I am speaking here as a substitute for Franziska Glozer, who has become sick. A short text by her on occasion of the exhibition you'll find here. Now I am honored to introduce you to the exhibition of Annalena Grau.  It is an honor as well as a pleasure to introduce such a young artist with her first solo exhibition with us.
And that with such a controversial subject as the one of PARDISE and CAR.
GEISTERFAHRER (a driver on the wrong side of the road) she titles this installation: the fright of every driver, that someone does not stick to the rules or rather puts them aside by his/her action.
What does this have to do with car?
Also: what with paradise? We will see.

First, what do we find here?
Annalena Grau did not deal with paradise through angels or gods but with the mole, the one down there in the dark, who cannot see himself and whom we normally do not see, because it leaves traces but also stays rumbling below the surface. How does she trace this insible fellow? In an about-way she says, that if one wants to perceive more than what nomally is obvious one has to look below, below the surface.

Annalena starts off in a quasi scientific way: mapping, draws maps, takes notes, takes photographs.  But doing this she still looks under or to the border of the methodological system, which she disturbs through the change of focus, like for instance here next to the mural, where all of a sudden a wide horizon appears, even though she is actually dealing with the mole hills in the snow, which lies like another level over the earth's surface,

the latter characterizing as level on one hand, but could also be a sea of clouds when looked at from a short distance in a detail photo.
Above like below? The woman scientist as geisterfahrer (see above) in the process of transformation, the artist as a cross over in the report of facts? 
Annalena Grau is not prepared to make statements about paradise that are valid. The term is diffusto her. She is sear- ching, she is on the path that means life, to find the truth - very subjectively her own and the truth which is found objectivley so-to-say.
The mole hills were molded in a special process and were installed here onto the tile pattern in bronze, in substitute for mapped pictures of the earth's surface recorded mole traces onto it would reveal the invisilbe paths of the protected ani- mals.
How does Annalena Grau now get on the track of her own inner departure? How does she break through the cemented border of passed on patterns of thinking and working?
It is pretty bold, just like a Geisterfahrer (see above), to declare such breakable, borderless things like mole hills as structure and then cast in bronze. How she did it, you may ask her yourself.
In my opionion it is also rather daring to drive through the British Ilands up to Schottland as a young woman in a VW bus. At the foot of the rainbow she eventually got out. And this picture we discover in the basement, so-to-say next to the livingroom of the mole, and here we strike gold concerning the hidden.
We are by now used to think in plateaus or platforms. On one's own though to find the passage from one level to the other is a different matter.
Here on the tiles we so-to-say see the upper layers: the sensible screen, the scientific appoaches, the proven methods of artistry with their edges, but then also the by the tiles lifted hills from below as a break-through of the levels lying below so-to-say, here hardened, crystallized to goods, with memery value; in addition the vehicle which has bumped into  the border.
Which refers to below into the next level of the basement - where it is not so dark at all, but rather all thinking patterns are gone through in mind with the drawing pen and become