2 Fast 2 Safe
08.03. - 17.03.2024


Day Scuptures
03.11. - 18.11.2023

07.10. - 22.10.2023

23.06. - 29.06.2023

30.03. - 04.04.2023

17.03. - 24.03.2023

The Dream
04.02. - 09.03.2023


Voodoo for Fun & Profit
9.12. - 16.12.2022

I think they should break up 
18.11. - 25.11.2022

16.10. - 23.10.22

05.07 - 10.07.22

10.06. - 15.06.22

07.05. - 12.05.22

18.04. - 02.05.22


10.12. - 20.12.21

20.11. - 05.12.21

facets, faces
22.10. - 31.10.21

memory is a social organ
10.09. - 19.09.21

18.06. - 03.07.21

Side Chair, Artist’s Table, #4 Oval Box
04.06. - 14.06.21

23.04. - 30.04.21

Elements of Reading
16.04. - 18.04.21


side by side
24.07. - 29.07.20

09.07. - 19.07.20

20.03. - 13.04.20

Smells Like Team Spirit
13.03. - 15.03.20

Don't worry, there will be more problems.
21.02. - 07.03.22


tracing echoes
01.11. - 10.11.19

Museum der Kritik
24.10. - 26.10.19

17.10. - 20.10.19

less skin
06.09. - 13.09.19

17.05. - 26.05.19

16.02. - 17.02.19

25.01. - 30.01.19


18.10. - 09.12.18

Subject:Fwd:Unknown / Yutie Lee
30.11. - 09.12.18

Subject:Fwd:Unknown / Tim Etchells
16.11. - 25.11.18

Subject:Fwd:Unknown / Nora Turato
02.11. - 11.11.18

Subject:Fwd:Unknown / Michal Heiman 
19.10. - 28.10.18

Gentle Heterodoxy. Social Body
and its Enchantments
30.09. - 09.10.18


Proud to present...
15.07. - 21.07.18

11.02. - 25.02.18


P r e s h o w r i t u a l
28.10. - 24.11.17

09.10. - 10.10.17

Is the peacock merely beautiful or also honest?
01.06. - 23.06.17

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2 Fast 2 Safe

08.03. - 17.03.2024

Ausstellungsraum EULENGASSE
Seckbacher Landstraße 16
60389 Frankfurt am Main

„Do you like yourself? What are you afraid of? Do you have hope that this will change? Where do you see yourself in 10 years?“

In the exhibition 2 Fast 2 Safe of Nina Nadig, three screens are integrated into a drywall structure made of steel, forming an architectural intervention within the space and guiding the visitor like a barrier on a race track. The grid structure alludes to various concepts, whether an institutional system, a construction site or methods of information processing, within which the video installation is embedded. On the screens, a kart race can be seen filmed from the point of view of a racer: Lap after lap, the drivers try to go faster around the track. Friendship morphs into rivalry, with each individual racing for themselves, overtaking, colliding and striving to win. To avoid unnecessary distance, the bends on the track must be driven particularly tightly - if you overestimate yourself, you will hit the kerb or oversteer the vehicle. The yellow flag warns of upcoming danger; take care and avoid driving side by side. As the rounds pass, exhaustion sets in, tiring your body. While the repetition brings experience, it also slows down your concentration. The green flag waves, signalling a safe track, you can continue your journey normally. Finally, the black and white chequered flag marks the end of the current lap, before the next one is about to begin. The ride speaks to experimentation, the unknown and the constant search for the right position in a system made of strict rules. As the racers navigate the twists and turns of the track, they face the contradictions of freedom and safety, independence and belonging, individuality and conformity while being in a constant field of tension. Driven by desire, they seek to complete the elusive perfect lap.

The perspective of the racer depicted in the video is that of a teenager from a youth centre in Frankfurt, whom Nadig accompanied to the race. The artist delves into different aspects of coming-of-age experiences, using the backdrop of the kart race to look at the challenges young people face on their journey to adulthood. Nadig engages with the meaning of their spaces, where they gather, play, grow up – and she explores what happens when these spaces become absent or destroyed.

