In her new paintings Anna Meyer creates a dystopian, if not apodictic, image of the city and its inhabitants. In "Facebookmonument", the composition suggests a spatial proximity to the Marx-Engels-Forum at Berlin Alexanderplatz - Anna Meyer finds a felicitous image for the architectural reshaping of old social orders and the profound transformations that have affected many cities: the technology minded capital market is reflected in a shrill-colored robe covering everything. The professional teenagers in the paintings wandering around between oversized advertising spaces of big corporations, presented as remote-controlled, self-centered pigheads. Its artificial, computer generated networks cannot be described other than as ‘asocial’. Representational architectures of former socialist politics of symbolism such as the Karl Marx Bookstore or the Café International in Berlin, and their social identity becoming superfluous through its reconstruction, shows itself in Anna Meyers picturesque transfers in Carl Mac bookstore or Café Internetionale - a new form of contemporaneity -- through their adaptation to the perceived needs of the media market today. "Dr. Moloch Bobotown" with its it-places and shopping malls differs in nothing from other cities, led by big business and routinely CO2 outbursts. A new time announces itself, because the time of the World has expired: The World Clock appears in the new look of a global player who has neither time nor an adequate measurement, the new Time Machine inquires into productive forces and high performer.
Anna Meyer unmasked the promises of happiness of the metropolitan area, the search for luck and the lifestyles of its inhabitants as well as the visions of the future or the belief in progress, which manifests itself in urban change, as sprawl of an increasingly capitalized society - without moralizing. She shows an all reshaping and equalizing will for adjustment: to be geared on the normal and the usual (Facebook, Fast Food, Coca Cola, Litfass Pillars, Billboard), Anna Meyer sums up the extreme in a very engaged way. It resembles Jörg Fauser, part of the subculture of Berlin and its radical reformist big city blues, whose restless texts helped "clarify in what kind of world we live in" (and whose collected journalist works "Der Strand der Städte" were published for the first time in 2008 at Alexander Verlag Berlin).
The atmospheric unrest of Fauser’s texts is also embraced in the paintings of Anna Meyer. Despite its strong flow and the bright colors and shapes, the motifs in her paintings rise like a Fata Morgana out of the pictures and present itself as a volatile city appearance in the haze of consumer noisiness.
In her series of paintings from past year, Anna Meyer had even shown the losers of globalization bringing their last possessions to informal markets or people, who have experienced the climate change at first hand getting away with nothing more than their own lives. Anna Meyer didn’t stage these people as victims, but as silent witnesses of the economic and environmental crisis. In her new works, the figures seem exaggerated, almost satirized - but without making them look ridiculous or drawing an oversubscribed cynical image of them. Instead, they seem to undeviatingly approach their own dissolution. This is the disturbing fact at the root of Anna Meyer’s anarchic painting