Josefina Posch explores the dividing line between the private and the public, working with the tension between a scientific and a voyeuristic form of observation. She focuses on the point where technology, cloning, averages, ideas and fiction meet. At times the “uncanny valley” phenomenon can arise – that eerie moment when a humanoid object (a robot for instance) seems to be close but not quite close enough to the human. In Posch´s work this permits an important point of view, a critical space in which, confronted by these humanoid sculptures, we shall have time to reflect over what it means to be human with other people – how we look at them, what we see. The art historical distinction between the renaissance and the baroque is also present in Posch´s art. We recognize renaissance stress on harmony and ideal proportions while at the same time we note the baroque sculpting movement in various ways – like figures in a stage of creation in a laboratory, or in a stage of meltdown, or in the act of taking a step, or in the form of inflatable objects at risk of losing their air. Posch works with a number of different techniques and media. Installation, drawing, sound, aromas and social experiments are some examples.
Text excerpt from catalogue published on the occasion of the exhibition “Love Explosion” at Göteborgs Konsthall.