notturno - trailer /duration 00:04:59

show video

ulrich polster - notturno /by christoph tannert Ulrich Polster, who grew up in the GDR during the era of the Cold War, has traced out his aesthetic influences in his single channel projection Notturno. The artist approaches his video pieces from a painterly angle and finds it very important to convey their visual presence to the full. For this reason he decided to project the work onto a Perspex surface.

show text

notturno II - trailer /duration 00:04:30

Sorry, currently this video can not be shown here.

show video

notturno III material - trailer /duration 00:04:30

show video

markale|2016 - trailer /duration 00:04:58

show video

ulrich polster - markale|2016 The video-collage Markale|2016 is a unification of recordings from the years 1992-95, 2006 and 2016 as well as live broadcastings in Europe during June/July 2016. In its genesis this video work refers to two former works of the artist - MISH (2006) and REPORT (2016). MISH is a travelogue about the Balkans and REPORT a recherche labor about the coverage of the balkan wars and their documentation, starting from the 10-Day war in Slovenia 1991 up to the peace treaty of Dayton in 1995.

show concept

mish - trailer /duration 00:05:16

show video

flusz - trailer /duration 00:04:59

show video

flusz /text “The willow sees the heron’s image… upside down.” This Haiku of Basho gives the parable of the hypothetical construct of world view and our individual anchoring in it. On a ride through foreign places, the glance on cultural identity separates into its fragments. The fragments arise from interior, medial, dreamt pictures, fed on yearnings, projections and surfaces. Sequences occurs which allow complex layering: the token picture is the picture of the picture of the picture.

show concept

antonov - trailer /duration 00:01:52

show video

bih - trailer /duration 00:05:14

show video

bih /text The complexity of this exhibition [Trouble with Realism] and its mental correlations might best be condensed in this short video by Ulrich Polster. For a few minutes we see, greetings from Claude Monet, a heystack. Wether we are looking at a freeze frame or a cinematic shot is hard to tell. One thinks to observe how haze scraps are slightly moving, but this might be as well an illusion.

show text

wir sind das volk - documentation /duration 00:03:55

show video

wir sind das volk /concept (excerpt) It is myself I have never met, whose face is pasted on the underside of my mind Sarah Kane, “4.48 Psychosis” 2000 This video/sound installation examines the slogan “We are the people” with regard to its social relevance in 1989 and today, focusing on its inherent meaning in the light of the misuse it experiences from society and the media, on the one hand, and its romantic idealisation on the other.

show concept

stalker material - documentation /duration 00:07:22

show video

painted with light /by arvo iho “People now nothing of their subconscious desires.” Where they are now building on the ‘boiler’ was the gate to the Zone in the film ‘Stalker’ by Andrei Tarkovski. In the industrial estate between Old Narva and Leningrad Avenues all the trips using the flatbed railway truck were filmed. At the bridge over the River Pirita the flatbed truck halted, that’s where they got off and headed in a northerly direction.

show text

dormant images /by claus löser On 1 May 1981 of all days Andrei Tarkovsky‘s movie Stalker opened in some cinemas in the GDR. The news of this curious, cryptic, philosophical and in every respect unusual work spread like wildfire in the circles of people seeking ways out of the intellectual dilemma of everyday existence under really existing socialism. How was this possible? The fact that it was from the Soviet Union of all places that a film reached us that struck these hidden chords in us?

show text

captive in time /by matthias lindner “The machine-gun-man on the … motorcycle.” The projection opens with words from the contemporary witness Arvo Iho, the only comprehensible speech in the video installation. The former intern on the set bears witness in this way to the starting point of Polster’s video – the former locations of Tarkovsky’s Stalker. In the course of the 40 minutes Polster will modify additional typical Tarkovsky scenes and ambiances/environments: the train trip and the waterfall, the large areas of fog, fire, landscapes full of ruins.

show text

going behind the images /by hajo schiff JOURNEY Everything starts with an image – and it will also end with this image. What expands in between to a 39-minute 7-channel video projection is a stream of associations, interpretations and effects derived from it. An extremely subjective world of images carries you off, not unlike its cinematic model, Tarkovsky’s Stalker, after a train journey into a ZONE which can never be exactly comprehended behind the image and between the images.

show text

frost - trailer /duration 00:02:55

show video

frost II - documentation /duration 00:02:55

show video

frost III - trailer /duration 00:03:02

show video

fracht - documentation /duration 00:11:48

show video

versprengung - trailer /duration 00:07:39

show video

versprengung /text We started off our collaboration with a common will structure. We began with a formal vision that was to bring our individual processes together, and give us clarity and security. But our tendency to quote, to recycle our own sounds ans images, and the pursuit of each our own artistic handwriting changed the structure and eventually dissolved it comoletely. At the end of this process there was a pause, a concentration on the Versprengung, the scattering, which allowed us to let something arise that was outside each of our separate worlds.

show concept

made in usa - trailer /duration 00:15:39

show video

made in usa - making-of /duration 00:02:59

show video