Adler Ehrenstein Ley
EMMA ADLER, ANNA EHRENSTEIN, ANNA LEY
Emma Alder’s installation SUPERFLARE is a transformed version of an exhibition at Neuer Kunstverein Gießen. The work originates from a long research and working process and is part of a series of installations Adler continuously uses in various exhibition formats, starting in 2018 at Künstlerhaus Dahlem in Berlin in her installation REALITY SHOW.
Emma Adler creates spatial compositions determined by her humorous use of materials. Her work at Galerie Anton Janizewski is based on the analysis of phenomena called Superflares. These are solar storms whose radiant power can influence the magnetic field, a protective shield of the earth, in an extreme and unpredictable way. A scientific apocalyptic scenario? Conspiracy theory with cosmic force? In any case, a rare phenomenon that far exceeds the human scope for action and control.
Anna Ehrenstein’s collage works consist of virtual platform glitches and research quotes: dealing with historical and socioeconomic critique of western feminist mythologies and constructions of the “true self”. The depicted imagery is the result of interviews with hyper feminin women in Tirana about their preferred image retouching techniques and personal choices on visual self construction.
After each conversation the protagonists received 20-30 images in their favored aesthetic. Screenshots of the social media curation in turn have been saved after being made public through the participants’ autonomously selected digital platforms.
While `True Self` is examining concepts of authenticity in the relation between subject and object, the lenticular prints „A Lotus Is Lotus“ from the eponymous body of work are looking at the present day circulation of exotica. They form part of a bigger research on colonial trajectories interwoven into East West power relations, fake textiles, tourist market and 3D stock exchanges.
Anna Ley paints what she sees and how she sees it. Reducing the motifs she chooses to the most necessary. The question arising when creating a picture is: How much does the picture need and what doesn’t it need? Ley’s paintings show everyday objects and places that have shaped the painter‘s life. But they also belong to our society’s collective memory. Thus the viewer has the possibility to link their own experiences and memories with the respective painting. If one zooms out of the individual picture, a network of pictures emerges; a hyper image reflecting the painter’s personal attitude and preferences while also raising current social and political questions.