Perfomance with four knits, 100 % wool, Amsterdam

Perfomance with two knits, 100 % acryl, 50 % wool/50% acryl, Düsseldorf, Anseong

Installation view Passage, with Flo Maak Cat's Cradle, one out of six posters of string figures and four index wall texts, Friendly Patterns at Home Sequence, 2018

Photographs: Flo Maak

Exhibition view 'Friendly Patterns' 2017, Flo Maak, Sascha Pohle, Galerie Bernard Knaus Fine Art, Frankfurt

Passage, pedestal with 8 textiles, background Flo Maak String Stories, photographs

mimesis, imitation, copy, doppelganger, lookalike, impersonation, reenactment, fetish, face, skin, mask, memory, pool, persona, container, packaging, technology, collection, archive, gift, economy, hybrid, craft, replica, commodity, fact, fiction, original, authenticity, identity, shape-shifter, transfer, reflection, shadow, ghost, death, home, household, museum, prothesis, artists, exotic, gaze, possession, anthropomorphic, animism, pattern, ornament, uncanny, vampire, tourism, usurpation, appropriation, mimicry, absence, void, fossile, decay, seriality, storage,



work index

Passage is based on digital photographs of damaged urban asphalt of various places in which I do or have lived and worked. These photographs have been transferred into machine knitted wools that bear the abstract patterns from cracks and patchwork-like shapes of repair and disrepair. The knits in Passage become repetitively folded and carefully arranged on a table reminiscent of actions in a fashion store. For Passage a performing „flaneur“ unfolds endless arrays of shapes and patterns. Solid terrain, hard, distant and damaged public ground becomes revaluated into a tangible walk of soft, intimate and mobile knits.

4 x  100 % Wool, Amsterdam

1 x  100 % Acryl, Düsseldorf

3 x  50 % Wool / 50% Acryl, Anseong

5 x  50 % Wool / 50% Acryl, Seoul

Friendly Patterns is an attempt to deal with the role of art in the urban renewal and regeneration process applied to the current transition of Shinheung Market, where Space One is located. The title of the show, Friendly Patterns, not only evokes association with positive „friendlya“ qualities, but also implies an aberration of the expression "friendly fire" (the bombardment by one’s own troops), in which a safe zone or home is accidentally put in danger by its own inhabitants. Pohle’s textiles are produced just across from Shinheung market in one of the few remaining knitting factories of Haebangchon. Each textile depicts a photograph of the market’s floor - an undescribed and mostly overlooked visual detail of our urban surrounding. The floor with its multiple layers of concrete, cracks and different shades of grey, resembles a disordered patchwork that randomly developed over a certain stretch of timeIn the context of the market’s regeneration process, Pohle’s “knitted” photographs imply revaluation as a twisted notion. By means of exhibiting an urban fragment within its own spatial and temporal context, the work showcases its ambivalent status that alternates amongst artifact and consumer good, visual remainder and fashion scarf..

more info about the exhibitiob of Flo Maak and Sascha Pohle:

Installation views: Friendly Patterns, Flo Maak, Sascha Pohle, Space One, Seoul, 2016

Friendly Patterns, Flo Maak, video, sound

Friendly Patterns, Flo Maak and Sascha Pohle, engraved mirror, neon lights



folding example of one knit 50 % wool / 50 % acryl, Anseong





2016-ongoing, knits, mixed material


Amsterdam, Seoul or Düsseldorf as the origin of places are mentioned in the title of each single knit, however the surface structures don’t reveal any recognisable site-specific characteristics. Passage is a fluid index and versatile object that oscillates between archival document of different localities, fiction, cloth or folding map.


Recalling Walter Benjamin's Arcades Project (ger. Passagenwerk), anunfinished collection of fragmented texts, Passage embraces streched ruins in public space from the perspective of the flaneur.



Installation view Passage, Friendly Patterns at Home Sequence, 2018

Performer: Inês Paiva Vilar de Queiros

( photographs: Flo Maak)

all photographs: Flo Maak