Last day to visit the current exhibition "was immer war ist," installation view of "DNA OPA" by Manuel Tozzi (@tozzi_manuel). Manuel Tozzi DNA OPA, 2023 Acrylic on wood 40 x 60 cm Manuel Tozzi was immer war ist January 25 – February 08, 2025 Curated by Niklas Koschel Mariannenstrasse 33, 10999 Berlin - #manueltozzi #drawing #galeriemet #gm

Installation view of "Accessoire (bewitched)" by Manuel Tozzi (@tozzi_manuel). Manuel Tozzi Accessoire (bewitched), 2025 Acrylic on paper 80 x 80 cm Aspects of mythical narration and the associated concepts of time as a linear process are also continued in the torch motif of the work Accessoire (bewitched) (2025). In close reference to Hans Baldung Grien’s peculiar copperplate engraving The Bewitched Stablehand (c. 1534), Tozzi decontextualizes the individual motif of the torch and isolates it as a veritable icon. The motif refers to aspects of a straight-line perception of time, especially as there is a long tradition of calculating time based on the burning of material. In Baldung Grien’s enigmatic engraving, the torchbearer is usually interpreted as a witch, although it remains unclear what relationship she has to the stableman. Is she a source of danger? Is she responsible for the man lying injured on the ground? In an almost enlightening spirit, Tozzi interprets the torch as a sign of knowledge, knowledge transfer and, above all, knowledge transportation, as it was also essential for the medium of copperplate engravings. Themes of authorship also draw historical links between this tradition of engravings and prints as well as plotter drawings. In addition, the motif explicitly addresses issues relating to the reproduction, duplication and processing of information through printmaking. Text by Niklas Koschel Manuel Tozzi was immer war ist January 25 – February 08, 2025 Curated by Niklas Koschel Mariannenstrasse 33, 10999 Berlin - #manueltozzi #drawing #penplotter #galeriemet #gm

Installation view of "Self-Portrait as Centaur (1-5)" by Manuel Tozzi (@tozzi_manuel). Manuel Tozzi Self-Portrait as Centaur (1-5), 2023 – ongoing Polylactide and bronze dust 15 x 20 x 20 cm Unique In the group of works Self-Portrait as Centaurus (1-5) (2023-ongoing), which, based on the mythological representation of the Centauri, deal with the exaggerations of the body defined as male, Tozzi uses the model of his own body to negotiate the interactions between physical strength and mental lethargy. Digitally reconstructing and modifying his own body, he questions the relationship between body and model and places his artistic practice in relation to classical ideas of sculpture. The mythologized depiction of muscular, warlike male bodies, which are an expression of dynamism, strength but also violence, is motivically paralysed here. They crouch on the ground, appearing tired, introverted, even remorseful. Text by Niklas Koschel. Manuel Tozzi was immer war ist January 25 – February 08, 2025 Curated by Niklas Koschel Mariannenstrasse 33, 10999 Berlin - #manueltozzi #sculpture #galeriemet #gm #art

Installation view of "@%#!" and "@!#%" by Manuel Tozzi (@tozzi_manuel). Manuel Tozzi @%#!, 2025 Ink on paper 50 x 50 cm Manuel Tozzi @!#%, 2025 Ink on paper 50 x 50 cm While Tozzi deliberately gives the executing machine little freedom in the larger plotter work, in the explosion motifs he primarily “only” establishes the logic under which the algorithm constructs imagery through iterations, which is finally realized by the artist’s selection. Here he explicitly poses questions about his authorship and the condition of machine-based image creation processes. As the basis for @%#! and @!#% (both 2025), which freeze a change of status as an image and thus channel the moment as a point, Tozzi considers the mathematics behind the central perspective. It constructs the center of the picture, running towards a point or taking it as its starting point. In this way, the explosive formations expand from the center into the viewer’s field of vision. This movement is countered by fine splashes of paint, which the artist subsequently blows onto the still unfinished motif. in the main motif the machine-made work simulates a movement out of the picture, while Tozzi’s personal hand performs a movement into the picture: The minimal painterly action of the artist thus counters the executing activity of the machine. Text by Niklas Koschel Manuel Tozzi was immer war ist January 25 – February 08, 2025 Curated by Niklas Koschel Mariannenstrasse 33, 10999 Berlin - #manueltozzi #penplotter #galeriemet #gm

