Andreas Gefeller
2018

Follower and Likes – nowadays, the human being is not measured by who s/he is and what s/he accomplishes, rather, s/he is assessed by the density of links to his posts. The “message” might be anything – a bad photograph of a dress, combined with the question as to its specific color, or a cat with a genetic fault, seeming to bear a morose expression. Both examples derived from the recent past have attracted millions of clicks worldwide. The real origin (the dress or the cat) loses significance, buried under millions of commentaries that often consist of merely a few letters (“blue!”, “cute!”). The thread becomes independent and draws wider circles, engendering, at best, new topics. The seed germinates in reality, however the arising plant expands in virtual space. (Read more)

Bettina Haiss
From the booklet The Backside of Light
2018

In front of a pale, milky background, branches of a Chilean araucaria are bending and twisting like tentacles. The diffused light partly swallows their contours and directs the glance towards the dark depths of the dense structures and into the impenetrable thicket of ramifications and spiky leaves, arranged like spiraling scales. These bizarre formations are not embedded in any recognizable spatial context but removed from a particular place. Emerging mysteriously from a hazy, veil-like atmosphere, they seem to appear out of nowhere. (Read more)

Andreas Gefeller
2018

He was lying on his back, relaxed, with his eyes closed. His left arm on the pillow above his head, his right arm on his upper body, his head tilted slightly and nestled in the crook of one arm. From the outside soft sounds of the city at night.
What does outside mean, he wondered. Outside his head, his body, the bed, the room, the apartment? There are so many outer sides; the world seems to consist of a succession of casings. The city, the land, the earth, the solar system, the Milky Way. (Read more)

Press text
Thomas Rehbein Gallery Cologne
2018

Wie schon in Andreas Gefeller’s früherer Serie Blank gibt es in seiner jüngsten Werkgruppe Bildbereiche, die vom übermäßigen Lichteinfall gleichsam ausgelöscht wurden: Durch Über- und Langzeitbelichtung werden die zusammenfassenden und damit vereinheitlichenden Umrisse unscharf, während die chaotische Binnenstruktur plötzlich auf der Ebene des deutlich Sichtbaren erscheint. (Read more)