Many of the selected works directly or indirectly evoke elements of public space – outdoor advertising, street lighting, underpasses, motorway signs or revolving doors. Their temporary encounter in this exhibition is the modular construct of an overall scenic picture. In a terse, illusory character, it reflects a world, the one that continues to dissolve into the most diverse of fictionalizations.
Grotesque exaggerations of social and political events, such as those found in the cartoon series South Park, are every now and then overshadowed by the real. A tendency which becomes clear here, in turn, begs the question on the relationship between reality, fiction as well as on the layers of images and information that connect them.
The exhibition contrasts decoupled concepts of truth with a series of sign, image, and reference systems that are themselves derailed. The model-like mimesis of structural conditions creates space for deconstruction, ironic transformation, and other forms of distorted reflections of the real.
Despite common references of the works to public space, the approaches of the individual positions are different in terms of content and form. The juxtaposition of this variety of artistic approaches can thereby be read as an involuntary reproduction of a multitude of social bubbles of perception. The exhibition Buffers thus takes place in a field of tension between the individual imaginative spaces of the works themselves on the one hand and – in their totality – as a reflection on the dissection of different conceptions of reality.