c.c. - cut_corona
c. c. - cut_corona - ulrich polster /text
ulrich polster - c. c. - cut_corona
c. c. - cut_corona started with the temporary closure of my gallery and the request to contribute something to their online outsourcing of the program. This impulse strengthened my intention to record this extraordinary time.
c. c. - cut_corona /data
c. c. - cut_corona - 10 /video
c. c. - cut_corona - 10 /duration 00:05:29
c. c. - cut_corona - 09 /video
c. c. - cut_corona - 09 /duration 00:03:43
c. c. - cut_corona - 08 /video
c. c. - cut_corona - 08 /duration 00:00:41
c. c. - cut_corona - 07 /video
c. c. - cut_corona - 07 /duration 00:02:25
c. c. - cut_corona - 06 /video
c. c. - cut_corona - 06 /duration 00:01:49
c. c. - cut_corona - 05 /video
c. c. - cut_corona - 05 /duration 00:03:31
c. c. - cut_corona - 04 /video
c. c. - cut_corona - 04 /duration 00:02:32
c. c. - cut_corona - 03 /video
c. c. - cut_corona - 03 /duration 00:02:11
c. c. - cut_corona - 02 /video
c. c. - cut_corona - 02 /duration 00:02:24
c. c. - cut_corona - 01 /video
c. c. - cut_corona - 01 /duration 00:04:04
c. c. - cut_corona - 00 /video
c. c. - cut_corona - 00 /duration 00:00:57
notturno
notturno - trailer /video
notturno - trailer /duration 00:04:59
notturno /data
notturno /data
1-channel video/sound installation
Sound collage: Ulrich Polster
Sound mastering: Boris Vogeler
Narrators: Liis Kolle, Erman Jones
00:31:44 min, HD, stereo
2013-2015
Galerie Jocelyn Wolff, Paris
galeriewolff.com
notturno - christoph tannert /review
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.
notturno II
notturno II - trailer /video
notturno II - trailer /duration 00:03:14
notturno II /data
notturno II /data
1-channel video/sound installation
Sound collage: Ulrich Polster
Sound mastering: Boris Vogeler
Narrators: Liis Kolle, Erman Jones
00:23:48 min, HD, Stereo
2017
Premiere: 22. 06. 2017, Festa dell’Estate, Villa Massimo, Rome
villamassimo.de
notturno II /views
notturno III material
notturno III material - trailer /video
notturno III material - trailer /duration 00:04:30
notturno III material /data
notturno III material /data
2-channel video/sound installation
synchronized, loop
00:04:17 min, HD, Stereo
2017
notturno III material /text
notturno III material /text
Notturno III / Material is a 2-channel video installation, perceived during my stay in Italy at Casa Baldi/Olevano. After Notturno I (2013) and Notturno II (2017), the first two parts of an autobiographically tainted trilogy about aesthetic impressions embedded into the horizon of contemporary history, Notturno III / Material will give insight into the invention of images and the backgrounds of my way of operation. It will form the starting point of the closing part of the trilogy.
notturno III material /views
absence
41.8606 N 13.0312 E - excerpt /video
41.8606 N 13.0312 E - excerpt /duration 00:03:00
absence - trailer /video
absence - episodes /duration 00:07:55
absence /data
absence /data
Absence 1 (sound installation: Boris Vogeler)
Light/sound object
14 fluorescent tubes, mirror, microphones, amplifier, 166x2656cm
2019
41.8606°N, 13.0312°E
Video
00:10:00 min, 4K, 4 channel sound
Sound: Ulrich Polster/Boris Vogeler
2019
Absence 2
2 channel Video/sound installation
Acrylic glass, 2 mirrors, sound
00:01:55 min, H, loop
2019
Absence 2
7 C-prints on Fujicolor paper, 28.5x41cm
2019
Absence
7 collages, C-print on Fujicolor paper
absence - hajo schiff /review
ulrich polster - absence - photography, prototype, image and narcissus /by hajo schiff Berlin based artist Ulrich Polster shows in his fifth solo show at Galerie Jocelyn Wolff moving and restaged images that mirror his recent Italy experience. As a guest in the hide away of German romantic Olevano Romano and triggered by the death of his mother, classical landscape and art became quiet an ambiguous and fractured observation in which beauty and sorrow meet.
