Reflection and Appearance, a Relation-Position Project
(Schein und Spiegelung, ein Relationspositionsprojekt)
positions in art, science and literature

Presentation rounds one to four: 14th September 2017 until 22nd June 2018

Schein und Spiegelung, G.A.S-station 2017 - Round 04

Presentation first round:
Opening: 14.9.2017, 7 pm
Exhibition at Berlin Art Week: 15.-17.9.2017, 1-4 pm
Exhibition: 19.-29.9.2017, Tue-Fri 2-5 pm

Presentation second round:
Vernissage: January 26th 2018, 7.30 pm
Exhibition: 30.1.-9.2.2018, Tu-Fr 2-6 pm

Presentation third round:
Vernissage: March 31st 2018, 7.30 pm
Interactive Performance "How to disappear" by Veruschka Bohn
Exhibition: 3.-13.4.2018, Tu-Fr 2-6 pm

Presentation fourth round:
Vernissage: June 9th 2018, 7.30 pm
Exhibition: 12.-22.6.2018

With works by:
Časlav Brukner
- Quantum causality. Experimental verification of an indefinite causal order, scientific article, poster object | Stephan Groß - Beats, animated video loop (music: Alfred Banze) | Dominic Gagnon - Going South/part 4: Dear haters, video installation | Veruschka Bohn - How to disappear, Performance, Photographs | Petra Lottje - The World Summit, Video | Christiane Spatt - in disguise, Photographs | Edin Bajric - Spiegel Licht, Photographs | Marion Luise Buchmann - Bewegtes Selbst, Video | David Ender - Der Spiegel, Literature | Vittorio Gallese - Visions of the Body: Embodied Simulation and Aesthetic Experience, Science | Michael H. Rohde - nietzsche haus, einstein haus, Photographs | Carlo Rovelli - Die Wirklichkeit, die nicht so ist, wie sie scheint: Eine Reise in die Welt der Quantengravitation (Reality Is Not What It Seems: The Journey to Quantum Gravity) / Relational Quantum Quantum Mechanics, Science | Julia Schewalie - nylon#acrylic mirror, Objects | Asenbaum/Stuck - Spiegel Schein, Literaturesculpture | Helga Wimmer - Vor und hinter der Zeit - Zeitbilder und Zeiträume, Installation.

The 8th international, interdisciplinary and topic centered exhibition project.

Exhibiting something simultaneously means making it visible. But how do complex exhibitions come into being, the focal points of the theme, the compilation of works and contributions?
To sense the process lying behind this is like distinguishing the individual ingredients of a meal ready on one’s plate.

For ten years now we have developed widely fanned-out exhibition projects which we present over a longer time span. In 2014 in our project Augustina träumt in progressius (Augustina dreaming in progress), we began to make our process of development transparent and build it up together with the participating artists.

For our current project Schein und Spiegelung, ein RelationsPositionsProjekt (Appearance and Reflection, a Relation-Position Project), 2017/18, we invite the contributors to take part actively in developing the thematic focus. At the same time, this organically growing process can be accessed and experienced by the public. In the current exhibition concept it is not only possible for interested visitors, but also for the contributors to trace the changes and extensions by the works added and their flowing configuration even before the opening, and thus gain a better understanding of individual positions and their interrelations. In our projects we always consider the multiplicity of forms of expression and aspects regarding content.

The presentation of the fourth round was also is the opening of the fifth and final application round.

Elisa Asenbaum&Thomas Maximilian Stuck


I see
what I know
I recognise
what’s known
I remember
what’s named

I conclude –
Oh substance!
I am speechless
when there are no words
Uncompassed composed
in experience.


Appears rich
How easy!
Appears elevated
How far above!
Appears ingenious
without mother’s mark.

Shining brightly, the light
without weight
effortlessly far and near
there and here
the shine grants me a glance
I say!

