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Raum 1
SWAMP – GODsDOGs & Lara Azul
Swamp
Lara Azul & GODsDOGs
Banner, Velum-Tex Samba Backlight, LED tubes, wood, cardboard, 180.2 x 270 cm 2018
2018
“The special colour scheme and the coincidence of negative image and positive in a common pictorial space are due to the technique of pseudo-polarisation, which is also known as the Sabattier Effect. The images show children in visually charged rural or urban environments and thematise the widening demographic gap (added by the editor)." (Mark Gisbourn from "Achtung", Rohkunstbau XXIV)
The child seems to be looking for a way through the tangle of branches in the marshland. This dreamscape is an apt image for wading through the tangled memories and traces that trauma leaves behind in a person. The unspeakable, which hides in the subconscious is almost impossible to untangle and requires the utmost attentiveness in order not to drown in it.
Am Anfang war das Feuer – GODsDOGs & Lara Azul
In the Beginning was the Fire
Lara Azul & GODsDOGs
Lightbox sculpture (backlit print, foil collage, cardboard, lightbox, mixed media) 170 x 140 x 60 cm,
2012
Drawings and Watercolor paintings are applied to the monolithic object, which resembles an archaic altar carved out of stone - dreamlike fragments of memories of traumatic events, such as a staircase from the collapsed sweatshop factory in Bangladesh, as well as autobiographical scenes. The artist duo were concerned with the question: What remains when everything has been taken from people?
The glowing figure also seems to ask: "So, what now?"
Lara Azul sees it as an expression of the divine and is convinced that a confrontation with the naked self actually offers the possibility of (post-traumatic) growth.
Clanchief –
GODsDOGs & Lara Azul
Clanchief
Lara Azul & GODsDOGs
Banner, Velum-Tex Samba Backlight, LED tubes, wood, cardboard, 180.2 x 270 cm
2018
"The psychedelic aspect transforms the image banner into a pictorial, enchanting phantasmagoria" (Mark Gisbourn from "Achtung", Rohkunstbau XXIV).
Lara Azul's interpretation of this work is a psychological one: the two figures could reflect two parts of the "self". The girl thus stands for the fragile "inner child"; the motherly figure sitting on the tree trunk stands for the role of the adult woman. Like a good queen or the chieftain of the clan, she knows how to give us advice and stands by our side with comfort and defensive protection even in (traumatic) crises.
Die Wächterinnen – Lara Azul
Die Wächterinnen
Lara Azul
Light tubes, marine aquarium pumps, Duratrans print, 2 x approx. 200 x 25 cm (diameter)
2010
As if passing through a portal, you stroll by the figures encased in neon light tubes, standing as guardians before the gateway to the world of the subconscious.
These figures can be interpreted as metaphorical embodiments of protective mechanisms, using triggers to prevent overwhelming inundation by fragmented traumas.
However, they can also be seen as symbols of the inner forces that help people to deal with their traumas and grow from them.
Raum 2
GEISTERFAHRER – GODsDOGs
Geisterfahrer
GODsDOGs
Oil varnish and pigment pencil on canvas, approx. 80 x 100 cm
2014
The composition of the painting is inspired by a speed camera photo. The ghost driver behind the wheel appears confused and misguided. The mirror, seatbelt and steering wheel seem to dissolve, revealing a gloomy jumble of detailed dream(a)scenes. In addition to autobiographical memories, Arnold Böcklin's Toteninselvarious film scenes and a royal death mask.
Only by glancing in the rear-view mirror could the driver become aware of a bright exit from the clutches of oppressive gloom.
YES. WE … – Cornelia Renz
Yes. We …
Cornelia Renz
Pigment pencil on two sheets of acrylic glass 140 x 110 x 6 cm.uf Musterheimat (2), Digitaldruck, Wandtapete, 188 x 244 cm
2019
Cornelia Renz's working method is based on the use of two panes of acrylic glass, in which the front pane is usually only marked from behind and the back pane from both sides. Accordingly, the individual layers do not work as a picture on their own, but are based on the principle of collage in order to complement each other in the overall view. In terms of content, Renz often uses quotations from art history and popular culture. Here, for example, the well-known raised arm of the woman with a polka dot headband on a poster for the armaments industry during the Second World War. In the wallpaper created especially for the work, Renz combines abstract elements of the flags of Bavaria, Israel and Palestine.
