Galerie für Zeitgenössische Kunst, Leipzig
March 09, 2019 - March 29, 2020

Based on her artistic practice, Paula Gehrmann develops spatial installations for the Gabriele Stötzer Archive that comment and expand upon both Stötzer’s work and the conception of the archive. The archive undergoes transformations, opening up continually new perspectives on the design of social and artistic spaces for action in the recent past and present. The title Conscious Inability – a quotation from Stötzer – refers to the strategic infiltration of social and artistic norms.

Katalog - Gestaltung Andrej Loll & Simone Vollenweider
2019

2019

Heilandskirche Leipzig;
2018

Die Offene Kunstwerkstatt des Lebenshilfe Leipzig e.V., eine Künstlergruppe bestehend aus Menschen mit Assistenzbedarf und professionellen Künstler*innen, demonstriert durch ein selbstverständliches und gemeinschaftliches Schaffen Inklusion. Speziell für diesen Ort entstehen Malereien der Gruppe und werden in einer Installation der Leipziger Künstlerin Paula Gehrmann gefasst.

Re*Creation; Group show at Fotograf Gallery Prag;
Part of Fotograf Festival 2018 "Non-Work: Occupied by Leisure Time”;
Curated by Elisabeth Pichler and Lena von Geyso
2018

Against the background of a constant demand for steady growth, innovation and originality, "Re*creation" addresses the double meaning of “re-creation” as “recovery” and “create anew”; reflecting on the relationship between production and leisure.
From June to July 2018 Paula Gehrmann has been part of MeetFactory’s residency program in Prague. For this exhibition we find a selection from the artist's photographic journals of her 28 days in this city embedded into architectural interventions - an invitation for recreation.

20 Photobooks from C-Prints;
Detail 20180624;
2018

MMoMA Moscow, Russia;
Site specific installation for Group Show "Based on these new dependencies, we define five normal forms" at Moscow Museum of Modern Art supported by Goethe Institut Moscow; Curated by Lena Brüggemann; Part of Moscow International Biennale for Young Art 2018.

The project aims to reflect on the evolution of social relationships, articulate unarticulated desires towards new relations and foster propositions on how we can live together. The exhibition and an education program accompanying it take as their starting point ideas of the socio-cultural and artistic movement Proletkult which, in particular, focused on the problem of the incompatibility of prescriptive management with the principles of self-organization. Drawing on the functions of the Soviet workers‘ club the exhibition space at 17 Ermolaevsky Lane acts as a place to experience art, a library, a training ground and an oracle — changing its function according to the activities taking place.

Fine Art Print various size;
2018

Bistro 21 Leipzig;
Painting Benjamin Dittrich;
Fixtures from Mdf and Plexiglas, Fine Art Print in varoius size;
2017

The photographic work „Herbst“ was specifically developed in and around the exhibition space Bistro 21. Located in a neighbourhood in Leipzig east, an area that is historically shaped by a primarily working-class population. Through gentrification art spaces as the Bistro 21 already emerged in the last years, but still feel like aliens in this urban landscape. Gehrmann's installation of documentay style photographs and transmissible sculptures meander between a promenade on a nice afternoon and an observation of this transition. Transferred into the exhibition space with its big shopfront windows one is enticed to loose the division of here and there, inside and outside.

Fine Art Print various size;
2017

supported by OKW Lebenshilfe Leipzig e.V. and Stadt Leipzig;
2017

Galerie KUB Leipzig;
2017

Fine Art Print 60x45cm;
2017

Kunstraum D21 e.V. Leipzig;
Curated by Katharina Zimmerhackl;
2017

The exhibition Legitimate Rehearsals declares the art space a test site, analyzing the potential of artistic approaches to reflect and question social processes through formal and aesthetic means. Which rules and laws are we following and how do we form social processes through them? How far can different or alternative social configurations be thought about and presented or practiced in an artistic space? In two exchanging exhibition-cycles – with seperate openings – the relations between law, power and social reproduction are renegotiated.
The work Display by Paula Gehrmann is reassembled by the artist spefically for each of these cycles. The architectural sculpture framing the artistic contributions and documentary photography of the participating artists and the changing constellations redefine and propose hidden social and spatial relations. Further, carrying customised surfaces from D21's depot, the art exhibtion as a medium and its performing elements, including the spectator, are revealed as fragmentary and transitory.

Kunstraum D21 e.V. Leipzig;
2017

Fine Art Print various size;
2017

Residency & Exhibition;
Claviers, France;
2016

Fine Art Print 19.5x26cm mounted;
2016

Sitespecific Installation for Academy of Fine Arts Leipzig;
2015

For the diploma project the actual building of the Academy of Fine Arts becomes the focal point. In form of a site-specific installation it addresses the ending to my studies at this place. Eponymous of the work is a particular graffiti tacked on a toilet window at the academy: Immer wenn Du hier bist, bin ich woanders. (Whenever you are here, I am elsewhere.). It is an appropriate allegory that shows the attempt of addressing someone who like author and reader will unlikely come together simultaneously. Photography is similar, as it is also a conversation characterized by a kind of displacement and absence of what is captured in the image. Immersed in a certain melancholy, it is a visualization of a present that is never quite attainable to us. The idea of the academy as a transitory space of temporary collective is emphasizing these thoughts.

Fine Art Print various size mounted;
2015

Photographic Sculpture;
2014

For one VARIABLE functions as a display. Used as an extendable module it can present imagery, objects and projection. Reduced on its sheer form the walk able installation with its rectangular surfaces also segments and frames its surrounding.
As the spectator moves through and around it his view is directed through the openings and closings of the sections and extracted images similar to the qualities of a photographic camera are generated. It is an offer to the spectator who can activate these processes through his own movement around as well by taking on the architecture.

Cooperation with University Collections Leipzig, Ancient Museum & Egyptian Museum Leipzig;
Exhibition Architecture, Baryt and Fine Art Photography various size;
2013 - 2014

The extensive display questions the representation of ancient material and takes the focus away from its pure scientific or social and cultural value. Instead, it opens up to the sheer history that lies in its appearance/surface. Through materiality of the more than a hundred-year old wooden beams and the introduction of movement to the exhibition space, the display guides the visitor to the archaeological objects without barrier. In the Museum of Ancient Art and the Egyptian Museum Leipzig photographs of the draped artifacts and the sculptural display come together. By opening the possibility of reciprocal viewing they pursue yet a new past.

Baryt 13x18cm framed;
2014