As part of an ongoing research process, Nadig interviewed a group of teenagers from this youth centre: they talked about their opinions and experiences, their favourite songs, but also about the loss of their centre due to a fire. On two additional screens leaning against a steel bar, a question-and-answer dialogue between the artist and one of them is displayed.

In the exhibition, Nadig introduces the fire extinguisher which was present when the fire broke out. This found object placed in a corner of the room creates a sense of ambiguity, blurring the lines between whether it is inherent to the exhibition space or inserted. Beyond its utilitarian purpose, the fire extinguisher transcends mere functionality; it symbolises both protection and the absence of safety. Its physical presence not only echoes the imprints of the past but also serves as a guardian of the memories it holds.

Above the fire extinguisher, Nadig places two drawings. Each piece exudes a subtle essence of teenage spirit, with components such as a heart, a chain with dice, misspelt words and a scribble-like quality to them. One of the drawings forms a collage with a photograph of the youth centre's basement, the only space that survived the fire. The artist emphasises the enduring elements that remain through and with the destruction: love, fear, hope, change and a longing for the past and the future. 2 Fast 2 Safe tells narratives of adolescence as a recurring motif that remain omnipresent at any age.

Text by Dalwin Kryeziu and Emily Pretzsch

Nadig is currently pursuing her studies in Fine Arts at the Hochschule für Bildende Künste Städelschule. Based in Frankfurt am Main, she both lives and works in the city. Her solo and group exhibitions include presentations at Willow and K-Arts in Seoul, South Korea (2023); FRAGILE in Berlin, Germany (2022); the Deutsches Filminstitut & Filmmuseum in Frankfurt, Germany (2022); St. Lukes in Cork, Ireland (2022); the Goethe-Institut in Dublin, Ireland (2022); and Fonda in Leipzig, Germany (2021). In recognition of her work, Nadig received the Gerda Arndt Gedächtnispreis in 2022 for "LUCK, LOVE, LUST, LOSE" and was awarded the ASEM-Duo Scholarship Duo (Korea Fellowship Program) in 2023.

Dalwin Kryeziu and Emily Pretzsch work as art historians, authors and aspiring curators. Both are studying for a Master's degree in Curatorial Studies at Goethe University and the Städelschule since 2022.

Special thanks go out to Harald Etzemüller and Vládmir Combre de Sena for their support, and for without them the exhibition would not have been possible. They organise parts of EULENGASSE, an artist-run space in Frankfurt am Main, Germany. It provides a platform for artists and people interested in contemporary art and culture. Founded by artists in 2003, its purpose was and still is to run a gallery, to maintain studios for its members, and to create a space for debate and exchange about contemporary art.

For 2 Fast 2 Safe, it serves as a temporary substitute venue for the project space fffriedrich, which cannot be used due to a temporary renovation.

Another thank you to Majken Böckmann for creating the visuals for the exhibition.

2 Fast 2 Safe

Opening Hours:
Friday, 08.03., 3 pm to 6 pm
Saturday, 09.03., 3 pm to 6 pm
Sunday, 10.03, 3 pm to 7 pm
Thursday, 14.03., 5 pm to 9pm
Friday, 15.03., 3pm to 6 pm
Sunday, 17.03., 3pm to 7pm

Private viewings can be arranged by email: dalwin1512@gmx.de or emilypretzsch@web.de

2 Fast 2 Safe

“Magst du dich selbst? Wovor hast du Angst? Hast du Hoffnung, dass sich das ändert?

