{"id":558,"date":"2024-05-15T19:40:59","date_gmt":"2024-05-15T17:40:59","guid":{"rendered":"http:\/\/wordpress.p668461.webspaceconfig.de\/texte\/"},"modified":"2025-07-07T11:59:19","modified_gmt":"2025-07-07T09:59:19","slug":"texts","status":"publish","type":"page","link":"https:\/\/annette-selle.com\/en\/texts\/","title":{"rendered":"Texts"},"content":{"rendered":"<div class=\"wpb-content-wrapper\">[vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221;][vc_column]\n\t\t\t<!-- START Texte REVOLUTION SLIDER 6.7.10 --><p class=\"rs-p-wp-fix\"><\/p>\n\t\t\t<rs-module-wrap id=\"rev_slider_3_1_wrapper\" data-source=\"gallery\" style=\"visibility:hidden;background:transparent;padding:0;margin:0px auto;margin-top:0;margin-bottom:0;\">\n\t\t\t\t<rs-module id=\"rev_slider_3_1\" style=\"\" data-version=\"6.7.10\">\n\t\t\t\t\t<rs-slides style=\"overflow: hidden; position: absolute;\">\n\t\t\t\t\t\t<rs-slide style=\"position: absolute;\" data-key=\"rs-3\" data-title=\"Slide\" data-in=\"o:0;\" data-out=\"a:false;\">\n\t\t\t\t\t\t\t<img decoding=\"async\" src=\"\/\/annette-selle.com\/wp-content\/plugins\/revslider\/sr6\/assets\/assets\/dummy.png\" alt=\"\" title=\"Zu-Quartett-Nr.1-18x24cm-Kopie2\" width=\"2500\" height=\"1512\" class=\"rev-slidebg tp-rs-img rs-lazyload\" data-lazyload=\"\/\/annette-selle.com\/wp-content\/uploads\/2024\/06\/Zu-Quartett-Nr.1-18x24cm-Kopie2.jpg\" data-no-retina>\n<!---->\t\t\t\t\t<\/rs-slide>\n\t\t\t\t\t<\/rs-slides>\n\t\t\t\t<\/rs-module>\n\t\t\t\t<script>\n\t\t\t\t\tsetREVStartSize({c: 'rev_slider_3_1',rl:[1240,1024,778,480],el:[400],gw:[1240],gh:[400],type:'standard',justify:'',layout:'fullwidth',mh:\"0\"});if (window.RS_MODULES!==undefined && window.RS_MODULES.modules!==undefined && window.RS_MODULES.modules[\"revslider31\"]!==undefined) {window.RS_MODULES.modules[\"revslider31\"].once = false;window.revapi3 = undefined;if (window.RS_MODULES.checkMinimal!==undefined) window.RS_MODULES.checkMinimal()}\n\t\t\t\t<\/script>\n\t\t\t<\/rs-module-wrap>\n\t\t\t<!-- END REVOLUTION SLIDER -->\n[vc_empty_space height=&#8221;100&#8243;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;grid&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; anchor=&#8221;tannert&#8221;][vc_column][vc_column_text css=&#8221;&#8221;]<span style=\"font-size: 24pt;\">Christoph Tannert,<\/span> <span style=\"font-size: 10pt;\">Art historian and curator<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">To the exhibition \u201eUnmasked #1\u201c &#8211; Gallery aquabitArt, Berlin<\/span><\/p>\n<p>\u2026The large blue paintings by Annette Selle immediately draw you into the entrance area.<br \/>\n\u201cBlue Memories\u201d and \u201cThe Swarm \u2013 Blue\u201d, both painted in oil on canvas, open doors to the realms of deeper perception. The artist has long studied the psychology of colour and what makes it possible for viewers to see themselves confronted with themselves. Her blue creates an atmosphere that is intense, but indeterminate in terms of its ontological status. This creates an emotional tone in the room that will affect those who enter unmasked in a psychological sense.[\/vc_column_text][vc_empty_space height=&#8221;40&#8243;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;grid&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; anchor=&#8221;wegener&#8221; z_index=&#8221;&#8221;][vc_column][vc_column_text css=&#8221;&#8221;]\n<p class=\"p1\"><span style=\"font-size: 24pt;\">Inger-Kristina Wegener,<\/span> <span style=\"font-size: 10pt;\">Managing Director of NordArt<\/span><\/p>\n<p class=\"p1\"><span style=\"font-size: 10pt;\">To the\u00a0 Exhibition &#8220;Vis-\u00e0-vis&#8221; &#8211; Kunsthaus Kappeln<\/span><\/p>\n<p class=\"p1\">These words fit into the energy of Annette Selle\u2019s colours. What I mean by the term \u201cother worlds\u201d needs to be explained. The works are about seeing; these are not pictures of linear, bold messages. They demand less an intellectual engagement with their subject matter than an engagement with seeing and what seeing is for people, and how it shapes understanding, understanding before the rational process of language, or always parallel to it. Our everyday assumption about vision perhaps goes like this: with our eyes we perceive a finite quantity of three-dimensional objects that appear in the present, at rest or in motion. What we see, we think, is what is, and where we stand in relation to these objects.<\/p>\n[\/vc_column_text][vc_column_text css=&#8221;&#8221;]<span class=\"collapseomatic \" id=\"id6a7f72091fd4d\"  tabindex=\"0\" title=\"&lt;strong&gt;Read more&lt;\/strong&gt;\"    ><strong>Read more<\/strong><\/span><div id=\"target-id6a7f72091fd4d\" class=\"collapseomatic_content \">\n<p class=\"p1\"><span class=\"s1\">This is an abbreviated form of seeing, suitable for everyday use, which tells us as much about the possibilities of seeing as a children\u2019s song played with one finger on the piano tells us about the possibilities of the instrument. I won\u2019t start here with whether we can be sure that these objects exist in space at all. Much of the building blocks that make an object are made up of emptiness and electromagnetic voltages. This is for another day. But if you observe an object over the course of a few hours or a day, you will find that describing its colour, position, movement and stillness is quite complicated. Just the colour of any object in your environment is in a constant state of flux, the soft light red that an everyday object in your kitchen may show in the morning, brightens in the morning, washes out at midday, deepens in the afternoon hours, reflects in its own shadow at dusk, before turning a dull brown, then a grey in the evening, perhaps to be awakened by electric light to a completely different room. You all know the moment just before you decide to switch on the light, perceive this change that gives you a brief dizzying moment of the illusion of sight.