Poem: E. Asenbaum
Schein und Spiegelung, G.A.S-station 2017 - Runde 01
Elisa Asenbaum/Thomas Maximilian Stuck
Spiegel Schein, 2017, language sculpture, Poem: E.Asenbaum.
Acrylic glass, 2 sheets a 200x80x2 cm

The large sculpture Spiegel Schein consists of two slotted sheets of acrylic glass connected at right angles. Highlighted by white-blue light strips of light on the underside, the light refracts at the engraved letters, making them glow.
The lines of the poem are arranged so that at a cursory glance the one side may appear like a reflection of the other. But the left verse ‘reflection’ contemplates perception, terms and language, thought and recognition, while the right verse ‘appearance’ reflects light, aura, dazzle, seduction, and the desire for lightness. However, if one reads the lines as one consecutive text, yet another sense emerges.

Presentation 4th round
Schein und Spiegelung, G.A.S-station 2018 - Runde 04
Časlav Brukner, Quantum causality. Experimental verification of an indefinite causal order.
(Giulia Rubino, Lee A. Rozema, Adrien Feix, Mateus Araujo, Jonas M. Zeuner, Lorenzo M. Procopio, Časlav Brukner, Philip Walther), scientific article, poster object.

The theoretical physicist Časlav Brukner investigates the information theoretical basics of quantum mechanics as well as causality in gravitation and quantum physics. In his article Quantum causality from 2014 he describes special situations in which causal order – and therefore the temporal succession of events – is not clearly defined.
In 2017 in a collaboration with his colleagues he managed to realise such a quantum mechanical condition experimentally. Thus it was confirmed for the first time that there are situations in reality where causal order and succession are neither unambiguous nor clearly defined.

Schein und Spiegelung, G.A.S-station 2018 - Runde 04
Stephan Groß, Beats.
animated video loop (music: Alfred Banze), 6:23 min

Beats is a collage of pictorial elements from various contexts – technology, political events, and recreational culture. The seamless amalgamation of photo materials from different sources in an almost still-frame composition causes irritation and invites to reflection. Naturally, the title Beats was chosen with its ambiguity in mind.

Schein und Spiegelung, G.A.S-station 2018 - Runde 04
Dominic Gagnon, Going South/part 4: Dear haters.
video installation, 18:13 min

The artist dedicates himself to film making without camera – he goes hunting in the World Wide Web to gather suitable film material for his works. Part 4 / Dear haters from the film Going South is presented in the framework of Schein und Spiegelung as an installation which confronts one with the realities created in the World Wide Web. It can be read as a mirror of our social culture. The title Going South can be interpreted in various ways. Seen literally, the association ‘going south and fleeing the cold’ readily offers itself. But in a metaphorical sense, the flight can be conceived in a broader sense: to withdraw from reality; to flee to another reality or create an alternative one; but it may also mean a ‘falling value’.
Part 4: Dear haters focusses especially on the engagement with digital worlds: games offering emotional channels besides outside reality; values, concerns, and leisure time rituals of today’s younger generation which is confronted with the current environment und its requirements, but also experiences the virtual parallel reality as fact and standard.

Presentation 3rd round
Schein und Spiegelung, G.A.S-station 2018 - Runde 03
Schein und Spiegelung, G.A.S-station 2018 - Runde 03
Veruschka Bohn
How to disappear, 2018
Installation and performance

The performance and installation How to disappear by Veruschka Bohn puts reflection and self-expression in a spatial and interactive context.
The installation only becomes visible through interaction with the viewer. In her performance, the artist awaits the visitors in complete darkness, disguised in a mirrored suit. The visitors have flashlights, allowing them to illuminate either the sculptural appearance of the artist, or her photographs on the walls.

