Interior landscapes
A video installation about garage-interiors
A video work consisting of numerous drawings based on photographs of open garages - images sent to the artist by the people of Chemnitz in response to his public call. Klaus Pobitzer’s works are based on digital images from the Internet, which he then meticulously reproduces as drawings, sometimes with the help of the AI. This results in complex, socio-critical visual worlds - less hidden object images than dense compositions in which real everyday material and fictional subects overlap and intertwine. The garages of Chemnitz serve as a projection surface for personal and collective ideas, for clichés, desires, absurdities and observations. Each garage becomes a world of its own - and in interaction with imaginary inscriptions from pop culture, politics and fantasy, a picture of the present emerges that is as confusing as the world itself.
The project is being realised with the support of the Österreichisches Kulturforum Berlin and the Autonome Provinz Bozen Südtirol Deutsche Kultur.
When: 24 May to 14 June 2025
Vernissage: Saturday, 24 May from 8 to 10 pm.
Opening hours: 25 May, 30 May, 31 May, 6 June, 7 June, 13 June and 14 June from 8 pm to midnight
Where? Chemnitz | Garagenhof Ahornstraße, Ahornstraße 29
From 28 June to 29 November 2025 in the #3000Garagen exhibition in the Garage Campus, Zwickauer Str. 164
The Chemnitz Garage Alien Rap
Between the images of the garage worlds, a rap song written entirely by an AI keeps re-appearing in the work. It's a music video with aliens dancing in lederhosen. What at first seems like a joke is a precise artistic gesture: to make visible what happens when we leave the storytelling to a machine. The AI feeds on the internet, our collective digital memory of images, clichés, myths and untruths. What it produces is not criticism, but a mirror of what we constantly keep telling the world. The alien rap sounds well-rounded, the video seems coherent - and yet there is still a stale aftertaste. The aliens are not a mere decoration. They are there because they are unbiased. They enter the picture as outsiders - neutral, without history, without shame, without irony. Their dance seems mechanical, almost childlike - and contrasts with the thoroughly human-coded language of the AI. Their "strangeness" refers to what is their own, which is unconsciously restaged in the AI. The work is not an expression. It is an echo. It is a machine-generated product that the artist only frames, not comments on. Not an attitude, but an aggregate. The point is not to judge, but to observe what happens when culture is processed by machines, and how deeply artificial intelligence has already inscribed itself into our visual and linguistic worlds. Because the work is not an expression but an echo. It is a machine-generated product that the artist only frames, not comments on. Not an attitude, but an aggregate. The point is not to judge, but to observe what happens when culture is processed by machines, and how deeply artificial intelligence has already inscribed itself into our visual and linguistic worlds. The result is a video that raises more questions than it answers.It seems casual, almost harmless - and therein lies its irritation.