In der Ausstellung 2 Fast 2 Safe von Nina Nadig sind drei Bildschirme in eine Trockenbaustruktur aus Stahl integriert, die eine architektonische Intervention im Raum bildet und die Besucher*innen wie eine Barriere auf einer Rennstrecke lenkt. Die Gitterstruktur, in die die Videoinstallation eingebettet ist, erinnert an ein institutionelles System, eine Baustelle oder Methoden der Informationsverarbeitung. Auf den Bildschirmen ist ein Kartrennen zu sehen, gefilmt aus der Perspektive eines Fahrers: Runde um Runde wird versucht, schneller um die Strecke zu fahren. Freundschaft verwandelt sich in Rivalität, jeder fährt für sich, überholt, kollidiert und jagt nach dem Sieg. Um unnötige Distanz zu vermeiden, müssen die Kurven auf der Strecke besonders eng gefahren werden - überschätzt man sich, trifft man die Bande oder übersteuert das Kart. Die gelbe Flagge warnt vor drohender Gefahr; pass auf und vermeide es, nebeneinander zu fahren. Mit dem Fortschreiten des Rennens setzt die Erschöpfung ein, dein Körper wird müde. Während die Wiederholung einen Erfahrungsprozess mit sich bringt, verlangsamt sie auch die Konzentration. Die grüne Flagge weht und signalisiert eine sichere Strecke; du kannst deine Fahrt normal fortsetzen. Schließlich markiert die schwarz-weiß karierte Flagge das Ende des Rennens, bevor das nächste beginnt. Die Fahrt steht für das Experimentieren, das Unbekannte und die ständige Suche nach der richtigen Position in einem System aus strengen Regeln. Während die Fahrer sich durch die Kurven der Strecke navigieren, werden sie mit den Widersprüchen von Freiheit und Sicherheit, Unabhängigkeit und Zugehörigkeit, Individualität und Konformität konfrontiert undbefindensichineinemständigenSpannungsfeld.GetriebenvomVerlangenzugewinnen,sind sie auf der Suche nach der perfekten Runde.

Die Perspektive des Fahrers in Nadigs Videoarbeit ist die eines Teenagers aus einem Frankfurter Jugendzentrum, den die Künstlerin zu dem Rennen begleitet hat. Sie untersucht darin verschiedene Aspekte und Erfahrungen des Erwachsenwerdens – das Kartrennen verweist auf die Herausforderungen, mit denen junge Menschen auf diesem Weg konfrontiert sind. Nadig beschäftigt sich mit der Bedeutung ihrer Räume, in denen sie sich treffen, spielen, aufwachsen - und fragt danach, was passiert, wenn diese Räume abwesend oder zerstört werden.

In diesem laufenden Rechercheprozess hat Nadig eine Gruppe von Teenagern aus dem Jugendzentrum interviewt: Sie sprachen über ihre Meinungen und Erfahrungen, ihre Lieblingssongs, aber auch über den Verlust ihres Zentrums durch einen Brand. Auf zwei zusätzlichen Bildschirmen, die an einer Stahlstange lehnen, wird ein Frage-und-Antwort-Dialog zwischen der Künstlerin und einem der Jugendlichen gezeigt.

In der Ausstellung befindet sich der Feuerlöscher, der bei dem Ausbruch des Feuers vor Ort war. Dieses gefundene Objekt, das in einer Ecke des Raumes platziert ist, verwischt die Grenzen zwischen seiner Zugehörigkeit zum Ausstellungsraum oder seinem Einfügen in diesen. Der Feuerlöscher übersteigt seine bloße Funktion; er symbolisiert sowohl Schutz als auch das Fehlen von Sicherheit. Seine physische Präsenz hallt nicht nur die Spuren der Vergangenheit wider, sondern ist zugleich auch Hüter von Erinnerungen.

Über dem Feuerlöscher platziert Nadig zwei Zeichnungen. Durch Komponenten wie einem Herz, einer Kette mit Würfeln, falsch geschriebenen Wörtern und einer kritzelartigen Qualität wohnt den Arbeiten etwas Jugendliches inne. Eine der Zeichnungen bildet eine Collage mit einem Foto des Kellers des Jugendzentrums, dem einzigen Raum, der den Brand überlebt hat. Die Künstlerin betont die Elemente, die trotz und mit der Zerstörung bleiben: Liebe, Angst, Hoffnung, Veränderung und die Sehnsucht nach Vergangenheit und Zukunft. 2 Fast 2 Safe erzählt Narrative der Adoleszenz als ein wiederkehrendes Motiv, das in jedem Alter allgegenwärtig bleibt.

Text von Dalwin Kryeziu und Emily Pretzsch

Wo siehst du dich in 10 Jahren?”