<br \/>\nFor the painter\u2019s eye, this brief dizziness is the permanent state of the profession. After all, you are not actually seeing \u201cthe object\u201d. The object is the result of your brain\u2019s performance, a feat that presupposes that you do not constantly question the process of seeing, just like the illusionary permanence of the table in your dining room or your own person. This existential vertigo that lies before and after the certainty of the object is the space of art, from Thomas Tallis in music to Luc Godard in film to David Hockney to Annette Selle in the visual arts. Our brain weaves assumptions from information that our eyes can transmit to the brain in the visible range of the electromagnetic spectrum, a small section of this spectrum in the range from approx. 400 nanometres to 780 nanometres. We call this range light. Light \u2013 an electromagnetic wave \u2013 takes time to propagate. This means that every time we look at an object, an image or a person, we are irrevocably looking back in time. We can only really visualise this on a large scale.<br \/>\nThe view into our Milky Way, which has a diameter of 100,000 light years, is a view that goes 100,000 years into the past. In comparison, the view into the past of the luminous blue in Annette Selle\u2019s pictures is a journey into a much more recent past, barely perceptible perhaps, but no less real. The fact remains: everything that reaches us from the world is a sign from the past. The pictures that surround us here today are carriers of light, the medium of a past still in the presence of your direct presence in front of the object. When I talk about Annette Selle\u2019s pictures, I am talking about spaces of light, about colours that are not until they re-emerge in your eyes, in your brain. Pictures that work with this very intention of being a space of light. Here you, the viewer, are the plaything of a double reflection.<br \/>\nLet me take you on another little scientific journey: Your brain works on the assumption that rays of light always propagate in a straight line. For this reason, objects in the reflection of a mirror appear as if they are in a separate room, even if you \u2013 standing in front of the mirror or shop window \u2013 understand that the light is actually reflected back from a smooth surface. You cannot see this. You cannot dispel this illusion with your knowledge; the mirrored object stands before your eyes \u201cin the mirror\u201d, albeit reversed. At the same time unreachable. But you can utilise this effect when you look at a picture. Stand in front of the picture as if in front of a mirror, close your eyes for a moment, open them again to look not at the picture but into it. this works, you can actually guide your perception in this direction, try it out. And then convince yourself that what you see there is what is reflected onto the surface of the picture from the actual space in which you are standing.<br \/>\nThen you are very close to the secret of the colour and the picture. Then you are in the presence of the \u201creality of reflection\u201d, the reality of reflection in the present that Godard speaks of. Annette Selle explores \u2013 in her own words \u2013 precisely this \u201cdeep immersion in texture and colour, which fills every room with its presence, which creates access to a mystical energy and leads into a world of reflection and inner peace. The titles of her works hint at this aspect of light, energy and spirit: \u201cThe Spirits I Called\u201d and \u201cAngelic\u201d. According to the Gospel of John: In the beginning was the Word. In it was life, and life was the light of men. These are all quiet, masterful nuances, very soothing in an age that strives for grand, linear explanations. Light and colour speak of a quiet, radiant persistence of an ongoing exploration of perception that is shared by artist and viewer. simple, quiet way to a life well lived, the works speak of this. They are beautiful, complex and simple at the same time. As you walk through this very special exhibition, I wish you inner stillness and a view from your perhaps no longer quite so impermeable, permanent space into these pictorial worlds. And let the pictures reflect themselves in the pictures. What happens when light meets light?<\/span><\/p>\n<\/div>[\/vc_column_text][vc_empty_space height=&#8221;40&#8243;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;grid&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; anchor=&#8221;poche&#8221;][vc_column][vc_column_text css=&#8221;&#8221;]<span style=\"font-size: 24pt;\">Christoph Poche,<\/span> <span style=\"font-size: 10pt;\">Art historian<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">To the exhibition &#8220;Wo wir uns finden\u201c &#8211; Kunstverein Pritzwalk<\/span><\/p>\n<p>Annette Selle\u2019s art deals with human universals on a fundamental and abstract level of art, namely the basic phenomena of colour and space, and when it comes to space, time is always indirectly involved.