absence /stills
markale
markale|2016 - trailer /video
markale|2016 - trailer /duration 00:04:58
markale|2016 /data
markale|2016 /data
2-channel video/sound installation
00:26:48 min, HD
2017
03.06.2017-02.07.2017
waschhaus, Kunstraum Potsdam
waschhaus.de
markale|2016 - ulrich polster /text
ulrich polster - markale|2016
report
report - documentation /video
report - documentation /duration 00:03:39
report /data
report /data
7 channel video/sound installation
02:01:02 min, SD synchronized, loop 2015
1.10.2015-16.1.2016
TELE GEN
Kunstmuseum Bonn
kunstmuseum-bonn.de
19.2.2016-16.5.2016
Kunstmuseum Liechtenstein, Vaduz
kunstmuseum.li
Catalog: TELE GEN, Hirmer Publishers 2015
report - dieter daniels /review
ulrich polster - report /by dieter daniels Seven monitors transmit excerpts from television reports on the Yugoslav wars, the ten-day war in Slovenia in June 1991, and the Srebrenica massacre in July 1995. For his work, Polster recorded relevant repeats of the German news program Die Tagesschau twenty years later, as transmitted by digital station tagesschau24 (still named ARD EinsExtra until 2012). He selected the reports on Yugoslavia from roughly 200 hours of material to present them in a condensed montage on all seven monitors simultaneously.
report /stills
mish
mish - trailer /video
mish - trailer /duration 00:05:16
mish /data
mish /data
1-channel video/sound installation
Sound: Christine Scherrer
00:35:20 min, HD, stereo
2009
15.9.2015-29.11.2015
DIE ZEIT DRÄNGT
Neue Sächsische Galerie Chemnitz
mish /stills
flusz
flusz - trailer /video
flusz - trailer /duration 00:04:59
flusz /data
flusz /data
4-channel video installation
00:19:57 min, HD-SD, synchronized
2010
Installation views: USB Bank, Frankfurt/M
flusz /concept
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.
flusz /stills
antonov
bih
bih - trailer /video
bih - trailer /duration 00:05:14
bih /data
bih /data
(Bosnia and Herzegovina, Republika Srpska, 44º5´N, 18º57´O, 04:36 h) 00:01:58 min, HD, loop
2008
KOW Berlin, Antirepresentationalism2: Trouble with realism
www.kow-berlin.info
bih - astrid mania /review
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.
bih /stills
fracht
wir sind das volk
wir sind das volk - documentation /video
wir sind das volk - documentation /duration 00:03:55
wir sind das volk /data
wir sind das volk /data
4-channel video/sound installation
4 video displays, projected 4-channel audio
00:04:49 min, HD, stereo
2014
Location: Leipzig, Dietrichring (Innenstadtring, close to Mainstation)
Time: 9.10.2014, 18-24 Uhr
Catalog: Lichtfest 2014, LTM GmbH, Leipzig 2014
wir sind das volk - wir sind das volk interview /audio
wir sind das volk - interview /duration 00:05:29
Broadcast: 09.10.2014, mdr Kultur - Figaro, interview by Andreas Höhlwir sind das volk /concept
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.
wir sind das volk /stills
wir sind das volk /text screens
stalker material
stalker material - documentation /video
stalker material - documentation /duration 00:07:22
stalker material /data
stalker material /data
7-channel video/sound installation
Sound: Boris Vogeler / Ulrich Polster
Field recording: Sylke Blumstengel / Ulrich Polster
00:40:00 min, HD synchronized, loop
2015
Catalog: STALKER/MATERIAL, Neue Sächsische Galerie, Chemnitz, 2015
stalker material - making of stalker material /video
stalker material - making of stalker material /duration 00:20:22
stalker material - arvo iho - painted with light /text
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.
stalker material - claus löser - dormant images /review
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?
stalker material - matthias lindner - captive in time /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.
stalker material - hajo schiff - going behind the images /review
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.
frost
frost II
frost II - documentation /video
frost II - documentation /duration 00:02:55
frost II /data
frost II /data
3-channel video/sound installation
Sound: Thomas Christoph Heyde
Cello: Andrzej Bauer
00:23:20 min, synchronized
2005
Performance: Galerie für zeitgenössische Kunst, Leipzig
frost II /stills
frost III
frost III - trailer /video
frost III - trailer /duration 00:03:02
frost III /data
frost III /data
3-channel video/room installation
Sound: Thomas Christoph Heyde
00:20:50 min, SD, synchronized
2005
Installation views: Liste, Basel
frost III /stills
versprengung
versprengung - trailer /video
versprengung - trailer /duration 00:07:39
versprengung /data
versprengung /data
1-channel video/sound installation
00:23:33 min, HD
Video: Ulrich Polster
Composition: Juliana Hodkinson
julianahodkinson.net
Music: KNM Orchester Berlin
www.kammerensemble.de
Singing Berlin: Marc Weiser
Preview: Radialsystem V, Berlin, April 2011
www.radialsystem.de
Singing Aarhus: Jacob Bloch Jespersen
www.jakobbloch.com
Premiere: Spor Festifal 2011, Mai 2011, Aarhus, DK
www.sporfestival.dk
versprengung /concept
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.
versprengung /stills
versprengung - making of /video
versprengung - making-of /duration 00:04:15
made in usa
made in usa - trailer /video
made in usa - trailer /duration 00:15:39
made in usa /data
made in usa /data
2014
Installation, mixed media
5 VHS players, 5 TV sets, photographies, working sketches
Size: variable