Schein und Spiegelung, G.A.S-station 2018 - Runde 03
Petra Lottje
The World Summit, 2015
Video installation

The World Summit by Petra Lottje deals with the traditional role allocation between man and woman with whose validity women today are confronted.
Lottje often works with quotations, whether by well-known people or out of her social environment, putting them into another context.
This video installation consists of excerpts from an interview in which Meryl Streep talks about moneymaking in film businnes and about the differences between men and women. The World Summit thematises the role allocation one is confronted with from childhood onwards: which areas, feelings, games, and roles are more promising and easier to conquer for girls and for boys, and later shape our social reality.
Through its presentation in an old golden frame, the video work appears in three perspectives representing different ages: the framed female nude in classical style, the hotel room in 2015 with the artist, as well as the installation’s current presentation in the exhibition space. The exhibition’s visitors thus represent the current link of the chain of tradition.

Schein und Spiegelung, G.A.S-station 2018 - Runde 03
Schein und Spiegelung, G.A.S-station 2018 - Runde 03
Christiane Spatt
in disguise, version 2018

The photo duo in disguise by Christiane Spatt opens up a wide field of association to the observer. One photograph shows a cloth-covered figure in typical portrait pose with a dog on its lap. For the cloth patterns Spatt opted for an animal appeal: black stripes on white like a zebra. The dog, on the other hand, is wearing a fashionable navy-blue scarf with white dots.
On the other photograph one sees a green meadow on which something lies hidden under a green cloth. One cannot recognise what it is. Also, one cannot be sure whether it is a human form, and whether it is still alive …
The motif of disguise offers a multi-layered projection screen hinting at various current issues: the discussion about femal veiling, political controversies, anti-mask laws and attendant restriction of liberty, terrorismus, religious tolerance, women’s rights, and gender topics.

Presentation 2nd round
Schein und Spiegelung, G.A.S-station 2017 - Runde 01
Vittorio Gallese
Vison of the Body. Embodied Simulation and Aesthetic Experience, 2017, Scientific article.

The neuroscientist Vittorio Gallese is one of the discoverers of the mirror effect (mirror neurons) and has extensively elaborated the phenomenon of mirroring in his model “Embodied Simulation”. Gallese and other neuroscientists have found out that partly the same action groups in the brain are activated when we actually see something, and when we just imagine it before our inner eye; likewise, when we move in order to act, and when we imagine the action. In this sense, neuroscience can help us to understand that the boundary between so-called reality and our imagination as well as the imaginary worlds of fiction is much less sharp and clear than we believe them to be.
“Vision is a complex experience”, says Gallese, and even when we look at a work of art what we ‘see’ is the result of highly complex interplay involving our body with all its motor potentialities, our senses and emotions, our power of imagination, and our memory with all its experiences.

Schein und Spiegelung, G.A.S-station 2017 - Runde 02
Carlo Rovelli
Die Wirklichkeit, die nicht so ist, wie sie scheint: Eine Reise in die Welt der Quantengravitation, 2016. Relational Quantum Mechanics, 1996, Book, scientific article, poster, video.

Carlo Rovelli is a theoretical physicist known for his works in Loop Quantum Gravity. Apart from this, he has long been working on a relational view of quantum mechanics.

“I suggest that the common unease with taking quantum mechanics as a fundamental description of nature (the “measurement problem”) could derive from the use of an incorrect notion, as the unease with the Lorentz transformations before Einstein derived from the notion of observer-independent time. I suggest that this incorrect notion is the notion of observer-independent state of a system (or observer-independent values of physical quantities). I reformulate the problem of the “interpretation of quantum mechanics” as the problem of deriving the formalism from a few simple physical postulates.” C.R.

Schein und Spiegelung, G.A.S-station 2017 - Runde 02
Marion Luise Buchmann
Bewegtes Selbst, 2006/17
Art video, 16:9, 7:14 min

Marion Luise Buchmann’s work Bewegtes Selbst (Moved Self) refers to the pointed lines in the poem Spiegel: “I see what I know. I recognise what’s know. I remember what’s named”, and adds a counterpoint.

The video plays with the perception of a reflection on a moving surface, the two-dimensional medium of film making it difficult to discern what is actually moving. Leaving aside one’s analytical thoughts, one sees the head and torso of a young woman whose appearance is subject to constant change; one delves into what is ‘actually to be seen’ and is able to let one’s imagination roam freely. For Buchmann “the image reflects another state of being, another life and another story…” that seem to begin under the surface of the water.