Canine Cathedral (Beichtstuhl) – GODsDOGs
Canine Cathedral (Beichtstuhl)
GODsDOGs
Installation, Mixed Media, 220 x 100 x 240 cm
2009-2013
The walk-in installation explores the quest for healing and redemption against the backdrop of traumatic experiences. Inspired by the dovecote from the film Ghost Dogthe installation touches on the themes of guilt and the dual role of victim and perpetrator. The film poses the question of the extent to which individuals who turn from victims to perpetrators are responsible for the circumstances. Walking around the installation, the other side reveals itself as a confessional in which a collaged sculpture with drawings sits enthroned instead of a priest.
This installation invites you to sit in the confessional, to become part of the artwork yourself and to explore whether the aura of the numinous that the filigree sculpture exudes can be experienced during quiet contemplation.
HEIMATHUNGER – Cornelia Renz
Heimathunger
Cornelia Renz
Pigment pencil on two sheets of acrylic glass 140 x 100 cm. Digital print, wallpaper 243 x 183 cm
2019
In this work, the artist explores the complexity of the concept of home based on her own experiences. She herself comes from the Allgäu region, studied in Leipzig, has now been living in Berlin for a long time, but has in the past also lived and worked in Israel for many years. The word "Heimat" is reversed here, because in both the Arabic and Jewish language areas one reads from right to left. In her work, she questions the ever-changing concept of "home" and addresses related aspects such as identity and belonging, which can trigger social and individual traumata.
FALADA – GODsDOGs
Falada
GODsDOGs
Oil, varnish and drawing on canvas, 200 x 130 cm
2014
In a dream-like church, between the rows of seats, the chained horse Falada rears up. An image of being trapped in traumatic memories or the psychological entanglement of the consequences of trauma. The painting is rich in symbolism on themes such as death, life, happiness, battle, etc. - for example, the dragonfly was interpreted by the samurai in Japan as a symbol of courage and victory after battle.
The title is inspired by the horse Falada from the Grimm fairy tale Die Gänsemagd. As a loyal companion to the princess, who is betrayed by her servant, the magic horse remains her only confidant. Falada is killed on the orders of the false princess. Hanging on the archway, however, the horse's head still speaks words of truth.
In the work also on display Alliothea by Lara Azul refers to this very story and continues the story.
HILLTREE – GODsDOGs
Hill Tree
GODsDOGs
Light box (Velum-Tex Samba Backlight, LED, wood), 130 x 90 x 12 cm
2020
For GODsDOGs, this tree, next to which two boys can be seen, illustrates the fractal structure of self-similarity that is prevalent in the forest. (e.g. visible in the branches of a tree in which a twig is structured like a branch and the branch is a miniature version of the tree). Fractals describe complex structures and form the DNA of nature, which are described in the mathematician Benoit Mandelbrot's formulae as so-called "roughness".
"Fractal" comes from the Latin word "fractus" and means "broken".
BLAUROSA – GODsDOGs
Blaurosa
GODsDOGs
Light box (Velum-Tex Samba Backlight, LED, wood), 130 x 90 x 12 cm
2020
The subject is reminiscent of a modern fairy tale. Deep in the forest, a girl sits on a tree and lets her legs dangle with supposedly childlike light-heartedness. Children are often not believed when they talk about traumatic experiences. So they retreat into a fairytale world of their own. High above the ground, the protagonist seems to distance herself from reality.
The vibrant colours and sharp image quality of this process make the shadows appear bright. Possibly an allegory for protective mechanisms that can initially be helpful in dealing with traumatic experiences.
Raum 3
FURY – Cornelia Renz
Fury
Cornelia Renz
Pigment pen on two panes of acrylic glass, 230 x 170 x 6 cm (two-part).
2021
Fury refers to Zionist posters and the use of warlike comic motifs in Roy Liechtenstein's work. The image questions the utopia of an equal social order in which new immigrants and old residents, regardless of religion or ethnicity, live together peacefully in Palestine, as described in the utopian novel Altneuland (1902) by the Austrian-Jewish publicist Theodor Herzl. The female nude, who adopts the dominant gestures of a 'stallion', refers to the reclamation of the new land, which is accompanied by a warlike defence of the territory. A crashing aeroplane and falling women's bodies can be seen in the background of the work - a reference to the senselessness of the traumatic conflicts in the region, which continue to have a painful and current impact on all sides to this day.
