Quirky, almost utopian furniture is Naumann’s mode of expression, with different scenes scattered throughout the gallery, some trippier than others. On the ground floor, furry couches, postmodern chairs, and a scattered array of interior objects appear upside down, and creeping up the walls. The effect is a little disconcerting.
Specific political references are discreetly integrated. An oil on canvas painting of
Breuel’s portrait accompanies video footage installed within a purple column depicting a hunger strike in an East German mine that was scheduled to close as a consequence of Breuel’s programme. This particular political figure presents the simultaneous impacts of a new unified Germany with the dismantling of the East.
On level one, empty purple shelves salvaged from eBay from a former East German shoe store are left bare, preserved in their mod state. The top floor references the Treuhand, an institution tasked with selling off properties that belonged to the state-owned East German industry. There is also a retrospective of her exhibition on postmodern interiors, such as the “Schrankwand” a closet wall that is a fixture in many German homes.