja Wassill


BEWARE: Due to the current situation opening hours vary from May on:

The exhibition STREAMER is extended until End of May

and will be open on Wednesdays, Fridays and Saturday 2 – 5 pm

In accordance with the regulations for shop visits in Hamburg we politely ask you to wear a mask when visiting the gallery and keep the distance as required.


please visit the exhibition’s web presence here

Sebastian Neubauer, 1a tradition des images, 2020

Ceci n’est pas une souris reads the flag Sebastian Neubauers Mickey Mouse waves to the viewer regarding it through the gallery’s window. It is toying with the famous “Ceci n’est pas une pipe” from Magritte’s „La trahison des images“ (for a view of Magritte’s painting please click here).

But is it really a Mickey Mouse? Its form seems strange to the eye: Somehow elongated, less cute and round than the Disney original one is used to. But the strange features were not introduced by Sebastian Neubauer, they are part of the “Mickey Mouse” as it was produced in the GDR and is still on offer on ebay: With its different colouring, sometimes blue, white, green, grey or brown bodies, the form of the GDR mouse was not the first thing to struck the eye. Sebastian Neubauer painted the mouses in the colours known from the Disney mouse, with the strange effect that the unfamiliar form becomes even more obvious.

It is not a smile (personally it reminds me of the Calvin and Hobbes comic strip „That was a smile! I smiled!“ by Bill Watterson…), it is not a pipe and it certainly is not a Mickey Mouse. What is true, what isn’t? A question that was posed before as Magritte’s contribution to the discussion proofs – a depiction of a pipe will not meet the smoker’s demands as a real pipe does.

But with today’s impact of fake news to pose the question is all the more urgent. Tools today can replace faces in video chats. To take part in a video chat disguised as Elon Musk – not a problem. At least not for the one deciding to do so. The problem might seem different to Elon Musk, whose personality rights are violated, and it might seem different to the other participants in the chat, too.

And which tradition of images might the Mickey Mouse refer to, uncovering? Disrupting? Is it the one of the image of Mickey, the one of how East and West were handling each others cultural symbols and traditions during the Cold War and after? The one of Magritte’s painting? Of appropriation art? „1a tradition des images“ touches reflection on art on so many levels while at the same time laying bare the consequences of the inner German division and the problem of the fake that is so crucial today.

Sebastian Neubauer, Chimora (Bruna) 2019

Sebastian Neubauer, Chimora (Bruna), 2019

Today’s post is about one of Sebastian Neubauer’s chimeras. The idea originates from a creature described in Greek mythology as consisting of a composite of lion, goat and snake. Breathing fire it is a monstrous being and danger to men and beast.

Neubauer assembles a frog, a scorpion, a grasshopper and black wings in his Chimora (bruna) on top of a pink flower decorating a glittery base. But the assembly is no peaceful one. Are the grasshopper’s legs part of the scropion? Or does the scorpion control the other creatures?

The frog in any case and in opposition to the usual depiction of a chimera does not seem to be part of the creature’s body. Instead, he attacs the scorpion’s head that he seems to decapitate. In the tale of the frog and the scorpion, the scorpion takes on the aggressor’s role while the frog is the victim poisoned by the scorpion he so friendly offered to transport to the other side. Neubauer apparently switched roles of perpetrator and victim.


Sebastian Neubauer, Gilbhart, 2013, Druck (mehrfarbig), Feder, Regenbogenfolie, Übertragungsfolie

Sebastian Neubauer, Chimäre, Grafik, 2013

Sebastian Neubauer, Chimäre, Grafik, 2013

Sebastian Neubauer, Chimäre, Grafik, 2013

Sebastian, Neubauer, Daymion h'Urs – The Extra Queen, 2013, Druck (mehrfarbig), Glitzerfarbe, Goldschrift

Sebastian Neubauer, Chimäre, Grafik, 2013

As early as 2013 Sebastian Neubauer had worked on a print series of chimeras, some of which in collaboration with Gunter Gräfe. They were on show in his solo exhibition at galerie postel in 2015 and amongst others show sheep with lion’s paws and hares with zu sehen und zeigen u.a. Schafe mit Löwenpranken und Hasen with a wood louse’s extremities. Silver thread, glitter varnish and feathers are just some of the materials Neubauer carefully applies to the manually individualised prints.