OBJEKTE – GODsDOGs
Brandstifter (Firestarter)
GODsDOGs
Digital print on Hahnemühle Photo Rag Baryta, 50 x 35 cm
2018
Knochen
GODsDOGs
Cardboard, papier-mâché, fibre-reinforced plastic filler, 120 x 40 x 20 cm
2017
Armor
GODsDOGs
Watercolour pencil on cardboard, papier-mâché, fibre-reinforced plastic putty, 60 x 40 x 25 cm
2017
Ohne Titel (Objekt 2)
GODsDOGs
Watercolour pencil on cardboard, papier-mâché, fibre-reinforced plastic putty, 95 x 36 x 58 cm
2017
The basic framework of the sculptures, which combine angular, cubist elements with round, amorphous forms, is made of cardboard and then moulded over with a specially developed compound, onto which collages and drawings are applied. Some of the objects can be worn on the body - like part of a suit of armour - and thus express inner struggles and protective functions.
A smaller splash. Die. – Cornelia Renz
A smaller splash. Die.
Cornelia Renz
Pigment pen on two sheets of acrylic glass,
with wallpaper (Emser Depeche blue), mural, wallpaper finds, 150 x 250 cm
2013
Raum 4
Entrance – GODsDOGs
Entrance
GODsDOGs
Digital photo print on Hahnemühle Museum Etching Paper on Alu Dibond, 50 x 33.4 cm
2020
Zauberwald – GODsDOGs
Zauberwald
GODsDOGs
Digital photo print on Hahnemühle Museum Etching Paper on Alu Dibond, 60 x 80 cm
2018
WV II-188 Gleichnis I – Gerenot Richter
WV II-188 Gleichnis I
Gerenot Richter
Etching and aquatint, 39.5 x 55.5 cm
1983
The earliest sheet in the parable series reflects on life after a catastrophe and is thematically closely linked to the series Nach dem Sturm connected. The remains of trees extend into the field of vision on both sides of the foreground, including a stump with roots and a torn-off treetop. On closer inspection, however, some conciliatory elements can also be recognised, such as the bird sitting on the branches at the top edge of the picture or the lovers who feel safe in the plant cover in the foreground. Despite the destruction, the picture therefore also conveys hope of revival and reminds us that even seemingly hopeless circumstances can be overcome.
WV II-132 Nach dem Sturm II – Gerenot Richter
WV II-132 Nach dem Sturm II
Gerenot Richter
Colour etching on 2 plates, mezzotint, 43.5 x 51 cm
1980
WV II-142 Nach dem Sturm V – Gerenot Richter
WV II-142 Nach dem Sturm V
Gerenot Richter
Colour etching on 2 plates, mezzotint, 43 x 51.5 cm
1981
LRose – GODsDOGs
LRose
GODsDOGs
Digital photo print on Hahnemühle Museum Etching Paper on Alu Dibond, 50 x 46,5 cm
2020
Yellow King – GODsDOGs
Yellow King
GODsDOGs
Digital photo print on Hahnemühle Museum Etching Paper on Alu Dibond, 100 x 133 cm
2020
The fantastic colouring of this series is the result of a special process used by the duo GODsDOGs, which they call digital "pseudo-solarisation" and in which parts of the image appear positive and others negative. This gives the photographs a painterly quality.
In many myths and literature, the forest symbolises the unconscious or the depths of the inner self. Crossing a dense forest is often depicted in old stories as a challenging endeavour. If the beauty of nature entices you to deviate from the predetermined path, dangers lurk in the dense undergrowth. The situation is similar with traumatic experiences: They can cause a person to stray from their usual path in life and get lost in the confusing and bewildering realms of the subconscious, making it difficult to navigate their own soul life.
