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STREAMER

feat.
Sebastian Neubauer, Daniel Vier & Svenja Wassill

on show 20 February until 11 April 2020

 

BEWARE: Due to the current situation galerie postel stays closed until the end of March. We will keep you informed on further developments via this website, our social media channels and  newsletter.

Until then we will transfer the exhibition from the analogue to the digital world regularly posting images and informations from the exhibition space on our website, on Facebook and Instagram. We thereby hope to keep a digital access to the exhibition open to the public.

Please don’t hesitate to contact us in case of questions via our gallery telephone +49 40 22 85 39 24 0 and email kontakt (at) galeriepostel.de

We hope to see you again soon & in good health,

kind regards

Claudia Postel & team

STEAMER – exhibition view: Svenja Wassill, Superlove, 2019 // Daniel Vier, Place of No Pity, 2017 // Svenja Wassill, hi, 2018

A view of the exhibition STREAMER wit the painting “Place of No Pity” by Daniel Vier, the photo (yes, indeed) “hi” by Svenja Wassill, this time from the perspective of Svenja Wassil’s “Superlove” installation.

The photo is taken from suggestive point of view with the little cuddly toys in the foreground to show the striking similarity between the form of the evil transformed Gremlins from the motion picture of 1984 and the photo “hi” by Svenja Wassill.

In the movie, little fluffy Gizmo, given as pet to a boy named Billy, is a cute and music-loving creature. Until it gets wet… Rain for example will cause multiplication. And feeding the little darlings after midnight will turn them into reptile-like monsters of frightful cruelty.

The effect of faces without the cute eyes or any other facial feature to be expected, and the effect of music and movement in Svenja Wassill’s installation will be discussed in the next post, that will include a video of the installation.

But what creature is watching the group from above. The photo shows a silhouette against the backdrop of a distant light the source of which is uncertain. It definitely has no fur – but do the two excrescences to the sides remind one of ears? Is this a rare pic of a gremlin? Suggestions by visitors to the exhibition ranged from “bald cat” to the question, whether this was a photo at all – yes, it is.

To solve the droodle would be inconsitent with the work’s idea: To question the levels of reality open to our perception; to question, whether what we see is real. To question reality itself and whether behind the thing perceived as reality wasn’t a second, probably eerie reality hidden to the eye. Or whether behind the photo there was a monster watching us…

 

 

Svenja Wassill, Superlove, 2019

Installation galerie postel 2020

Svenja Wassill, hi (photography), 2018

Sebastian Neubauer, MASHUPFORSCHUNGSREISE, 2007

Installation galerie postel 2020

The idea of introducing Sebastian Neubauer’s MASHUPFORSCHUNGSREISE online somehow contradicts the work’s purpose, as the work transfers the internet to the analogue world. At the gallery I often start by saying that the visitor ” could find the internet on the table over there” which is not quite correct as the project is limited to a research the artist executed on the topic of the technique of the mashup in 2007.

No change will ever occur in this ever-the-same order of webpages between the thick cardboard book covers. Scientific research and wikipedia entries stand next to the garish colours of online adverts that so often frame the pages of blogs and questionable websites the artist came upon during his research. Impossible to change, revise, add or technically enhance the frozen state of the book, it conserves the pages at the state of 2007 when the research was conducted.

As installation in the gallery MASHUPFORSCHUNGSREISE invites the visitor to make oneself comfortable while indulging in the experience of slowly turning the pages, no screen, no plug, hands on instead of touchpad and clicks, haptic and heavy with its 328 pages of real paper.

And of cause the installation is embedded in the exhibition context at the gallery, placed underneath a photograph by Svenja Wassill and facing a painting by Daniel Vier and another installation by Svenja Wassill just outside the photographs margins. But all this will be part of another post.

Daniel Vier, Svenja Wassill & Sebastian Neubauer

exhibition view: One corner of the gallery radiates in blue lieght. In the twilight the powdery blue of Daniel Vier’s relief  “Aporia” of 2019. Below a group of lemurs dozes peacefully in Svenja Wassill’s video “Schlummerschlaf” (2016).

What is visible? The first impression often fails us. The lemurs, just a minute ago in peaceful slumber is suddenly startled – what freightened them stays hidden from the viewer. And as archaic and hieratic as Daniel Vier’s relief might seem – its structures origins will rather be found in computergames of the early eighties…