Schein und Spiegelung, G.A.S-station 2017 - Runde 02
David Ender
Der Spiegel, Falsimile Installation, Book, mirror, paper.

David Ender’s falsimile installation Der Spiegel (The Mirror) works with the ambiguity of the mirror object and with the mutual reflection of form and content.
The counterfeit poem Der Spiegel is presented in Christian Morgenstern’s book of poems Palmström. Verlag Bruno Cassirer, Berlin 1917. Page 44 is integrated inconspicuously in the antiquarian book – the printed characters as well as the yellowed, somewhat frayed paper are not easy to distinguish from the rest. The work challenges the mechanisms of name-dropping and appearance, which are prevalent not only in the art scene.

Presentation 1st round
Schein und Spiegelung, G.A.S-station 2017 - Runde 01
Julia Schewalie
nylon#acrylic mirror, 2017, Object
Nylon cord, acryl mirror, aluminum, 50x40x6cm

In her work nylon#acrylic mirror Julia Schewalie implements the terms reflection and appearance in a material picture. It absorbs the artificial as well as the natural light of the room, through reflections converting it into light drawings which continously move along when one changes the viewing angle. The play with perception is one of the central themes of the artist who works specifically with optical illusions. With her works she wants to challenge the bindingness of visibility.

Schein und Spiegelung, G.A.S-station 2017 - Runde 01
Schein und Spiegelung, G.A.S-station 2017 - Runde 01
Edin Bajric
Spiegel und Licht, 2009, Photographs
Fine art print on Alu-Dibond a 50x75 cm

Spiegel und Licht by Edin Bajrić works with the inversion of narcissistic self-reflection. The mirror here serves as a protective shield behind which the ‘naked self’ is hiding; the reflection area however is turned towards the observer. As a counterpart, the photographic work Licht plays with the topics of seduction and holy light/gloriole.

Schein und Spiegelung, G.A.S-station 2017 - Runde 01
Schein und Spiegelung, G.A.S-station 2017 - Runde 01
Michael H. Rohde
nietzsche haus, einstein haus, photo compositions
Pigmented inkjet print on Alu-Dibond, 140x109 cm, 79x146 cm

In his sub-series GESCHICHTSTRÄCHTIGE RÄUME (history-fraught rooms) Michael H. Rohde investigates the living and working rooms of historical persons from art and science. A view from below, as if one were looking through the ceiling, partition walls and furniture floating in the room without a floor, seen from the underside. The apparent photographic ‘shot’ suggest a geometrically possible perspective. At the same time, on is irritated by individual elements which are slightly displaced, rotated, tilted, or begin to sway due to ill-matched lighting. The interplay of the former residents’ (Einstein and Nietzsche) spiritual heritage and their living environment depicted here opens up wide-spread associative relations.

Schein und Spiegelung, G.A.S-station 2017 - Runde 01
Schein und Spiegelung, G.A.S-station 2017 - Runde 01
Helga Wimmer
Vor und hinter der Zeit – Zeitbilder und Zeiträume, 2017, Installation
Photography under acrylic glass, glass cube in steel casing photographies a 20x20 cm,
glass cube: 6x6x6 cm. Original image material: city archive Stuttgart.

In the installation Vor und hinter der Zeit – Zeitbilder und Zeiträume (Before and behind time – time documents and time spaces), documentary pictures of various periods in the same historical place’s history are merged. Starting point are the documentary images and texts of a showcase of the memorial Zeichen der Erinnerung in Stuttgart. They show deportees from a camp who were transported to Riga in 1941. The artist uses the reflection of the showcases’ glass surfaces to transport the theme. The simultaneously translucent and reflective material glass interweaves past and present images on one pictorial level, fusioning the recorded moment of the present – houses, rails, ambling women – with people from the past, thus creating a new, joint ‘space of time’.

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