Anne Pöhlmann’s exhibition Japanraum is based on the experiences and impressions of a three-month residency in Kyoto. The resulting mixed media works are photographs printed on textiles, which were taken in Japan, and then sewn onto various other fabrics.
The material composition of the pieces themselves follows the same path, unraveling an almost analytical, yet also synthetic, complexity. “Framing fabrics“, Patchwork textile pieces, printed designs and architectural sketches come together in what seems to be an overlapping illusionistic game of impressions, where depiction, materiality and meaning clash with each other in an otherwise gentle dialogue.
Anne Pöhlmann’s most recent work consists of photographs of basic geometric forms printed on fabric. In this series of large format works, sheets of fabric are printed with repeating imagery and presented on primed white canvases. The canvas, however, is neither an image carrier nor do its dimensions match those of the printed fabric: the… Continue reading Solo Exhibition, Clages Gallery
Die meisten fotografischen Bilder nehmen wir heute digital vermittelt auf dem Computerbildschirm oder Smartphone wahr. Die Ort- und Körperlosigkeit einer Aufnahme, die sich darin zeigt, dass sie auf unterschiedlichsten Trägern zeitgleich und jeweils leicht variierend erscheinen kann, bildet den Ausgangspunkt für die jüngste Werkreihe, die Anne Pöhlmann für ihre Ausstellung im Bonner Kunstverein entworfen hat.… Continue reading Peter Mertes Stipendium 2013, Bonner Kunstverein
In the Light of the Manipulator by Oliver Tepel The darkroom once held alchemical secrets, an image appeared on pale paper out of nothing. Its developing process was subject to many uncertainties, and the result proved intractable as a marble sculpture. Photographers liked to stress that their medium was no more than reflected and filtered… Continue reading Kurven, Clages Gallery
There are many books about photo technics and photographic know-how. Photography was born together with a very specific kind of literature that combines in equal manner subjectivity and objectivity. In those handbooks is often explained how to use a technical device but also most of them guide us through the complicated paths of composition, color adjustment and artistic perception. Photography might be one of the best examples of what the 20th century wanted to be – an emotional technical society.
14. April bis 25. Juni 2011 / Galerie Clages, Cologne Ein raumgreifendes Fotoset zieht bereits von außen durch das Galeriefenster den Betrachterblick auf sich. Als installatives Setting mit zwei hohen Stativen und einem Fotohintergrund aus fließendem und handbemaltem Stoff erinnert der zentrale, durch einen hellen Marmorimitatboden aus PVC abgegrenzte Bereich der Galerie an ein Fotostudio, das… Continue reading Anne Pöhlmann, Clages
March 7 to April 12, 2009 / Galerie Clages, Cologne Installation REVUES, 2009. Video projection of 10 still images and black satin waterfall curtain. ✧✧✧ We live in fantasy worlds. Brought to us by advertising on TV or in magazines, on bill boards and in the internet. This is nothing new. Advertising has been creating… Continue reading REVUES, Clages
January 17 to February 22, 2009 / Galerie Clages, Cologne Slide projection of 80 original slides, sound from record player and single record, equalizer, lamp, carpet tiles and printed banner. ✧✧✧ Welcome crisis! Welcome, because we need you, welcome because we love you and because we can‘t live without you. Using the right melody this… Continue reading Building Beyond Success, collaboration with Diango Hernandez, Clages
November 10 to December 30, 2007 / Galerie Clages, Cologne ✧✧✧ The word sequels, title of the Düsseldorf-based artist Anne Pöhlmann’s first solo exhibition at Galerie Clages, generally refers to continuing episodes of a feature film in mainstream cinema. Many of the new print works shown in the exhibition are based on existing video works… Continue reading Sequels, Clages