Nadig studiert Bildende Künste an der Hochschule für Bildende Künste Städelschule. Sie lebt und arbeitet in Frankfurt am Main. Ihre Einzel- und Gruppenausstellungen umfassen Präsentationen bei Willow und K-Arts in Seoul, Südkorea (2023); FRAGILE in Berlin, Deutschland (2022); dem Deutschen Filminstitut & Filmmuseum in Frankfurt, Deutschland (2022); St. Lukes in Cork, Irland (2022); dem Goethe-Institut in Dublin, Irland (2022); und Fonda in Leipzig, Deutschland (2021). 2022 erhielt Nadig den Gerda Arndt Gedächtnispreis für ihre Arbeit "LUCK, LOVE, LUST, LOSE" und wurde 2023 mit dem ASEM-Duo-Stipendium Duo (Korea Fellowship Program) ausgezeichnet.

Dalwin Kryeziu und Emily Pretzsch arbeiten als Kunsthistoriker*innen, Autor*innen und Kurator*innen. Beide studieren seit 2022 im Masterstudiengang Curatorial Studies an der Goethe-Universität und der Städelschule.

Besonderer Dank geht an Harald Etzemüller und Vládmir Combre de Sena für ihre Unterstützung, ohne die die Ausstellung nicht möglich gewesen wäre. Sie organisieren das Programm der EULENGASSE, einem von Künstler*innen geführten Ausstellungsraum in Frankfurt am Main, Deutschland. Er bietet eine Plattform für Künstler*innen und Kunstinteressierte. Der im Jahr 2003 von Künstler*innen gegründete Raum, hatte und hat es zum Ziel, eine Galerie zu betreiben, Studios für seine Mitglieder zu unterhalten und einen Raum für Diskussion und Austausch über zeitgenössische Kunst zu schaffen. Für 2 Fast 2 Safe dient er als vorübergehende Ersatzraum für den Projektraum fffriedrich, der aufgrund einer Renovierung nicht genutzt werden kann.

Ein lieber Dank geht an Majken Böckmann für die Erstellung der Visuals für die Ausstellung.

2 Fast 2 Safe

08.03. - 17.03.2024

Ausstellungsraum EULENGASSE Seckbacher Landstraße 16 60389 Frankfurt am Main

Freitag, 08.03., 15:00 bis 18:00 Uhr
Samstag, 09.03., 15:00 bis 18:00 Uhr
Sonntag, 10.03., 15:00 bis 19:00 Uhr
Donnerstag, 14.03., 17:00 bis 21:00 Uhr
Freitag, 15.03., 15:00 bis 18:00 Uhr
Sonntag, 17.03., 15:00 bis 19:00 Uhr

Private Besichtigungen können per E-Mail vereinbart werden: dalwin1512@gmx.de oder emilypretzsch@web.de

Day Sculptures

Emmilou Roessling

November 3 - November 18 2023

In Day Sculptures three boxes, each referring to a specific date, hold miniature models which serve as allegories to three differ­ ent live performances. They are equally containment and concealment. Choreographies, in parts shrunken and reified, are carefully collected and put away, protecting what is inside from the outside and what is outside from the inside. The sculptures suggest that the boxes can be opened, propped up and accessed or easily packed and stored away. Yet they are displayed closed, descriptions of what they hold pouring out of them in the form of paper scrolls.

Even in performance it is not easy to make a truly ephemeral work. After all, we live in a material world and each action leaves a multitude of traces. We collect bus tickets and flower petals, scores and charms. We seek to attach something that cannot be grasped in hope to perhaps encounter it through these mun­dane objects again. Performers carefully hide personal and lucky items of clothing under their costumes, place a score note, so long that it is impossible to read, under a prop or slip a gemstone into their pocket, connecting each to a given work so that they become indispensable for performing it again. Stages and spaces can become charged with phrases, move­ments, scores and other moments of presentation. A not uncommon sensation when doing the same action over and over again, can be that of a time warp, in rehearsal and for real. For real meaning the moment when other people are watching and are able to confirm this reality, even if it is make believe. It is unclear whether repetition makes something be experienced as less or more real. Maybe what a time warp allows for is a next to real experience. Not real but also not not real.