Installation view of "looking up at the stars" by Manuel Tozzi (@tozzi_manuel). Manuel Tozzi looking up at the stars, 2024 Acrylic and salt water on black paper 84 x 120 cm Unique looking up at the stars (2024) initially explores the vastness of space and a possible diversity of the universe in an almost cheesy star motif in a consciously popular iconic form. The artist used a profane Reddit quote as a starting point: “looking up at the stars always reminds me how small they are just dots who cares I am enormous”. Through countless plotted dots, the image motif clusters into text, initiates meaning and addresses a message to the reader that originates from the online platform, which is known as a social news aggregator. Anything but small and modest, an imaginative alter ego looking at the stars denies an infinite expanse its infinite greatness. The fascination of gazing at the sky is largely relativized by the banal-sounding statement – the imagined self in the sentence is placed at the center of a world in a central-perspective manner. The Reddit thread, mechanically turned into an image, refers not only to the formal, punctual conditions of its creation, but also to paradoxical processes of radical isolation and self-centeredness on the net. Individual gestures and statements accumulate here, as in the image motif, to form dialogic communities. In digital spaces designed as communal, such as online community forums, blatant individualism can reach the limits of the proportionality of collectivity and also give rise to processes of relativization of factual truth. Text by Niklas Koschel Manuel Tozzi was immer war ist January 25 – February 08, 2025 Curated by Niklas Koschel Mariannenstrasse 33, 10999 Berlin - #manueltozzi #drawing #galeriemet #berlin

RT @DianeDrubay: Beautiful solo show of @tozzi_manuel currently presented at @GalerieMet It is about time, its explosion, linelarity or ci…

Installation view of "einsteinzeitmensch" by Manuel Tozzi (@tozzi_manuel). Manuel Tozzi einsteinzeitmensch, 2024 Polylactide and silver coating 170 x 40 x 50 cm The life-size starting point is the work einsteinzeitmensch (2024). The chrome-colored, naked figure with Albert Einstein’s head evokes the aesthetics of perfectly shaped industrial products through its flawless, reflective surface. In its shimmering, smooth surface, the sculpture distances itself, dematerializes and yet materializes the surrounding space through the various reflections and refractions of light. The scientist became world-famous with his lecture on the special theory of relativity published in 1905, defining the dependence of distances and durations on the states of motion of their viewers. Einstein is regarded as a central scientific personality, not only of the 20th century, and is also canonized as a veritable cult figure. Tozzi explicitly considers Einstein’s complex theory of the fundamental principles not only as part of an academic physical discourse, but also explores its mechanisms as a popular scientific part of a pop culture: “I am interested in the question of how scientific findings influence our everyday lives, as they often take a long time to be accepted by society.” From the very beginning, the concept of time has been essential to the medium of sculpture. It asserts duration and defines a moment which lies somewhere between a former not-anymore and a yet-not-to-be. The aspect of time that is so relevant is also made clear in the gesture of Einstein, who looks at his wrist as if he wants to look at the watch, which, however, is not there. The point in time seems to have been lost, the time – at least from a popular-scientific point of view – relativized. Text by Niklas Koschel Manuel Tozzi was immer war ist January 25 – February 08, 2025 Curated by Niklas Koschel Mariannenstrasse 33, 10999 Berlin - #manueltozzi #sculpture #einstein #galeriemet #gm

