'But eventually I'll die or go away, and then the kipple will again take over. It's a universal principle operating throughout the universe; the entire universe is moving toward a final state of total, absolute kippleization.’ – Philip K. Dick
'It is only at birth, and only because we are born, that places, air, water, fire, people, memories, dreams, and lies can come to belong to one another—can become coherent, become flesh. It is only because we are born that there is a world, and not just a disparate set of objects.’ – Emanuele Coccia
In Frowein’s first solo exhibition, physical spaces and objects are (re-)imagined in new realities – phantasmagoric, it connects forms and territories with one another. Dreaming (of You) initiates a cycle of dissolution and reconstruction. Without fixed origin or end, these works seem prone to collapse, and with it, stability fades systematically and permanence remains an illusion.
The exhibition's title stems from the ongoing sculptural installation Dreaming (of You), 2025, which (re-)codes reality into reveries. Initiated in 2024, it continuously evolves over time, offering glimpses into alternative mythologies of place. The 2025, iteration represents the current state of this evolving process. While the initial components marked the starting point of the installation, it remains deliberately unfinished and subject to further transformation. Progressing into new locations, the installation begins with a collection of digitized physical environments and engages with the collective knowledge embedded both in the environments where it is exhibited and in the training sets of artificial neural networks. Using this purported nonsensicality, Dreaming (of You), 2025 questions how settings and their objects are coded, offering glimpses into the sea of data that neural networks navigate. Through the assemblage of elements, the observer is prompted to question whether the realities often taken for granted are merely constructions of shared knowledge. With the sculptural sound installation Major and Minor Questions (The Killing of a CEO), 2025, Frowein recalls death not in flesh but through data. The protagonists, caught between catastrophe and an irretrievable past, observe history not as a mere sequence of progress, but perhaps as a piling wreckage of unrealized potential. The result of found footage, captured in the protagonists' bodies—figures of fables gazing, innocent and pale—leaves the viewer wondering what they have witnessed, and whether they, too, have been part of this experience. In communal amnesia, one stumbles through a dreamscape where future, present, and past dissolve into a surreal continuum of collective oblivion. In Major and Minor Questions (The Killing of a CEO), 2025, recent events take shape in new forms, as figures stare, deprived of their sight. The viewer peers into these hollow eyes, wondering if a reality is being (re-)dreamed and has just slipped from memory. As these spectacles have already long passed, the narratives seem trapped, (re-)coded into another tale and reborn in an ancient mythology. The viewer, becoming part of a shared awareness and (re-)collection, merges into a dreamlike state where present speculations and politics are performed as a more fragmented act. The entity dies every time our memory swipes knowledge into a new fiction. Frowein conjures a (re-)imagined world, sculpted from strata of data and conceived within digitized realms, where familiar spaces melt into otherworldly landscapes. By (re-)processing collective information—such as memories and images—new spatial configurations begin to emerge. Works like Palimpsest (Major and Minor Questions), 2025, act as maps of this unstable terrain—a theatre of chaos. These pieces do not present a fixed narrative, but instead reveal overlapping traces of the past, continuously overwritten by new inputs. Residual materials are reintroduced, overwritten—in a continuous cycle. Plates may be removed, replaced, or revisited—new ones appear as others vanish. Each becomes a site of ongoing inscription. Through this method, the piece functions as a hybrid apparatus: a living archive and 'Wunderblock‘ in one. Each stone overturned reveals a new scope of interpretation, leaving an eerie familiarity—something deeply known, yet impossible to name.
Text by Hannah Weidner
The exhibition will run from May 17 to June 27, 2025, and will be open by appointment (and occasionally).
The opening reception will take place on Friday, May 16th, from 7 PM to 10 PM at Bundesallee 18, 10717 Berlin.
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