„Lost in Transmission“ – 2024/2025
Berlin, represented by PSM
The transmission, a historic belt drive, was used to centrally drive all the machines in her grandfather‘s
(Heinrich Moser) locksmith‘s workshop via several drive belts, starting from a central drive motor.
For the artist, the element of propulsion symbolizes movement and the passage of time.
The faces of the grandmother Maria Moser and her sister Berta are
carved on the inside of the gate. The two women ran the family‘s count-
ry inn, the only establishment within their small rural community – the
grandmother was the landlady while her sister was an exceptional cook.
Although the grandfather was a Frankenburg native and, as a locksmith,
quite an influential man within this small community, it was the women
who really set the tone in the family, particularly with their gastronomy,
allowing the entire community and especially the men of the family to
taste either their favor or disfavor.
„Moser in a Mostshell“ Gmunden/Austria
represented by Galerie 422 (Frames)
The artist invites visitors to immerse themselves
in her family history in a very personal way. The
focus is on the house in Frankenburg, which has
been in her family for many generations and has
been used as an inn, a locksmith‘s workshop, and
currently as a studio. Lena Göbel appropriates old
oak Zipfer beer barrels that her grandfather used
to make cider and carves her distinctive formal
language into them.
As a motif, she formally deals with the
transmissions that drive the machines in the
locksmith‘s workshop. For her, the element of drive
symbolizes movement and the passage of time.
In her reflection, she approaches her own family
history gently and powerfully, transforming it into
the present with her authentic and fresh visual
language.
„AONGHUS“ – 2024
Kerkow/Germany, Gut Kerkow, SpacedOut
represented by PSM, Berlin
Upon entering the room, the large woodwork immediately catches the eye.
It is an arrangement made from a fresh spruce trunk and parts of an old
roof truss. It was made on site and forms a sculpture as well as a printing
block for woodblock prints. As you continue walking, you realize that the
old granary—similar to a church interior—can be divided into a main nave
and two aisles. The installation extends across the central nave and appears
to end in a triptych of two large-format canvas paintings and an etching on
paper in the middle of the room.
The positioning resembles a Lenten veil, a symbol of renunciation, but
also the possibility of becoming free of the senses, open to a new view of a
familiar image. The wood, some of which is still very damp, wet, and fresh,
was cut up and split here, shaped into cattle. A process that reminds us of
life, sacrifice, mortality, and the transience that every moment contains. In
a broader and more fundamental sense, love and appreciation for life are at
the heart of this work.
