MIK NIM & TOMICLEE
Vernissage: Freitag 24.11.2023 18 Uhr
Öffnungszeiten: 25.11 - 04.12.2023 14 -20 Uhr
Die Ausstellung 'Superposition' ist eine kollaborative Präsentation zwischen der Künstlerin MIK NIM und dem Creative der Werbeagentur Tomic Lee. In einem Raum, der wie eine Kunstausstellung oder ein Modestudio aussieht, zeigen sie viele Überschneidungen und Widersprüche. Damit werfen sie Fragen auf über Dinge, die unklare Namen und Adressen haben und dennoch existieren.
Vernissage: Freitag 24.11.2023 18 Uhr
Öffnungszeiten: 25.11 - 04.12.2023 14 -20 Uhr
Die Ausstellung 'Superposition' ist eine kollaborative Präsentation zwischen der Künstlerin MIK NIM und dem Creative der Werbeagentur Tomic Lee. In einem Raum, der wie eine Kunstausstellung oder ein Modestudio aussieht, zeigen sie viele Überschneidungen und Widersprüche. Damit werfen sie Fragen auf über Dinge, die unklare Namen und Adressen haben und dennoch existieren.
Giant billboards featuring Nike shoes that look like
advertisements, Balenciaga hats, and clothes with
logos from brands like Supreme and Adidas are dis-
played. Massive boxes, cement, panels, and beams
that resemble a warehouse create the impression of
a fashion showroom preparing for a grand opening.
However, upon closer inspection of the clothes on
display, something seems off. The signature three
stripes of an Adidas jacket, meticulously placed,
have been reduced to two, and the lengths of the
sleeves are asymmetrical. Brand tags are also dou-
bled. Examining a Tommy Hilfiger hat and a Burber-
ry jacket reveals subtly different textures in the two
attached fabrics. In this peculiar space that feels like
a fashion show or a new showroom opening, the ex-
hibition Superposition, a collaboration between MIK
NIM and Tomic Lee, challenges viewers with a new
perspective at the intersection of reality and digital,
and genuine and fake.
Tomic Lee, working as a Creative in an advertising
company, created this project as part of his personal
series “Not for Use”. Mixing replicas and originals in
half, he produces hybrid items. This act can be seen
as a form of rebellion or resistance in an industry
that demands “make sesne” in everything,
for example, reference collection, client persuasion,
and better selling.
The Tomic Lee’s works remind MIK NIM of her pro-
ject in 2021, Schrödinger’s Gallery. The work reinter-
prets Erwin Schrödinger’s famous physics thought
experiment involving a cat as a virtual gallery. Una-
ble to visit physical galleries during the COVID-era,
she observed the proliferation of digital exhibitions
and began questioning the importance of experienc-
ing art in person. The Schrödinger’s Gallery, existing
only as images on Instagram, reflects the paradox-
ical state of being an image-only gallery that does
have a physical existence. MIK NIM builds a min-
iature gallery of approximately 1.5x1.2x1.0m, placing
her artwork photos on the walls or integrating them
with surrounding objects. These photos become her
artworks, uploaded to Schrödinger’s Gallery Insta-
gram account. Viewers scrolling through the images
might question whether the gallery is real or not,
due to the strange ambiguity.
The attention-grabbing element in this exhibition is
a giant green panel. Green, paradoxically represent-
ing nature and strongly associated with the digital
realm, turns the background into a green screen
when viewers take pictures. This allows the photo-
graphed items or images to be easily replaced or
disappear.
The most peculiar artwork in the exhibition is a Brita
water purifier with transparent water that appears
to be purified as green. The statement “Belief has
nothing to do with logic” is written nearby.
MIK NIM recently spent one month in the city of
Lübeck, meeting people and discussing their experi-
ences. The questions raised during those conversa-
tions, the ongoing events, and the artist’s reflection
on faith and logic are expressed through this work.
MIK NIM by curating this exhibition within
Schrödinger’s Gallery, as if questioning whether
it is art, an object, fake, real, tangible, or virtual. It
prompts viewers to consider whether we can trust
what we think and see.
