Immediately after Birgitta Weimer’s extensive solo exhibition ‚Daseinsformen’ at the Osthaus Museum Hagen, Galerie Judith Andreae presents with ‘Wahrscheinlichkeitswolken’ the first individual exhibition of the artist.

In addition to ‘Wahrscheinlichkeitswolken’ which was also exhibited in the Osthaus Museum, Birgitta Weimer’s exhibition shows new wall objects on mirrors, the ‘Hyperobject Studies’, as well as red-translucent objects, titled ‘Spukhafte Fernwirkung’ after Albert Einstein’s designation of the phenomenon of entangled particles. You can also see filigree sculptures under glass domes, ‘Daseinsformen’ (2017) and ‘Clouds’ (2011), lacquer drawings on various layers of tracing paper. Also shown are the well-known ‘Messier objects’ (2012), which transform the vaulted cellar of the Gallery into a sea of stars.

The ‘Hyperobject Studies’ – expansive wall sculptures with structures made of black spheres reminiscent of clouds – take center at the current exhibition. These cloudlike conglomerates also find their essential presence by being mounted on mirror surfaces, whereby a duplication of the object and exhibition space are staged. „Objects in mirror are closer than they appear. This slogan is engraved on every right side mirror of every American car. The mirror itselfs has become part of my flesh. Or rather, I have become part of the mirror’s flesh, reflecting hyperobjects everywhere.“ (Timothy Morton)

The viewer has a special role to play here: Depending on the location and the viewing position, he or she can influence the duplication of artwork and space - accidentally or consciously. The relation between artwork and viewer develops a virtual set of possibilities and subsequent probabilities.

With the probability as a unit of measurement for quantifying the certainty or uncertainty of a random experiment as an integral part of the artworks Birgitta Weimer creates the intertwining of art and science.

As visual analogies, Birgitta Weimer’s works are always mixed beings, expressing hybrid mixtures beyond clear forms of knowledge called ‘science’, ‘nature’, ‘technology’ or similar. As objects they may be simply beautiful artworks, as beings of fiction they convulse our habitual orders and surveying of our world.

(After Timo Skrandies)

In recent years Birgitta Weimer had a variety of museum and gallery exhibitions in Germany and abroad. Among others at the Osthaus Museum Hagen, LVR Landesmuseum Bonn, Kunsthalle Mannheim and the Flint Museum of Arts, Michigan. She is also represented in many high-profile collections nationally and internationally, such as the Daimler Chrysler Art Collection Berlin, Madison Dearborn Inc. Chicago USA, Museum Kulturspeicher Würzburg, Foundation Wilhelm Lehmbruck Museum Duisburg and in the Osthaus Museum Hagen.