The installations by Anselm Schenkluhn contain a certain humorous mythology. His absurd constellations of materials and artwork titles often refer to Dadaism: a blanched and upside down photograph of the Matterhorn is split by a non-shining fluorescent lamp, and the romantic silhouette of Charles' Wain, composed of diodes on monochromatic canvas, refers by its title to the legendary film series on illegal street car races. The artist himself speaks about associative dialogue transcending the usual perception of reality. This is also completely fulfilled by a monstrous installation of a ship pierced by neon poles, floating above the viewers' heads as a dreamlike merge of Vikings and Star Wars. (pv)