Niklas Goldbach, Julia Oschatz, Oliver Pietsch, Eske Schlüters

4 Weeks 4 Sights

09.01 – 07.02.2009

09 January 5 - 8 pm / Oliver Pietsch

16 January 5 - 8 pm / Eske Schlüters

23 January 5 - 8 pm / Niklas Goldbach

30 January 5 - 8 pm / Julia Oschatz



Niklas Goldbach’s work deals with dystopic aspects of and designs for our world and presents contradictions between public and private space. The dream-like atmosphere in Goldbach’s videos captures the moment in which consciousness alters objectivity. In the visions of his dystopias, a feeling of disorientation and melancholy prevails. As uniformly dressed ‘urban’ archetypes, the protagonists of Goldbach’s works are trapped in time and space – and function collectively like a post neo-liberal nostalgia. Armed with an inner mission, they demarcate their temporary terrain as if they are the first and last inhabitants of a pre-determined world.


Julia Oschatz creates idyllic as well as frightening worlds in various media in her multifaceted work. A creature, half-human, half-animal, wanders through her spatially expansive installations consisting of objects, painting and films. The being crosses through various situations that represent a visualisation of feelings and atmospheres such as loneliness, misunderstanding, observation and control. The creature is a stand-in for every living being. Undefined and without specific characteristics, it creates a blank canvas for the observer to project onto and is at the same time a vis-à-vis as an observable counterpart to the viewer. In 4 Weeks 4 Sights Oschatz will create a wall installation in which the video will be projected onto painted pictorial planes.


Oliver Pietsch distils his own visual language from the inexhaustible pool of genre and mainstream productions from all eras of film history. He removes fractions of scenes from their original film context and combines them into a thematic sequence. Short film sequences are extracted from Hollywood blockbusters and documentary films, edited together by Pietsch and combined with a new soundtrack. Thus Pietsch reveals the inner structures of films and shows a unified system, which encourages the viewer to question his or her modes of perception.


Eske Schlüters explores our understanding of moving pictures and filmic sequences in single and multi-channel projections that are not guided by stringent plots or narratives. Schlüters projections, which experiment with found material, play with words, sounds and images that speak for their metaphoric character and the loss of a greater context or meaning. After the Rehearsal is based on a film about the making of Chantal Akerman's feature film ‚Jeanne Dielmann’ from 1975 and focuses on moments of rehearsing every-day activities. Eske Schlüters reflects the job of the actor to genuinely embody a role also on the level of sound when she translates texts from theatre theory into different languages and mounts them into a new composition.