Submission
Group Show

The exhibition includes works by Minhyeok Ahn, Arhun Aksakal, Rosario Aninat, Živa Drvarič, Esra von Kornatzki and Simon Shim-Sutcliffe.


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Installation view, Gross Floor Area, 10-14/4/2022, Hohenstaufenstrasse 8 Backyard, Frankfurt am Main
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Installation view, Gross Floor Area, 10-14/4/2022, Hohenstaufenstrasse 8 Backyard, Frankfurt am Main
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Installation view, Gross Floor Area, 10-14/4/2022, Hohenstaufenstrasse 8 Backyard, Frankfurt am Main
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Installation view, Gross Floor Area, 10-14/4/2022, Hohenstaufenstrasse 8 Backyard, Frankfurt am Main
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Živa Drvarič, Untitled, 2022, canvas, beech wood, linseed oil, 38x31 cm
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Minhyeok Ahn, Bench (2025), 2022, oak wood, 174x48x72 cm
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Rosario Aninat, Folded box, 2022, tin, 31x46 cm
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Esra von Kornatzki, scythe, 2022, used metal, BC varnish, 2K varnish, 50x10x4 cm
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Živa Drvarič, Untitled, 2021, canvas, beech wood, linseed oil, 31.5x19.5 cm
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Simon Shim-Sutcliffe, Shadeless I & II, 2021, digital print, mdf frame, 30x42x8 cm
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Arhun Aksakal, Inertia, 2022, steel, 163x23x10 cm
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Arhun Aksakal, Urn, 2022, marble, diamant, 17x15 cm
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Arhun Aksakal, cicatrisation, 2022, marble, gelatine, light-sensitive emulsion, 21x25 cm
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Rosario Aninat, Blade welding handle (1), 2022, heated stainless steel, 52 cm & Blade welding handle (2), 2022, heated stainless steel, 36 cm
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Esra von Kornatzki, o.T., 2022, used and perforated dish washer, BC varnish, 2K varnish, 80.5x50.5x5 cm
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Rosario Aninat & Simon Shim-Sutcliffe, And Amasia, 2021, Autobahn kilometer marker, 80x50x15 cm

The flooring of the backyard gives way slightly underfoot. The industrial door requires a strong pull to open. Two narrow flights of stairs lead to the first floor. Access to the room is at lower ceiling height; after a few steps, the entire volume extends. The rounded edges of plastered ceiling beams seem to divide the room into segments. Openings in the outer wall let in daylight. The afternoon sun casts light bodies shaped by the windows onto
the floor; they attract and direct the view. The
wall connection dynamically distorts the play of light. Traces make it possible to track earlier uses. Shadow lines on the wall, imprints of cables, which once carried high voltage current to the back of the room. The floor covered with stains and patches. Formerly deep, now filled in holes, where the heavy machinery of the workshop was anchored.
A steel beam that crosses the room and then leads outside, holding the device for a pulley. The surface of the beam with obvious signs of aging, the fastening warped.

A building’s gross floor area means the sum of all its floor areas. It is based on the external dimensions, the footprint, and represents the attempt to make the physical space tangible, to establish measurability and comparability. It does not contain any information about the actual usability and qualitative values, condition and expression of the room. It is a static measurement of a structure that is constantly—albeit slowly—transforming.

Gross Floor Area plays with this namability and predictability, with expectations and memories, forms and symbols. The works deal with the constitution and (de)construction of spaces and objects, and investigate narratives and processes, realities and speculations that are fixed and perpetuated within the material. They capture parallel and contrary developments, the perception of passing time, and give expression to the sense of permanent genesis, transition, and decay. They make visible immaterialities enclosed within the building envelope—before they dissipate.