mimesis, imitation, copy, doppelganger, lookalike, impersonation, reenactment, fetish, face, skin, mask, memory, pool, persona, container, packaging, technology, collection, archive, gift, economy, hybrid, craft, replica, commodity, fact, fiction, original, authenticity, identity, shape-shifter, transfer, reflection, shadow, ghost, death, home, household, museum, prothesis, artists, exotic, gaze, possession, anthropomorphic, animism, pattern, ornament, uncanny, vampire, tourism, usurpation, appropriation, mimicry, absence, void, fossile, decay, seriality, storage, sascha pohle

 

Safety Hour (2003) is a series of three short films edited to loops that depict big overcrowded public pools in Tokyo, which become safety checked and empied every hour. When the pool is completely empty of people, the pool's shape and blue color stand out.

The supposedly safe pool, as an alternative to the nearby open sea with all its dangerous weather outbreaks, animals and currents, is addressed in regard to its insecurity. The human crowd, driven by the yearning for fun and recreation requires intricate safety concepts. Humans turn out to be their own danger.

Achille Lauro (2003), through its title, takes up the aspects of safety, collective and individual fear

amongst the longing for pleasure and holiday. Achille Lauro a 1985 hijacked luxury cruiser is regarded

as one of the first planned attack on tourists.

The offset prints are photo montages of beach images set against an ocean background. All images are

taken out of travel broschures. The isolated beach architectures look like floating ships or aircraft carrierson the high seas.

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In Statues Also Die (2012) a 16 mm film, empty cardboard packages of electronic devices are filmed in front of a black background. The film reverses the shift in meaning by presenting the industrial garbage of today’s commodity fetishes as if they were archeological finds or ethnographical artifacts.

Friendly Patterns (2016) are knitted textiles that depict a photograph of a market's floor that was under the process of gentrification. In the context of the market's economic and its social changes, Pohle's “knitted” photographs imply revaluation as a twisted notion. By means of exhibiting an urban fragment within its own spatial and temporal context, the work showcases its ambivalent status that alternates amongst artifact and consumer good, visual remainder and fashion item.

German Indian (2005-2010, a mixed media installation reminiscent of an ethnographical museum with redrawings, rephotographs, film and artifacts, deals with a widespread German phenomenon called Hobbyism or Indianism. Following the legacy of the German writer Karl May (1842 -1912) Hobbyism continued to exist in both Germanys (former GDR and West Germany) until today. German Indian highlights notions of appropriation, authenticity and the romantic desire for otherness on the background of Germany's own social history.

 

 

THE MAD MASTERS (2007/08) consists of various acts recorded during a celebrity impersonator and look-alike convention in Las Vegas. The protagonists of the video are professionals as well prospective impersonators. The work deals with impersonation as a revenat of popuar culture and opens up questions of power, relationships between celebrity culture, cinema and archaic rituals.

Who are the Mad Masters, the possessed or the impersonated? The title refers to the documentary 'Les Maitre Fous' (1955) by Jean Rouch.

In Studio Index every artist who worked in the Rijksakademie van beeldende Kunsten, Amsterdam, since 1993, has been registered on the building's floor plan. Each artist's name is listed by year and is located in the studio he used during the residency.