Andreas Schlaegel writes about Anja Scheffler-Rehse's work (Back in Town, 2014, Kunsthaus Hamburg):
The individual pages form stand-alone pictures read like unbridled, almost automatic texts but operate not unlike commentary. One picture is entitled Wrong business is still doing the healing, another Viel Zeit bleibt nicht / Auf der Scheiße-Linie. With a matchstick man. It describes in a drastic way the risk at the heart of every creative endeavour . In this artist’s book, that too has its place, using it as a theme in her humourous but snotty punk attitude, from a bold conviction in her own poetic power.
 Any visitor to the rooms in Galerie der Villa which Anja Scheffler-Rehse uses as her studio will never forget them. They are bursting with things the artist picks up on her walks and integrates into her works, where they become words in a narrative that is continuously updated. Her colourful captions, appropriated from her surroundings, once again remind one of Stevenson, who while journeying with his donkey also applied everything he encountered to himself.
The Hamburg-based art historian Belinda Grace Gardner writes about Anja Scheffler-Rehse's working space as a publicly accessible installation (Zusammenspiel / Interplay, 2009, Galerie der Villa):
The Hamburg artist Anja Scheffler-Rehse seeks to release the beauty, which is concealed in objects “seemingly useless and defined by others as dirt or garbage.“ Her assemblages and installations, which she produces in her workshop at the Galerie der Villa, are virtually brimming with an abundance of forms and materials. Like Antje Bromma, she directs her attention to found objects stemming from a large array of sources, which she encounters by the wayside or in everyday life. Articles of daily use, such as cups or glasses, metal chains, strands of fake pearls, keys, stuffed animals, textiles, bric-a-brac, and knick-knacks of all kinds are assembled by the artist into multi-layered ensembles, which are full of stories and histories. “In my own way, I try to bring order into the chaos by making visible the inherent structures that are conceivable to me,” as Anja Scheffler- Rehse states. “Sometimes the material determines the theme, sometimes topics that interest me at the moment are addressed.” From the surreal juxtaposition of kitchen sponges, shells, forks, clothespins, sewing and office items or a garden rake, which is characteristic of her sprawling assemblages, the artist creates narrative tableaus and magical mobiles, in which figures, faces, and other recognizable forms emerge. Her configurations, which appear like a conflation of shrines of mysterious cults, three-dimensional collages, and exuberant process art, lend the all-encompassing, spirit of Dada and Fluxus exceeding the boundaries between “high” and “low” a new, dynamic twist. Subjective perspective and collective subject matter are intertwined here, evoking the objects and collages of the co-founders of Nouveaux réalisme in the early 1960’s, the inventor of trap pictures, Daniel Spoerri, and the creator of kinetic sculptures, Jean Tinguely, in which myth and everyday object, staged spectacle and chance, trashy means and constructive opulence came together in a dialectic balance— a fusion of aesthetics and the poetry of everyday life to which the multiple Documenta participant Michael Buthe gave his very own expression in his “individual mythology” in the 1970’s and 1980’s. As Karsten Müller, director of the Ernst Barlach Haus in Hamburg writes in the accompanying catalogue published on the occasion of the Buthe retrospective shown there in 2009, “His art can make use of anything and everything [...] The result is a many-facetted kaleidoscope that blurs the boundaries between art and life.“
Thomas Beisgen, Antje Bromma, Anja Scheffler-Rehse, Jean Tinguely
Edited by Peter Heidenwag and Corinna Koch
Texts by Belinda Grace Gardner and Corinna Koch
23 x 21 cm, hardcover
56 pages, 47 images
19,- Euro inkl. 7% MwSt.