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.
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.
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.
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?
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.
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.
ulrich polster/christine scherrer: unstern /by christoph tannert There are streams of images that are reminiscent of Yogic manuals without the tinge of esotericism, looking rather like relaxation therapies that would have been stripped of their didactic undertones. The three-channel video projection Unstern [Disaster] by Ulrich Polster (visuals) and Christine Scherrer (sound) is arguably the most disturbing and simultaneously well-tempered exploration of remoteness to come out of Germany in recent months.
bih /review 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.