Installation view and work of "Sticky Gloves" by Manuel Tozzi (@tozzi_manuel). Manuel Tozzi Sticky Gloves, 2023 Video with sound 00:03:14 The video work Sticky Gloves (2023), which is conceived as a continuous loop, is characterized by its reference to Tozzi’s personal memories. Identity and self-constitution are explored here in a steady, ever-continuous reference back to personal history. The artist deals with the consequences of images that shape our lives. Through combinations of improvised metaphors, Tozzi examines how images of the absent are recreated, constructed and passed on through narratives and memories. In the work, reality and fiction blur into an unusual narrative. Central to this is the memory of a grandfather who was “never there”. Instead of following linear narratives, the story, like memories, is unfinished in terms of space and time. Here and there it fades, only to be propelled anew the next moment by a distorted Elvis Presley ballad or the movements of an animated key. The cellar hole, in which Tozzi’s poetic search for the temporality and reality of memory begins, seems to stand for a place of absence like a heterotopia. Striking motifs of white gloves as well as the comic and animated film aesthetic, which for the artist represent lasting impressions from childhood as traces left behind in the search for identity, offer space to interweave with the viewer’s personal emotional world. Text by Niklas Koschel. Manuel Tozzi was immer war ist January 25 – February 08, 2025 Curated by Niklas Koschel Mariannenstrasse 33, 10999 Berlin - #manueltozzi #videoart #galeriemet #gm #berlin

Installation views of the exhibition "was immer war ist" by artist Manuel Tozzi (@tozzi_manuel), and curated by Niklas Koschel. On view until February 8th! Manuel Tozzi (born 1994 in Salzburg, Austria) works in Berlin and Salzburg. He is a visual artist who makes kinetic sculptures, computer animations and drawings using time-based media. In 2020, Tozzi graduated with a BFA in Film and Animation from the Berliner Technischen Kunsthochschule. In the same year, he gave a lecture on digital fashion design at the Bielefeld University of Applied Sciences. He is currently studying sculpture at the Kunsthochschule Berlin Weißensee. His recent group exhibitions have been at the Centre Pompidou in Paris, the Kunstverein Salzburg, the Museum für Gestaltung, Zürich and the Eigenheim Galerie Berlin. In October 2022, his first solo exhibition „Tanuel Mozzi“ was on display at Eboran Gallery in Salzburg, Austria. He has been artist in residence at the Salzburg Summer Academy and the Kara Agora Art and Research Center. Niklas Koschel (*1999) is an art historian and curator. He regularly writes texts for exhibitions, catalogs and art magazines. He is co-founder of the online magazine magazin53a and most recently worked as a curator for the International Summer Academy of Fine Arts in Salzburg. He is currently preparing a dissertation on representations of physical transformation at the interface of feature film and video performance. Manuel Tozzi was immer war ist January 25 – February 08, 2025 Curated by Niklas Koschel Mariannenstrasse 33, 10999 Berlin - #manueltozzi #galeriemet #gm #art #berlin

Thank you to everyone who came to the vernissage of "was immer war ist" yesterday! A big thanks to the artist Manuel Tozzi (@tozzi_manuel) for the poetic and philosophical works, and to the curator Niklas Koschel for the amazing curation and beautiful text. The exhibition runs until February 8—drop by, friends! Manuel Tozzi was immer war ist January 25 – February 08, 2025 Curated by Niklas Koschel Mariannenstrasse 33, 10999 Berlin - #manueltozzi #galeriemet #gm #berlin

We are excited to announce our first solo exhibition of 2025, was immer war ist, featuring works by Austrian artist Manuel Tozzi (@tozzi_manuel). The show is curated by Niklas Koschel, and the vernissage is scheduled for this Friday, January 24, 2024, from 18:00 to 21:00. We warmly welcome you to join us if you are in Berlin! Manuel Tozzi was immer war ist Opening: January 24, 2024, 18:00 – 21:00 Exhibition: January 25 – February 08, 2025 Curator: Niklas Koschel Mariannenstrasse 33, 10999 Berlin In was immer war ist, Manuel Tozzi presents an ambiguous corpus of works of diverse varieties. In three loose chapters, the artist, who works in Berlin and Salzburg, seeks insights into the reciprocal interweaving of time, information and identity. The interlinking of the individual works aims to examine traditional image systems and innovations in media technology. Tozzi uses various methods of technical image production to create a loose ensemble that explores the relationship between human, machine and message. Central to his work are fragile constructions of mythologized knowledge, personal memories and time-based ideas of the world. The focus on time as a complex notion that is subjected to different ideas runs through the rooms of the exhibition. Divided into three sections, Tozzi places the phenomenon in the perspectives of time as a point, a line and a cycle. - #manueltozzi #sculpture #drawings #galeriemet #gm