<br \/>\n\u2026<br \/>\nIn her painting, Annette Selle celebrates the reduction of illusionary landscape painting to the essential, to the projection of three-dimensional space into the two-dimensionality of the picture surface.<br \/>\n\u2026<br \/>\nIn her landscapes, colour serves Annette Selle above all as a deeply emotional carrier of mood. This becomes clear wherever the colours of the pictorial objects deviate from natural conditions, in the blue path in the work \u201cThe Other Side\u201d, for example, or in \u201cOn the Horizon\u201d, as if a disaster were lurking in the distance or beneath the ground and threatening us.<br \/>\n\u2026.<br \/>\nJust as the finished pictures have the peculiar power to attract the viewer and involve them in perceptual experiences, Annette Selle speaks of the production process as a confrontation that can drag on for weeks and whose outcome seems completely uncertain to her at times, until the respective picture in progress grips her and puts her in tension, in which the intermediate state of the picture she has reached sometimes draws her towards it, sometimes rejects it, and thus drives her forward until the tensions have finally been completely released in the painting process and dissolved and materialised in the picture.[\/vc_column_text][vc_empty_space height=&#8221;40&#8243;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;grid&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; anchor=&#8221;pohl&#8221;][vc_column][vc_column_text css=&#8221;&#8221;]<span style=\"font-size: 24pt;\">Joachim Pohl,<\/span><\/p>\n<div class=\"page\" title=\"Page 4\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p>Unbroken blue resounds like a chime and fills the nocturnal space. The colour chord thus formed rises to a full sound, stirs our souls, descends over the mysteriously intertwined and disguised pictorial worlds and takes us to the unknown place of the other self.<br \/>\nAnnette Selle&#8217;s painting is non-figurative. Anything narrative or even anecdotal is left out.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[\/vc_column_text][vc_column_text css=&#8221;&#8221;]<span class=\"collapseomatic \" id=\"id6a7f720920061\"  tabindex=\"0\" title=\"&lt;strong&gt;Read more&lt;\/strong&gt;\"    ><strong>Read more<\/strong><\/span><div id=\"target-id6a7f720920061\" class=\"collapseomatic_content \">\n<div class=\"page\" title=\"Page 5\">\n<div class=\"section\">\n<div class=\"layoutArea\">\n<div class=\"column\">She does not use representational objects or figurative stagings to reflect her existential state of mind. Her compositions, which slowly develop in the painting process, are reflections of mental states and formed bundles of ego-broken world experience. It is not about the depiction of seen living spaces. Rather, the painting itself becomes a necessary space of life and probation.<br \/>\nFor Annette Selle, the path is also the goal: for her, painting as a creative process becomes an indispensable search for and discovery of a form that is perceived as valid. The finally accepted pictorial pattern is experienced as a congruent cipher of the creative and self-affirming self.<br \/>\nHer painting is conservative in its commitment to traditional means and sensual power. Her position is explained by Delacroix&#8217;s maxim of the picture as a \u2018feast for the eye\u2019.<br \/>\nAnnette Selle creates pictorial works of great colour magic and sensual fascination. As a gateway to the inner world of the other creative self, they never completely relinquish their mystery.<br \/>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n[\/vc_column_text][vc_empty_space height=&#8221;100&#8243;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221;][vc_column parallax=&#8221;content-moving&#8221; parallax_image=&#8221;1133&#8243;][vc_empty_space height=&#8221;400&#8243;][\/vc_column][\/vc_row]\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221;][vc_column][vc_empty_space height=&#8221;100&#8243;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;grid&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; anchor=&#8221;tannert&#8221;][vc_column][vc_column_text css=&#8221;&#8221;]Christoph Tannert, Art historian and curator To the exhibition \u201eUnmasked #1\u201c &#8211; Gallery aquabitArt, Berlin \u2026The large blue paintings by Annette Selle immediately draw you into the&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"full_width.php","meta":{"footnotes":""},"class_list":["post-558","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/annette-selle.com\/en\/wp-json\/wp\/v2\/pages\/558","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/annette-selle.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/annette-selle.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/annette-selle.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/annette-selle.com\/en\/wp-json\/wp\/v2\/comments?post=558"}],"version-history":[{"count":8,"href":"https:\/\/annette-selle.com\/en\/wp-json\/wp\/v2\/pages\/558\/revisions"}],"predecessor-version":[{"id":1918,"href":"https:\/\/annette-selle.com\/en\/wp-json\/wp\/v2\/pages\/558\/revisions\/1918"}],"wp:attachment":[{"href":"https:\/\/annette-selle.com\/en\/wp-json\/wp\/v2\/media?parent=558"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}