Similar to a cat being simultaneously in a state of life
and death inside a box, the two artists in this space
present numerous overlaps and contradictions, dis-
cussing things with unclear names and addresses
but still existing.
Note: The Schrödinger’s hypothesis is as follows: By
placing a cat in a box with an unstable atomic nucle-
us, which may emit radiation and release toxic gas,
it is impossible to predict when or if such an event
will occur without opening the box. According to
Schrödinger, the cat enters a state of superposition
where it’s unclear whether it’s alive or dead, leading
to a paradox.
advertisements, Balenciaga hats, and clothes with
logos from brands like Supreme and Adidas are dis-
played. Massive boxes, cement, panels, and beams
that resemble a warehouse create the impression of
a fashion showroom preparing for a grand opening.
However, upon closer inspection of the clothes on
display, something seems off. The signature three
stripes of an Adidas jacket, meticulously placed,
have been reduced to two, and the lengths of the
sleeves are asymmetrical. Brand tags are also dou-
bled. Examining a Tommy Hilfiger hat and a Burber-
ry jacket reveals subtly different textures in the two
attached fabrics. In this peculiar space that feels like
a fashion show or a new showroom opening, the ex-
hibition Superposition, a collaboration between MIK
NIM and Tomic Lee, challenges viewers with a new
perspective at the intersection of reality and digital,
and genuine and fake.
Tomic Lee, working as a Creative in an advertising
company, created this project as part of his personal
series “Not for Use”. Mixing replicas and originals in
half, he produces hybrid items. This act can be seen
as a form of rebellion or resistance in an industry
that demands “make sesne” in everything,
for example, reference collection, client persuasion,
and better selling.
The Tomic Lee’s works remind MIK NIM of her pro-
ject in 2021, Schrödinger’s Gallery. The work reinter-
prets Erwin Schrödinger’s famous physics thought
experiment involving a cat as a virtual gallery. Una-
ble to visit physical galleries during the COVID-era,
she observed the proliferation of digital exhibitions
and began questioning the importance of experienc-
ing art in person. The Schrödinger’s Gallery, existing
only as images on Instagram, reflects the paradox-
ical state of being an image-only gallery that does
have a physical existence. MIK NIM builds a min-
iature gallery of approximately 1.5x1.2x1.0m, placing
her artwork photos on the walls or integrating them
with surrounding objects. These photos become her
artworks, uploaded to Schrödinger’s Gallery Insta-
gram account. Viewers scrolling through the images
might question whether the gallery is real or not,
due to the strange ambiguity.
The attention-grabbing element in this exhibition is
a giant green panel. Green, paradoxically represent-
ing nature and strongly associated with the digital
realm, turns the background into a green screen
when viewers take pictures. This allows the photo-
graphed items or images to be easily replaced or
disappear.
The most peculiar artwork in the exhibition is a Brita
water purifier with transparent water that appears
to be purified as green. The statement “Belief has
nothing to do with logic” is written nearby.
MIK NIM recently spent one month in the city of
Lübeck, meeting people and discussing their experi-
ences. The questions raised during those conversa-
tions, the ongoing events, and the artist’s reflection
on faith and logic are expressed through this work.
MIK NIM by curating this exhibition within
Schrödinger’s Gallery, as if questioning whether
it is art, an object, fake, real, tangible, or virtual. It
prompts viewers to consider whether we can trust
what we think and see.
Similar to a cat being simultaneously in a state of life
and death inside a box, the two artists in this space
present numerous overlaps and contradictions, dis-
cussing things with unclear names and addresses
but still existing.
Note: The Schrödinger’s hypothesis is as follows: By
placing a cat in a box with an unstable atomic nucle-
us, which may emit radiation and release toxic gas,
it is impossible to predict when or if such an event
will occur without opening the box. According to
Schrödinger, the cat enters a state of superposition
where it’s unclear whether it’s alive or dead, leading
to a paradox.