Barbara Probst examines the photographic medium with different approaches yet offering new perspectives on how we perceive realities. Her multi-part photographic series and tableaus, consisting of up to 12 individual images, capture a moment simultaneously from different perspectives. The individual images are so different that the context is only slowly revealed. For Probst, this splitting of the moment into a series of images is a means of exploring the ambiguity inherent in every photographic image: "The story is about the same moment - but there are many stories, and one is not more important than the other: They have the same value. They say different things but they are all true. (...) I have thought of my work as political because it reveals the idea that we are all subjective and the way we look at things is very different and not necessarily right or wrong." (Barbara Probst)

Her new works, created between 2025 and 2026 in the artist’s studio, integrate autobiographical references—specifically, sculptural and photographic works from the early 1990s. It was during this period that Barbara Probst, coming from a background in sculpture, first began to engage with photography. Model-like arrangements of colored cubes (recreated in retrospect of that time), early photographic images, and sculptures by her father, who was himself a sculptor, form the stage for these new "Exposures." Aesthetically and highly precisely composed, they resemble a scientific experimental setup. They are experiments in seeing. In every image, the artist herself is part of the staging. They effortlessly plumb the boundaries of what can be visually decoded and hold a mirror up to us.

The series "Bibliosculptures" by Ingo Gerken engages in visual dialogues with international book publications on contemporary art history. Temporary interventions are created in public art libraries, taking place directly in the books and thus establishing contact with the printed images of artworks. This results in a coexistence of object and image, a fusion of perspectives, an associative exchange, or a formal-aesthetic leap. At the intersection of everyday artistic life and art historical research, selected books become an expanded space for play and reception: trivial objects encounter relevant works of art, shifting the boundaries between discourse and reality. Art and art books become accessible from new perspectives.

In his photographs, Ingo Gerken creates fleeting sculptural constellations in the field of tension between representation, reference, and resistance, which also question the relationship between authorship and artistic appropriation. He always understands the depicted artworks in the context of their published reproduction and sees the open book as a mentally open terrain for poetic expansion or system-critical commentary. The works are sculptural assertions and contextual links between homage and subversion. They take place directly and immediately at and with their source, where they are composed 'on site' in pictorial space and documented photographically.