In 2018 Neubauer for the first time introduced chimeras as objects to the exhibition “DER BILDUNG”: phototechnical equipment crowned a giraf’s body and a small red heart timidly throbbed in a mouse trap. (In the back of the photo taken in the exhibition the chimera print series shown them. They are not part of today’s exhibition, but the digital presentation in this case allows for an extension of the exhibition space).

Chimora (Bruna) stems from the same mindset. In its glittery pinkishness a monstrosity shines through. Probably even more than in any other of Neubauer’s chimeras that hitherto did contain dangerous or gruesome elements. But these manifested themselves only at a closer look. Elsewise  Chimora (Bruna) – is any of the elements the creature consists of really harmless? We turn away in horror…

Ausstellungsansicht “DER BILDUNG”, galerie postel, 2018

Daniel Vier, Diamont, 2017

Daniel Vier, Distrikt, 2017

The works “Diamont” und “Distrikt”, both 2017 by Daniel Vier, are hanging on top of each other in the current exhibition. With the same measurements (130 x 110 cm) and painted with the same materials – silver laquer and acrylics – they are obviously related and shall be introduced together on the website.

Like “Place of No Pity”, that was described in an earlier post, they both like to toy with perspective. With its signet-like character Diamont is only seemingly easier so solve than the work “Distrikt” that leads the observer into an Escher-like labyrinth confusing top and bottom.

The signet-character of the arrow dominating the Diamont-painting adds to an impression of unambiguous two-dimensionality, while at the same time pointing at a number of lines apparently leading the observer’s gaze into a central perspective with an imaginary focus point. But following the different lines into the images center, it soon becomes obvious, that each line follows its own perspective, some even interrupted half-way.

Is the gaze led into the image like we are used to from the idea of a central perspective? Or does it remain on the surface stressed by the signet-like style of the arrow? The material chosen for the painting continues the charade: While matte acryl paint leads the observer’s gaze into the paintings depths, the reflection of the silver lacquer blocks it, closing up the surface to anyone interested in entering the central perspective…


Sebastian Neubauer, twitter project “longing birds”, 2012

Installation at galerie postel, STREAMER, 2020

To introduce the longing birds project online is just another absurdity of the current online situation as at the gallery a QR Code constitutes part of the installations charm. It connects the offline gallery space to the online world just as the budgies connected to the big wide world via the internet.

And furthermore introducing the longing birds project today under the current situation reveals the way an observer’s interpretation of a work of art can vary, depending on his personal circumstances.

When I (Claudia Postel – the author) came across this project for the first time, I was intrigued by this ironic comment on our daily use of Social Media: With a group of birds spending their days in an aviary in Hannover Langenhagen – at a far distance to any of the places the background of the pictures evoke, and never able to travel to any of them.

The beautiful images are “fake”: A camera operating with motion detector installed in front of a greenscreen reacts to the movements of the birds in front of its lens. An algorithm generates images from an Australian version of Google for the greenscreen-backdrop, all connected to search keywords like “mountains”, “beach” etc., and twitters the results.

But are these images any less true than today’s carefully enhanced selfies posted from so many places only visited for their selfie spots?

Today, 5 April 2020, finds us all reduced in our freedom of movement due to the current situation. We all would need a greenscreen to portray us at beaches in the South Seas or mountains. And suddenly another aspect of the work becomes more apparent: Dream destinations, the idea of the perfect moment that is worth sharing with the rest of the world.

The longing birds have stopped twittering, but their posts can still be seen on https://twitter.com/longingbirds . The images from the series selected for the exhibition can be seen at the top of this post. They have been digitally printed in an edition of 3+1, but any of the 2428 images twittered can be acquired under the same condition. (Please don’t hesitate to contact us!)