"The place, shocking and fascinating at the same time. COLLAPSED. No place to be and live. One room has remained. A shelter for emergencies. I try to imagine, what it would be like to sleep and dream here at night." Rom, 2021

With a view to the fragile reality of life of homeless people, I approach their temporary camps and the nomadic places in the public space of the city of Rome. Found objects, photographs, stories, encounters and observations form the context for the translation of lived reality into a fictional-magical reality. Trophies of the street, as remnants of our civilization, in combination with painting create poetic stage sets with possibilities for action and thought.

NON PLACE according to Marc Augé defined in such a way as a place of transit, traffic and consumption - no place of communication and no place of social communities and their identity or culture. Our postmodern reality shows itself in social contradictions and social inequalities between outer space tourism and the need for living space as an existential basic neccessity. The city is a stage of the world. A world of transition.

Locations are mobile and changeable in the course of their use and function, in their nature, appearance and attractiveness. "Everything can become a place. / The human being is a symbolic animal and needs the places in which he can form his individual identity in contact and experimentation with others." 

Marc Augé: The Future of Earthlings. A Manifesto.

Sotto il cielo aperto. Installation. Bed frame, plaster stone. 50 x 190 x 80 cm. Rome, 2021

A story because pictures have their own language:

No location is not a place to live, and every space is not suitable for being. Any seat is suitable for staying, and I hardly know any other place where there are more benches in public space than in the italian metropolis Rome. A roof offers protection from rain and snow, walls give stability and define the boundaries of the space.

Under the train tracks, near Stazione Roma-Trastevere, four passages lead through. Two for road traffic and two for passers-by on either side of the traffic. People live there on simple bed frames with blankets and cardboard boxes to protect them from the cold and the glances of passers-by. Everything is arranged in an orderly fashion and furnished as makeshift as possible. Shoes are under the bed, glasses and flowers in the vase on the table. Remnants of a birthday party.

They offer second-hand books for sale and brooms lean against the wall ready to jump. I bought a book about the Guggenheim in Bilbao. A ship with waves. Gehry conquers space and sets rooms in motion. I have not been there. I'm here in the underpass where the train goes over it and the traffic noise doesn't break. It is gloomy in rainy weather and bright when the sun is shining. Then you can also see these murals, which are in the delicate shades.

There was nothing left of it in September. Rubble and ash, sooty walls even in the sunshine. Life is just a mountain of rubbish. Vandalism has done badly to the place and the home. The residents were afraid to go through it while they were still living here. But they will come back, the people without a home, and they will hold on to their existence, like all of us.

LOST PLACE without home NON PLACE only for transit traffic.

Il grigio è anche un colore. 100 x 150 cm. Oil on canvas. Rome. 2021

Non place on the stage. 100 x 150 cm. Oil on canvas. Rome. 2021
Salvaggio in vista. Cardboard cylinder, oxygen bottle, life tire,
bike lock, rearview mirror, fish hook. 93 x 50 x 50 cm.

The egg of columbus. clay, oxygen cylinder. 70 x 14 x 14 cm. 2021

Non place on the stage. 100 x 150 cm. Oil on canvas. Rome. 2021

The lost paradise. 100 x 150 cm. Oil on canvas. Rome. 2021

The egg of Colombos. Cardboard cylinder, clay egg. 109 x 27 x 27 cm.

La casa è piena. Plastic body, construction foam, wire basket. 64 x 39 x 32 cm

open studio / studio aperto, 2021

Andrea Freiberg esplora lo spazio urbano con uno sguardo verso l’alto, là dove esso si assottiglia e termina con uno sguardo verso il basso alla ricerca di ciò che è stato dimenticato. Interroga luoghi e spazi abitativi urbani trasformando poeticamente la realtà visibile e fisica. I ready-made della strada, nel loro diverso combinarsi, cambiano valore e significato. La sua pittura rappresentativa ricostruisce la realtà e allo stesso tempo getta uno sguardo al di là di essa.

“Come il flâneur di Walter Benjamin, passeggiare per Roma è diventato per me un rito per guardare e ripensare la realtà in un modo nuovo. Osservazioni, fotografie e oggetti trovati nella quotidianità urbana sono testimoni della mia ricerca artistica. Nella città deserta, durante il lockdown del 2019, lo sguardo quotidiano si è alternato a quello del turista e si è rivolto alle tracce reali di vita dei suoi abitanti”.

I resti della nostra civiltà, le cose gettate via e abbandonate che non sono più utilizzate nella vita di tutti i giorni possono essere ripensate, migliorate e rianimate come trofei. Usanze, storie e funzioni sono l'innesco di alienazioni ironico-surreali. Con i mezzi del montaggio e del collage Andrea Freiberg ripensa la realtà ed esplora costantemente nuove possibilità nel cambiamento dei media, per rompere schemi di percezione familiari trasformandoli e reinterpretandoli poeticamente.“

Il fatto che il mondo a noi familiare possa improvvisamente trasformarsi in una realtà diversa costituisce un’esperienza impressa dal tempo della riunificazione tedesca. Secondo Paul Watzlawick, la realtà si reinventa costantemente nello scambio con gli altri attraverso la comunicazione. Andrea Freiberg persegue questo approccio filosofico-costruttivista con una visione della realtà e della sua valutazione, un costrutto di esperienze individuali e radici culturali. 

Lo sguardo rivolto agli scenari della vita urbana dei suoi residenti nomadi e sedentari costituisce lo sfondo per una ricerca dei luoghi e della loro identità tra essere e apparire.

