Composition

What looks like constructivist paintings turns out on closer inspection to be vertically photographed sections of gym floors. Aden took the photos in gymnasiums that were places of fear rather than play - when up to 300 refugees found safe shelter in them. Markings of different playing systems coexisting without touching each other or round floor covers, shifted against each other in playful carelessness, become metaphors of human coexistence against this backdrop.

Exhibition view, Kunstraum Potsdam, 2017

Untitled (Composition 30), 2017/18 30 x 30 cm (11.8 x 11.8")

Untitled (Composition 36), 2017/18 30 x 30 cm (11.8 x 11.8")

Untitled (Composition 35), 2017/18 30 x 30 cm (11.8 x 11.8")

Untitled (Composition 34), 2017/18 30 x 30 cm (11.8 x 11.8")

Untitled (Composition 33), 2017/18 30 x 30 cm (11.8 x 11.8")

Untitled (Composition 31), 2017/18 30 x 30 cm (11.8 x 11.8")

Untitled (Home-Guest), 2017

Untitled (Home–Guest), 2017 90 x 151 cm (35 .4 x 59.4 in.)

The work "Untitled (Home-Guest)" is the exception in the series Composition. The view is not directed to the floor of the gym, but to the ceiling. A sports hall ceiling construction that appears protective and threatening at the same time; and unreal, since Aden photographed it from different positions and then digitally assembled it together - representative of the many eyes that once stared at the ceiling doubtfully or hopefully. On one wall, one sees a blackboard showing the score between 'Home' and 'Guest' - terms whose meanings are currently being renegotiated.