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Installation view of "Knoblauch Mädchen" and "Übermenschen" by Suah Im, currently on view at the exhibition "1+1." Today is the last day of the year, and the gallery will be closed for winter break from Dec 23 to Jan 13. You’re welcome to drop by!
Suah Im
Knoblauch Mädchen, 2021
Pencil, charcoal, watercolor on paper
21 x 29.7 cm
Suah Im
Übermenschen, 2024
Ceramic, fabric, epoxy resin
26 x 274 x 26 cm
1+1
Group exhibition
December 07, 2024 – January 18, 2025
Curated by Qin Yan and Linhan Yu
Mariannenstrasse 33, 10999 Berlin
Installation view ©️ Galerie Met and Suah Im.
Suah Im
Knoblauch Mädchen, 2021
Pencil, charcoal, watercolor on paper
21 x 29.7 cm
Suah Im
Übermenschen, 2024
Ceramic, fabric, epoxy resin
26 x 274 x 26 cm
1+1
Group exhibition
December 07, 2024 – January 18, 2025
Curated by Qin Yan and Linhan Yu
Mariannenstrasse 33, 10999 Berlin
Installation view ©️ Galerie Met and Suah Im.
Installation views of "Incredulity (Car window)."
Another kinetic sculpture is "Incredulity (Car window)," in which a car window performs its only possible gesture, moving up and down. Here, however, it cannot open or close an associated body. Unleashed from the system, it explores its surroundings, but in so doing it seems fragile and exposed to the void. The gesture is reminiscent of the well-known motif of ‘Doubting Thomas’ in Christian art, which also appears in the exhibition in the form of a plaster cast of an ivory relief from the 10th century. In it, Jesus is at the centre of the scene, showing his stigmata; below him, Thomas, pricking the wound with his index finger. Although the apostle overcomes his crisis of faith in the scene, a crack remains forever: for Christianity, doubting is an incurable wound, at least as long as faith and reason are diametrically opposed.
Text by Philipp Lange.
Friedrich Andreoni
Incredulity (Car window), 2024
Car window, analog motor, steel
70 x 40 x 90 cm
Another kinetic sculpture is "Incredulity (Car window)," in which a car window performs its only possible gesture, moving up and down. Here, however, it cannot open or close an associated body. Unleashed from the system, it explores its surroundings, but in so doing it seems fragile and exposed to the void. The gesture is reminiscent of the well-known motif of ‘Doubting Thomas’ in Christian art, which also appears in the exhibition in the form of a plaster cast of an ivory relief from the 10th century. In it, Jesus is at the centre of the scene, showing his stigmata; below him, Thomas, pricking the wound with his index finger. Although the apostle overcomes his crisis of faith in the scene, a crack remains forever: for Christianity, doubting is an incurable wound, at least as long as faith and reason are diametrically opposed.
Text by Philipp Lange.
Friedrich Andreoni
Incredulity (Car window), 2024
Car window, analog motor, steel
70 x 40 x 90 cm
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Friedrich Andreoni
I Was So Wronge, 2021
Installation – “I was so wrong” vocal recording spectogram image printed on fabric, Metal tubes pipe, brackets
Dimensions: variable (flag 150 x 90 cm)
Installation view SAIC Galleries, Chicago, IL, United States
Friedrich Andreoni
I Was So Wronge, 2021
Installation – “I was so wrong” vocal recording spectogram image printed on fabric, Metal tubes pipe, brackets
Dimensions: variable (flag 150 x 90 cm)
Installation view SAIC Galleries, Chicago, IL, United States
