Gregor Schmoll manages to set his »Self« within a photographic framework. At the same time he adamantly does not want to be considered a photographer. Differing from examples of »I Art« - that may well depend upon an artist's neurotic predisposition -, the aesthetic strategy of this work tries, by means of the personified surrealist, to playfully display photographic image mechanisms. In this case, surrealism simply serves as a vehicle, and the author creates incredibly poetic works of art with a high degree of reflective and critical impact. In earlier works created together with artist Rosa Brueckl, the appointment and emulation of gestures and poses revealed multifaceted connections to artistic and historic works, and established representations of femininity and masculinity. The pose still plays a weighty role in Gregor Schmoll's work. He sets himself within an adaptation of differing artistic figures who, by being oversubscribed, often go beyond the limits of the burlesque. Gregor Schmoll does not claim, he simply reproduces. His ground covering productions are a combination of numerous formal quotations full of content, which, in their new order, disclose the brittleness of a receptive and aesthetic analysis. Gregor Schmoll is ironic – with festive seriousness. “That's me, successful, well-dressed and good to look at” (Bazon Brock).

A text by Jennifer Blauvelt, author and musician from New York, appears within the framework of the exhibition. A concert by New York thereminist Dorit Chrysler (www.doritchrysler.com) will take place on June 23rd. Her current CD includes compositions based on chosen images from Gregor Schmoll's exhibition.