Last day! Installation view of “Feather” by Yiy Zhang, on view at the exhibition “1+1.” Yiy Zhang Feather, 2024 White hair from the artist’s parents 11 x 5 cm (each) Yiy Zhang was born in 1990 in Shaanxi, China. She currently lives and works in Berlin, Germany. She graduated from Central Academy of Fine Arts in Beijing with Bachelor degree (2013) and then studied at Ecole nationale superieure des beaux-arts de Paris (France), Akademie der Bildenden Kunste Munich (Germany), and from Düsseldorf Kunstakadmie (Germany) with Meisterschulerin (Prof. Gregor Schneider) in 2019. “Show a simple thing, tell a story, hide the story”. Yiy Zhang’s works demonstrate profound humanistic concerns with a calm and dignified gesture, and her reflections on the current era and history. She won the Hogan lovells art price 1th price in 2019. Her recent project includes: K21 Museum( 2020, Dusseldorf, Germany), “Dhaka live artbiennale” (2019, Dhaka, Bangladesh), “Ithaka” (2018, Montepulciano, Italia), “The shell” (2018, Bilpin, Australia), “Kultur Nacht” (2018, Monchengladbach, Germany). 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 Yiy Zhang. - #yiyzhang #installation #galeriemet #gm

Installation views of “Poetic Method” and “Subduing Elements” by Kaitong Zhang, on view at the exhibition “1+1.” Kaitong Zhang Poetic Method, 2024 Mixed media on wood 18 x 13 cm Kaitong Zhang Subduing Elements, 2024 Mixed media on wood 15 x 10 cm Kaitong Zhang (b. 1991, Hebei, China) works and lives in Berlin (Germany), Athens, and Beijing. Since 2018, he has been studying Free Art at Kunsthochschule Kassel under Prof. Andrea Büttner and Prof. Dierk Schmidt. He previously studied Graphic Design at the University of North China Science and Technology, graduating in 2014. His solo exhibition Abstraction took place at Projektraum Grains, Cologne, in 2022. His work has been featured in group exhibitions such as UKRARUine at Daumenlutscher Gallery, Berlin (2023), What Art Can Do? at C-Space, Berlin (2022), and Stateless Existence at Lan Space, Beijing (2019). 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 Kaitong Zhang. - #kaitongzhang #painting #galerie

Installation view and work of “Vintage conch” and “Couple” by Jiang Ye, on view at the exhibition “1+1.” Jiang Ye Vintage conch, 2020 Acrylic paint on paper 21 x 29.5 cm Jiang Ye Couple, 2020 Oil paint on paper 29.5 x 21 cm Jiang Ye, born in 1990 in Shaanxi, graduated from the Central Academy of Fine Arts and the Pratt Institute in New York. He currently lives and works in Beijing. His work explores the relationship between painting language, social experience, and other artistic media. His works have been exhibited at venues such as Hive Center for Contemporary Art, Today Art Museum, Minsheng Art Museum, China Art Museum, Central Academy of Fine Arts Museum, among others. 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 Jiang Ye. - #jiangye #painting #galeriemet

Installation view and work of “Se(a)quence” by Bignia Wehrli, on view at the exhibition “1+1.” Bignia Wehrli Se(a)quence, 2011 3-channel video installation Edition 1/3 + 1AP Bignia Wehrli, born in Switzerland, is an artist based in Berlin and Sternenberg (Switzerland). She studied art at the Dresden Academy of Fine Arts, at the École des Beaux-Arts Paris and at the China Academy of Art Hangzhou (China). Bignia Wehrli’s work translates actions and spatial movements into signs using specially developed instruments. Her work has been shown internationally in exhibitions including in 2024 her solo show «A way, any way», Inna Art Space, Hangzhou, in 2022 «Being Theoria: The 4th Hangzhou Triennial of Fiber Art», Zhejiang Art Museum, Hangzhou, «Forming Comunities: Berliner Wege», Kindl – Zentrum für zeitgenössische Kunst, Berlin, in 2020 «Magia Naturalis», Sariev Gallery, Plovdiv (Bulgaria) and in 2018 her solo show «Den Horizont in der Hand halten» at Kunsthalle Winterthur. 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 Bignia Wehrli. Work courtesy of Bignia Wehrli. - #bigniawehrli #videoart #galeriemet #gm