Le sue immagini sono superfici di proiezione per associazioni e interpretazioni. Espandono metaforicamente il linguaggio oltre le identità culturali. Vediamo costantemente immagini. Comunichiamo con le immagini. Ricordiamo in immagini e viviamo nelle visioni di ciò che ci circonda. Le immagini sono nostri amici e nemici. Il mondo è un palcoscenico e uno schermo allo stesso tempo.

open studio: 11. & 12.12.2021 dalle 17 alle 21 

Roma-Trastevere, Via Cesare Pascarella 37

Studio 37: Andrea Freiberg

Curatore: Adriano Napoleoni

Direttore: Peter Wawerzinek

Il progetto è patrocinato daMinistry of Culture and Science of the State North Rhine-Westphalia, Germany


PASSAGGIO. 150 x 100 cm. Oil on canvas. 2021
CAMERA. 150 x 100 cm. Oil on canvas. 2021

OGNI GIORNO É UN TROFEO / Every day is a trophy / Jeder Tag ist eine Trophäe 

Walking through Rome, like Walter Benjamin’s flaneur, has become a ritual for me. The walk is the trigger to see and rethink reality in a new way. Observations, photographs and found objects in everyday urban life are contemporary witnesses of my artistic research. In the empty city during the lockdown of the COVID 19 pandemic, the everyday view alternates with the tourist gaze and draws attention to real traces of life of the residents.

I find everyday commodities on the street. Stored, discarded things that can no longer be used in everyday life. Decreased in value and yet in a magical state of suspense, wanting to be rethought and revived. These remnants of our civilization can assert or block their aesthetic usability as trophies. In doing so, I come across habits, customs and social contradictions in dealing with values ​​in our modern consumer world.

UN TROFEO con l' ODISSEA di Omero. objet trouvé.
50 x 20 x 20 cm. 

Finding is inventing. Coincidence and idea. Like the intuitive photographic snapshot, the objet trouvé is always a part of myself in dialogue with the environment. Stories, functions or forms are the trigger for ironic-surreal alienations. With the means of montage and collage, I can rethink reality. In the change of media, I am constantly exploring new possibilities to break up familiar patterns of perception, to transform them and to reinterpret them poetically.

The same is not the same. Such is my experience from the time of German reunification. The same familiar world was suddenly different in the West. Reality is always a reinvention in exchange with others through communication. (Paul Watzlawick) The view of reality and the evaluation of it is a construct of individual experiences and cultural roots. Images are projection surfaces for meanings, fantasies and interpretations and expand language metaphorically beyond cultural identities. I see pictures all the time. We live in the images of our environment. We remember in pictures. They are our friends and enemies. We communicate and interact with images. The world is a stage and a screen at the same time.

Andrea Freiberg / 2019-21 / Rome Italy

The project is funded by the Ministry for Culture and Science of the State of North Rhine-Westphalia, Germany.

Das Gehen durch Rom, gleich dem Flaneur von Walter Benjamin, ist für mich zum Ritual geworden. Der Spaziergang ist Auslöser, die Wirklichkeit neu zu sehen. Beobachtungen, Fotografien und Fundstücke im urbanen Alltag sind gesellschaftliche Zeitzeugen meiner künstlerischen Forschung. In der entleerten Stadt während des lockdowns der COVID 19 Pandemie wechselte der Alltagsblick den touristischen Blick ab und lenkte die Aufmerksamkeit auf reale Lebensspuren der Bewohner.

Gebrauchsgegenstände finde ich auf der Straße. Abgestellte, weggeworfene, ausrangierte Dinge, die im Alltag keine Verwertung mehr finden. Abgefallen im Wert und dennoch im magischen Schwebezustand, neuerdacht und wiederbelebt werden zu wollen. Diese Überreste unserer Zivilisation können sich in der ästhetischen Verwertbarkeit als Trophäen behaupten oder versperren. Dabei stoße ich auf Gewohnheiten, Bräuche und  gesellschaftliche Widersprüche im Umgang mit den Werten in unserer modernen Konsumwelt.

Finden ist Erfinden. Zufall und Einfall. Dem intuitiven fotografischen Schnappschuss gleich ist das objet trouvé immer auch ein Teil von mir selbst im Dialog mit der Umwelt. Geschichten, Funktionen oder Formen sind Auslöser für ironisch-surreale Verfremdungen. Mit den Mitteln der Montage und der Collage kann ich die Wirklichkeit neu denken. Im Wechsel der Medien lote ich ständig neue Möglichkeiten aus, vertraute Wahrnehmungsmuster aufzubrechen und poetisch zu verwandeln.

Das Gleiche ist nicht das Selbe. So meine Erfahrungen aus der Zeit der Deutschen Wiedervereinigung. Die gleiche vertraute Welt war im Westen plötzlich eine andere. Wirklichkeit ist immer eine Neuerfindung im Austausch. Laut Paul Watzlawick ist die Sicht auf die Realität und die Bewertung dieser ein Konstrukt aus individuellen Erfahrungen und kulturellen Wurzeln. Bilder sind Projektionsflächen für Bedeutungen, Phantasien und Interpretationen und erweitern die Sprache metaphorisch über kulturelle Identitäten hinaus. 

Ich sehe ständig Bilder. Wir leben in den Vorstellungen von unserer Umwelt. Wir erinnern in Bildern. Sie sind unsere Freunde und Feinde. Wir kommunizieren und interagieren mit Bildern. Die Welt ist eine Bühne und ein Bildschirm zugleich.

Un trofeo: NON HO MAI VOLUTO ARGENTO E ORO. metal stand, lampshade, 4 cones, golden color. 72 x 55 x 65 cm. 2021

Ho fatto molto strada. 100 x 150 cm. Oil on canvas. 2021

Metamorfosi. 150 x 100 cm. Oil on canvas. 2020
With speaker box and lemon.