WV II-131 Nach dem Sturm I – Gerenot Richter
WV II-131 Nach dem Sturm I
Gerenot Richter
Colour etching on 2 plates, mezzotint, 43.5 x 51 cm
1980
WV II-141 Nach dem Sturm IV – Gerenot Richter
WV II-141 Nach dem Sturm IV
Gerenot Richter
Colour etching on 2 plates, mezzotint, 44 x 51.5 cm
1981
WV II-153 Nach dem Sturm VI – Gerenot Richter
WV II-153 Nach dem Sturm VI
Gerenot Richter
Colour etching on 2 plates, mezzotint, 43 x 53.5 cm
1982
In his highly acclaimed graphic series Nach dem Sturm Gerenot Richter processed the effects of a devastating storm on the forests around Nordhausen and the historic Hohenrode park in 1980. The enthusiastic observer of nature captures the shattered and uprooted trees after the catastrophic storm and creates images of destruction such as he had not seen since the war, according to a self-testimony. The devastated nature thus unfolds not only as a symbol of the vulnerability and transience of the human body, but also as an allegorical representation of traumatic experiences from the past, which often branch out deep into the subconscious.
Rost und Knochen – GODsDOGs
Rost und Knochen
GODsDOGs
Digital photo print on Hahnemühle Museum Etching Paper on Alu Dibond, 50 x 46,5 cm
2020
Ziegenturm – GODsDOGs
Ziegenturm
GODsDOGs
Installation, wood, cardboard, Epson prints, 160 x 90 x 240 cm
2015
The grotesquely proliferating large sculpture seems to have a life of its own. It staggers like an animal creature and almost threatens to fall. The architectural miniatures in its "belly" represent places that the artists associate with terrible or uplifting experiences, such as the eponymous tower, which allows goats to climb even in the pasture. The fragmented, complex structure of the installation conveys the surreal and confusing nature of dream and trauma.
WV II-263 Gleichnis III (Eustachius) – Gerenot Richter
WV II-263 Gleichnis III (Eustachius)
Gerenot Richter
Etching and aquatint, 50 x 65 cm
1987
Based on the appearance of an uprooted tree crossing the field of vision, Richter links this image to the legend of Eustachius by quoting Albrecht Dürer's Der Heilige Eustachius (around 1500/1502). Only the hill on the right in the background and the castle that can be recognised on it were taken over, whose intact architecture contrasts strongly with the ruins and the destroyed nature in the foreground. The ruin shows part of the castle in Pückler Park Bad Muskau, which was destroyed in the war and has since been rebuilt. On the right in the centre ground, the artist has placed a woman playing the flute, a quote from the etching Flötenspielerin (1972) by Horst Janssen, whose art Richter greatly appreciated.
WV II-140 Nach dem Sturm III – Gerenot Richter
WV II-140 Nach dem Sturm III
Gerenot Richter
Colour etching on 2 plates, mezzotint, 43.5 x 51.5 cm
1981
WV II-210 Der ungetreue Hirt (Hommage à Bruegel) – Gerenot Richter
Raum 5 Rotunde
What I am – Thomas Klingenstein
What I am
Thomas Klingenstein
Mixed media on paper, 210 x 142 cm
1994
The image What I am shows a tall - presumably - African woman. Standing tall from the viewer's perspective. Her gaze is sublime and proud, majestic, emphasised by the towering headdress and the strong blue of the background. An apt image for empowerment and so-called post-traumatic growth, which has also been the subject of psychological research for several years.
Das Eine durch das Andere zu erfahren – Thomas Klingenstein
Das Eine durch das Andere zu erfahren
Thomas Klingenstein
Pastel on paper, 134 x 68 cm
2023
Schamanin – Thomas Klingenstein
Schamanin
Thomas Klingenstein
Pastel on paper, 120 x 89 cm
2023
In their search for solace and healing, many people turn to spiritual and shamanic rituals. Thomas Klingenstein's work is inspired by the multifaceted and deep spirituality he encountered while travelling through Asia. In his work, Klingenstein creates a reduced visual language until the subject is revealed in its pure essence.
Raum 6
Trigger warning:
The videos and descriptions contain explicit content that may be perceived as disturbing and unsettling for some visitors.
3:81 PM on a sunny afternoon. Blue skies. Drowning in myself. Again. – Saralisa Volm
3:81 PM on a sunny afternoon. Blue skies. Drowning in myself. Again.
