Kerstin Brätsch (born 1979 in Hamburg) and Adele Röder (born 1980 in Dresden) have three works in the exhibition. Since 2007 they have been working together under the label DAS INSTITUT, which serves as their fictional "import and export agency" for advertising and marketing their works. They view their work as a radical symbiosis of contemporary surfaces. The mylar paintings by Kerstin Brätsch are temporary painted objects, three-part images on foil that can be combined in different variants to form an image. Brätsch understands the large light box in which the images are presented like in a shop-window display as a "hospital for painting," and a "test space within which the image is taken apart." Adele Roeder works with digital media and uses software tools to generate somehow immaterial, temporary screens with a speculative character. She then transfers these sign systems to textiles and wallpapers. In their joint work "Viola / Viola Ghost" ghostly and historical self- and painting designs all flow together. Both artists see this slide series as a "holistic treatment of and position on photography, painting, object, body, gender roles and gender, advertisement, jewelry and design, cartoon, character and grotesque, a deforming Illusion, trompe-l’œil . . ."
(l) Kerstin Brätsch, Upright Tanning, 2012, oil on mylar with lightbox; Photo: Uwe Walter; © Kerstin Brätsch, Courtesy: Kerstin Brätsch, Balice Hertling, ifa
(r) DAS INSTITUT, Viola Yeşiltaç, Viola / Viola Ghost, 2011, 35-mm slide projection; Photo: DAS INSTITUT, Lucas Knipscher, Yola Monakhov, Viola Yeşiltaç; © Adele Röder, Kerstin Brätsch, Courtesy: Balice Hertling and the artists