Lisa Röing Baer, born in 1994 and based in Berlin, studied at the Kunstakademie Düsseldorf. She has exhibited her work in various group and solo exhibitions across Europe, among others at "Sidetrack Collages", Prince11, Berlin (2022) or "Satelliting Groundfloor", okay.space, Athens (2024).

Lisa Röing Baer‘s works explore themes of memory, social dynamics, collective narratives, and the interplay between history and the present. As a photographer, she often employs an installative and conceptual approach.

The video piece "bettlefield", transports viewers to a disused factory marked by a past filled with war, propaganda, and economic shifts. This site, once a hub for explosives and film production, is now a designated hazardous area, contaminated with chemicals and closed to the public. In her video work it stands akus a symbol of a fading industry, representing the intertwined fates of a community that reflects on its past with both shame and nostalgia.

The semi-transparent curtain titled "Sonnige Zeiten" features photographs from demonstrations where the line between genuine protest and far-right ideology have become blurred. The original messages on the demonstration signs have been removed, leaving only traces of postures. Individual perspectives dissolve into the crowd, transforming into a collective concern. This collage resists straightforward interpretation, highlighting how perception and manipulation can shape our understanding of images. Analogous to the protester’s ideology, the curtain allows the viewer to separate himself from other visitors, making the exhibition space a metaphor for society as a whole.

"Bouquet n.4" is part of a longterm series. The bouquet comprises of paper fragments - collected napkins, exhibition texts and other found material from the artists daily life. Since 2017, Röing Baer creates these bouquets with matching vases for group shows. Each bouquet represents a certain phase of production - providing traces of her daily life and artistic practice.

Röing Baer‘s series "Gutenberg" explores newspaper as a symbol of a dying cultural practice. The disappearance of newspaper-readers from public spaces not only reflects the shift towards digital news consumption but also the rise of alternative information channels. This series highlights the loss of public discourse and the potential for social fragmentation as people retreat into private, often echo-chamber-like information spaces.

In contrast, the work „Helikopter (für Carl)“ presents a single photograph of a helicopter set against a grey sky. This image, captured during a demonstration, serves as a stark symbol of surveillance and authority. The helicopter‘s presence alludes to the tension between public protest and state control.

Verena Osthoff