In Day Sculptures the days are contained in boxes and hidden from view, their performativity is in their withdrawal. The way to access them is via their descriptions, which flow out of the cracks as scrolls, giving meticulous details and subjective recollections of the day and performance as it was experienced. Printed on thermal paper and under a consistent exposure to light, these scrolls make no claim for permanence. As the exhibition goes on the descriptions slowly fade.


Publication in collaboration with Lucas Eigel

Printed in Frankfurt

Edition of 100

With special thanks to Printshop Stä­delschule, Aerin Hong, Jackson Beyda, Moritz Tontsch, Silja Korn, Zishi Han, Arnaud Ferron and Friedrich Hartung.

Documentation: Ivan Murzin

Day Sculptures was kindly supported by the City of Frankfurt a. M. — Depart­ment for Culture, Naspa Foundation and Hessian Ministry for Science and Arts.


Siyi Li and Rosa Nitzsche

“When we were leaving the conference and saying our goodbyes in the hotel lobby, he suggested making a playlist of songs that ‘had touched us somehow’. I felt embarrassed turning this farewell into a major event, but I also didn’t want to miss an opportunity to touch him. I sent a link to ‘All My Friends’ by the synth rock band LCD Soundsystem.

Famously, LCD Soundsystem announced that they were disbanding in 2011 and played a huge and histrionic farewell concert at Madison Square Garden. Just four years later they released a new album and began touring again. I thought the retracted goodbye was manipulative, but I couldn’t help loving the new music.

He later told me that the track I sent was selfishly long, that it had completely ruined the playlist.”

Text by Silas Edwards.

Poster by Muyeong Kim.
Special thanks to Teresa Heinzelmann.
Photos by Jiyoon Chung.

Siyi Li, See You Cowboy, Someday, Somewhere, 2023, cardboard and glue, 60 x 80 x 80 cm

Rosa Nitzsche, Die Irrfahrt, 2023, video on snare stand, 6:24 min


With John Hussain Flindt, Donghoon Gang, Aerin Hong, Kristin Reiman & Alexander Tillegreen

Curated by Clara Maria Blasius & Vivien Kämpf

Light falling onto an object must be partially reflected, partially soaked up for it to appear as coloured. If the light were completely scattered, absorbed, or transmitted, it would instead be white, black, or transparent respectively. Certain wavelengths have to be swallowed—lost—in order for a specific physical colour to appear—to be gained.

Chorusing describes an audio effect that occurs when two or more sounds with very similar pitches coincide at the same time. This can emerge naturally in—the eponym—a choir, a string ensemble, or certain instruments, namely the piano or the organ. Minimal differences in pitch and timing among multiple musicians or vocalists result in the typical sound of rich and shimmering quality. Analogously, the digital imitation of this phenomenon is called the chorus effect. When recreated electronically, the effect is achieved by creating one or more copies of a signal sound, which are then added with a delay of about a dozen milliseconds. As this lies below the human echo threshold, the deferred duplicates are not discerned as such. While none of the individual tones are experienced as off-pitch or out of tune, the delayed layering renders the sound thicker, fuller, or more spacious.

To chorus also means: two or more persons utter something in unison or say similar things at the same time. Similar, not necessarily identical.

Figures of speech such as similes, metaphors, or analogies are some of the ways to enlarge and enhance language. Distinction through comparison, expression through embodiment. As perception is always shaped by previous experiences, knowledge, emotions, as well as various other factors, a thing is recognized as being identical with, alike to, or different from another. Consciously or unconsciously, similarity, comparability, or relatability are suggested, analogies are employed, in order to explain or simply apprehend.

Analogies between sound and space abound. The expression colour of noise draws parallels between colour shades and certain sound phenomena. Whilst the most widely known is the hissing sound of white noise, there are equivalents corresponding to other areas of the spectrum, among them pink and brown noise. Some of them have concrete definitions, while others are rather informally understood. A few of their spectral patterns are, in fact, incorrectly translated.

Some figures of speech are technically replacements. As in every transfer, disruptions are to be expected. Whether digital or analogue, whether verbal, non-verbal or paraverbal communication—the latter meaning a voice’s tone, pitch, and pacing, among other aspects—signals and signs are received, perceived, and (mis-)interpreted. From one tongue and timbre to the other, ear to ear, transmission or translation errors occur. In every fault, loss or interference lies a potential gain. A sound wave has to hit in order to be heard.