Saralisa Volm
Videoinstallation, Mixed Media
2024
The installation shows a poetic and at the same time explicit depiction of the possible consequences of trauma.
Devastating experiences, such as (sexual) boundary violations, are sometimes split off from conscious perception, and not only in childhood. This mechanism initially serves to protect the overburdened human system, but leaves profound traces in the psyche, the intensity and form of which vary. Many survivors of traumatic experiences are diagnosed with borderline - a disorder of affect regulation accompanied by profound disturbances in self-image. These individuals sometimes have exceptionally positive characteristics, but can unexpectedly fall into destructive experiences and behaviour as a result of triggers. Self-harming behaviour, such as scratching the skin with shards of glass or similar, can convey a feeling of control.
On the blood-like red liquid, the video projection, broken by shards, shows excerpts from this act, which has been part of normality for years for far more people than is generally known.
Fatal Global – Saralisa Volm
Fatal Global
Saralisa Volm
Videoinstallation, 03:31 min
2021
The title of the video work is a play on words that combines the terms "globules" and "global". It takes a critical look at questionable healing methods that are becoming increasingly popular worldwide. Beyond homeopathy, she addresses pseudo-spiritual approaches, such as toxic positivity through superficial (self-)affirmations, which can ultimately act as a slap in the face for those affected by traumatic experiences.
Gewitterbrust – Lara Azul
Gewitterbrust
Lara Azul
Digital photo print on Hahnemühle Rag Baryta Paper on Alu Dibond, 52 x 42 cm
2019
Raum 8
Chthonia – Lara Azul
Chthonia
Lara Azul
Digital Print on Hahnemühle Museum Etching 122 x 111 cm
2018
Chthonic gods, also known as Chthonioi (meaning 'belonging to the earth'), are deities associated with the underworld in Greek mythology. Some bring life and fertility, while others symbolise death and destruction. The work Chthonia combines the supposedly incompatible. This creator of life oscillates between dominatrix and goddess. Despite the BDSM set-up and the extreme choice of colours, the image is borne by a deep harmony and loving affection.
Alliothea – Lara Azul
Alliothea
Lara Azul
Installation, Mixed Media,
2021
The corners of the blue exterior are coloured gold, thus referring to the Japanese tradition of Kintsugi, in which broken pieces are glued together in such a way that the broken areas are highlighted in gold. Kintsugi is also known as "the visible soul of things".
As the picture also on show in this exhibition: Falada the work Alliothea has its origins in the fairy tale of the goose maid. Here the princess, betrayed of her identity, reveals her suffering to an iron furnace because she does not dare to reveal what has been done to her. Inside, the collage hints at the complexity of the inner emotional world and reveals abysses and (nightmare) dream images that lie on top of each other and peel off like old wallpaper. Like the oven into which the king's daughter crawls, the walk-in installation creates a safe space to express an unspoken truth and to write something from the soul.Lara invites visitors to let go of their inner burdens through the act of throwing their writing into the artwork.
The artist will ritually burn the notes on Beltane (a pagan festival on the eve of 1 May).
True Grit – Lara Azul
True Grit
Lara Azul
Digital photo print on Hahnemühle Museum Etching Paper on Alu Dibond, 220 x 106 cm
2020
By partially overexposing and underexposing the original photograph, colour reversals are created in which parts of the image appear positive and others negative. This "disturbance" creates surreal colour changes that lend the image a fantastic and haunting atmosphere. This creates an intermediate space, a space between photographic realism and painterly fiction, which seduces the viewer into a poetic, dreamlike world.
The title True Grit can be translated as "true grit" and quotes a film in which a girl sets out to avenge the injustice done to her family. The work poses the question of the extent to which atonement is satisfying and can be helpful in overcoming trauma.
¡Mira! – Lara Azul
¡Mira!
Lara Azul
Fine Art Print, 47,5 x 37,5 cm
2009
¡Mira! could be translated as "Look!", "Open your eyes!" or "Look here!" and thus directly opposes the tabooing of traumatic experiences. In the Bible, as in the fairy tale, it becomes clear that only those things that come to light and are called by name can be healed.
