The ECHOS exhibition combines works that deal with mirroring and appearances, duplication, (self-) reflection and the echo of the past.
The subject is also reflected in its presentation. Works from different artists, no matter the technique, are shown as virtually belonging together, opening up additional and unexpected aspects and association spaces.
The exhibition contains: A dialogue with a psychoanalytical computer program from 1969 (‘Eliza’ by Anca Munteanu Rimnic).
A painted portrait of a woman who is holding memories and fictitious events in her hands on image blocks (‘Noli me tangere – Portrait by Leïla’) and the painted picture of a hand deciphering a message using the Lorm alphabet for the deaf and blind (‘Cassette 173’ by Chloë Saï Breil-Dupont).
A self-portrait reflected in magnetic tapes (‘EGO Gregor’) and a film still from ‘The Three Musketeers’ with Lana Turner as Milady de Winter, running a fragment of a magnetic tape through her hand on which a verse by Georg Trakl is recorded: ‘Winter has come behind the hill’ (by Gregor Hildebrandt).
A photograph of stars that only begin to sparkle and glow through the multiple fragmentation of the glass superimposed on every single star (‘La noche estrellada’) and a photograph of a reflection in water, viewed through another reflection in the frame and through structured glass (‘Heiligensee’ by Miguel Rothschild).
A photograph of a picturesque still life with a car mirror (from the ‘Chrono-matter’ series by Nuria Fuster) and another photograph by her, showing an alleged mirror reflection without a mirror of a real hand and a painted hand cut out of a theater poster.
A picture through a magnifying glass with a drawing crumpled into a ball suspended before an ink drawing (‘Blind sight’ by Simon Hehemann) and other drawings of crumpled, painted balls.
An illusion of a glass pane standing in a corner (‘2D – 3D, No. I’ by Stephan Hüsch).
An amorphous black relief that reflects the viewer (‘Searching the light, #6’) and an also-reflective amorphous sculpture (‘Implosion 1 #1’ by Ulrike Buhl).
A photograph of a setup with a mirror on a fox’s territory in which a fox seems to be looking at its reflection (from the ‘Fuchsen’ series by Wiebke Maria Wachmann).