Working between Germany and Korea, Sascha Pohle investigates how traces—material, temporal, and cultural—remain active in the present.His installations and assemblages echo archaeological and anthropological displays, operating as fictional archives in which found objects and local contexts are translated into new spatial narratives.Drawing from popular culture, film, and art history, Pohle reimagines narrative structures to challenge how we classify and interpret the world.He works across sculpture, video, photography, and performative installations, often through site-responsive collaborations with local communities.

Working between Germany and Korea, Sascha Pohle investigates how traces—material, temporal, and cultural—remain active in the present.His installations and assemblages echo archaeological and anthropological displays, operating as fictional archives in which found objects and local contexts are translated into new spatial narratives.Drawing from popular culture, film, and art history, Pohle reimagines narrative structures to challenge how we classify and interpret the world.He works across sculpture, video, photography, and performative installations, often through site-responsive collaborations with local communities.

- From Le Musée Imaginaire' series -Cloth hangers from the artist's private collection meet pages from Le Musée Imaginaire de la Sculpture Mondiale (1952). Domestic objects attach to b&w photographs—mimicking sculpture gestures, matching forms, extending bodily over edges, or prosthetically commenting on, adapting, and repairing damaged forms.

2015, paravent, 405 m x 175 cm, slide projection, 81 35 mm slides

The Residue Atlas

From Le Musée Imaginaire' serie. A coffee table book as an 'Earth Observation Backcasting Report' pairing stained coffee spills—named after satellite-documented disasters—with Malraux sculptures and maps. It reverses fortune-telling, reading residues as evidence of climate harm from everyday waste.

2026, artist book, 29,7 x 24,2 cm, b&w, 380 pages

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