Ich lasse dich nicht, du segnest mich denn – Lara Azul
Ich lasse dich nicht, du segnest mich denn
Lara Azul
Acrylic, lacquer, frottage on canvas, 180 x 130 cm
2023
The scene depicted is a re-enactment of the biblical story of Jacob's battle with the angel, in which the roles are now played by women.
This work is inspired on the one hand by a Parisian fresco by Eugène Delacroix (1861) and on the other by a scene from the film Tango Lesson (1997) in front of this very painting. The protagonist wants to "know it again" and, like Jacob, persistently asks for a blessing for her artistic work, whereby she herself carries the divinity within her and at the same time struggles as a supplicant (with herself).
In this way, the fight transcends into a dance that also symbolically visualises the overcoming of trauma.
Café
Look down, you’re talking to your highness – Lara Azul
Look down, you’re talking to your highness
Lara Azul
Digital print on Hahnemühle Photo Rag Baryta, Mixed Media, 120 x 135 x 37 cm
2017
The bright colours, together with the sculptural elements that frame the portrayed figure, make it seem like a gateway to a magical dream world. The installative elements are reminiscent of bones and raw flesh and possibly symbolise the traumatic perils that the protagonist has overcome. The only question that hangs in the air is the extent to which the haunting gaze of the sitter actually invites submission or whether it is intended to inspire the viewer to self-empowerment.
Guerre des Plumes – GODsDOGs
Guerre des Plumes
GODsDOGs
Digital print on Hahnemühle Photo Bag Baryta, cardboard, wood, collage, C-prints, varnish on multi-layer cardboard, 195 x 195 x 37 cm
2016
Crazy (dreiteilig) – Cornelia Renz
Crazy (dreiteilig)
Cornelia Renz
Linocut
2017
Magician – GODsDOGs
Magician
GODsDOGs
Digital photo print on Hahnemühle Museum Etching Paper on Alu Dibond, 66.5 x 139 cm
2020
The duo GODsDOGs use a technique they call "digital pseudo-solarisation" to give their photographs a painterly quality by contrasting positive and negative image segments. The resulting rich colours and the radiance of the image open up a world that is marked by both the carefree depth of dreams and the shadows of trauma. With his penetrating gaze, the "Magician" seems to ask whether we leave traumas as taboos or decide to consciously look them in the eye.
Filmstill aus Schweigend Steht der Wald – Saralisa Volm
Filmstill aus Schweigend Steht der Wald
Saralisa Volm
Hahnemühle FineArt Pearl 285g laminated on Alu-Dibond 3mm
40 x 96 cm
King Kong Girl (dreiteilig) – Cornelia Renz
King Kong Girl (dreiteilig)
Cornelia Renz
Linocut
2018
Mirror of heaven (Kitch-iti-kipi) – Lara Azul
Mirror of heaven (Kitch-iti-kipi)
Lara Azul
Watercolour, 39 x 29 cm
2021
Traces of Witchcraft, Prophecy and Leftovers – Lara Azul & GODsDOGs
Traces of Witchcraft, Prophecy and Leftovers
Lara Azul & GODsDOGs
Light box, backlit film, artificial leather, neon tubes, wood
2011
This photographic work is taken from a dance performance showing a ritual ceremony. Three dancers performed a choreography within an artistic installation as a magical act with the intention of changing an unpleasant situation of helplessness due to traditional power structures.
The artistic result celebrates the realisation of this prophecy and the paths of light captured by long exposures can now be seen as lines in time and space.
Filmstill aus Schweigend Steht der Wald – Saralisa Volm
Filmstill aus Schweigend Steht der Wald
Saralisa Volm
Hahnemühle FineArt Pearl 285g laminated on Alu-Dibond 3mm
40 x 96 cm
Rubigo et Ossa – GODsDOGs
Rubigo et Ossa
GODsDOGs
Digitaler Fotodruck auf Hahnemühle Museumsradierpapier auf Alu-Dibond, 60 x 80 cm
2010
The underlying photo shows a Norwegian landscape.
Rubigo et Ossa is Latin and stands for "rust and bones" and alludes to a French film drama in which two people reach the light after trauma through struggle (internal and external).
Wurzelkrone – GODsDOGs
Wurzelkrone
GODsDOGs
Digital photo print on Hahnemühle Museum Etching Paper on Alu Dibond, 40 x 60 cm
2020