The works in “Chorusing” are located at different points within these relational webs of stimulation and simulation, articulation and association. Space and sound, speech and thought, body and mind. Each in their own way, they refer to imagined or real deviation, discrepancy, detuning, and dissonance that shape and enrich the perception of ourselves and our surroundings.

Text: Clara Maria Blasius

Videos of the works

Donghoon Gang Dry & Wet (dyptych)
Aerin Hong Private  Lessons
Kristin Reimann  No air is unmarked
Alexander Tillegreen   Phantom Streams (5 movements)

Chorusing, Installation view, Photo: Jakob Otter
John Hussain Flindt, left: synktrctrnscndc & th *prtl cmplx #8, 2021, right:
synktrctrnscndc & th *prtl cmplx #9, 2021, Photo: Jakob Otter
Chorusing, Installation view, Photo: Jakob OtterChorusing, Installation view, Photo: Jakob OtterAlexander Tillegreen, Wanderer, 2019, Photo: Jakob OtterChorusing, Installation view, Photo: Jakob Otter


An exhibition by Maria Moritz

An exhibition by Maria Moritz (March 30 – April 04, 2023)
fffriedrich, Alte Mainzer Gasse 4-6, 60311 Frankfurt am Main

How can we reflect on both the complex relationship between the exposing artist as an individual subject and the artwork as an objectification of personal and historic fragments? In other words – what does it mean to process one’s own experiences through exposing a rather public subject like an artwork? How can we approach the idea of imbuing the image, as an object, with the artist’s persona?

Through a gray curtain, our gaze is directed towards the oil painting Elbestr. 41 (2022). An empty bed, the churned sheets were possibly just left and could be still warm from the night before. Although the artist herself is absent from the painting, she grants us a fleeting glimpse into her most intimate space – the private bed as a place where we strip down clothing, make-up, and facades and where we are most vulnerable. Knowing that we see a bed Moritz herself has slept in, we can perceive it a something authentic, taken from the artist's individual space of experience. However, the bedroom and the bed itself become projection surfaces or screens that point beyond the artist as an individual: For your own memories and stories of something that came before and after; about the banality of everyday life; loneliness, sex and sweat; about nightmares and dreams. This merging of something alien and personal inscribed into our perspective allows us to reflect on the complex relationshi between the experience of a subject and its objectification in the image.

The self-portrait not inward, not close (2022) pushes the idea of (self-)exposure even further, showing the artist as a floating head squeezed between pillows against a yellow background, her eyes rolling obsessively into her head. The figure seems barely able to withstand the physical pressure an surrenders to the movement in the pictorial space.

The empty faces of the sculptural works Fellows I and II (2021/23) seem to lurk, following us with their looks. They may function as stand-ins for an anonymous audience that judges, appraises, observes, and reciprocally controls and disciplines. Perhaps also an alter ego; figures who make our self-observation observable; through whom the act of looking is contingent on the thought of being looked at. Moreover, through the visual axis between the figure and her self-portrait, Moritz makes herself the object being looked at – with her rolling eyes attempting to avert these gazes.

With the exhibition PERSONA, Maria Moritz transforms fffriedrich into an intimate space which reflects on its own complicated, public character. We observe and are observed, peak through the curtain at something supposedly intimate, projecting the artist's identity onto the pictorial objects, thinking of them as fused with her art. But what produces our image of ourselves, and others are distorted screens and canvases. Although all the works in the exhibition refer to Moritz, we can’t make any eye contact or an immediate connection to the artist’s persona. Rather, Moritz's self seems to dissolve in favor of the audience's imagination. Reflecting on the complex relationship between lived reality and its reflection by artistic means is, it could be summarized, only possible in the awareness that "[w]e are beings that are looked at, in the spectacle of the world. That which makes us consciousness institute us by the same token as speculum mundi."1

Curated by Emily Nill and Louisa Behr
With generous support by Dr. Marschner Stiftung

1 Lacan, Jacques: The Four Fundamental Concepts of Psycho-analysis, London, N.Y.: W.W. Norton, 1978, S.75

Photos by Sonja Palade