Joshua Yesni Arnaut
April 26, 2026 – June 13, 2026
or
Galerie 3AP
Some Exhibitions clarity. “ungerne” does not. The title itself implies resistance: what is rejected remains effective at the same time. Joschua Yesni Arnaut’s first solo exhibition at Galerie 3AP around states that lie between inner awareness and external attribution. Time and again, other styles emerge. Authorship shifts, becomes permeable, without dissolving. The works emerge from an interest in transitions: between sensation and structure, between individual experience and social orders. The exhibition space, which includes a former bunker alongside the gallery space, is not neutral in this context. It frames the works as a condensation, as a situation in which resonance and pressure unfold in equal measure.
Precious Pressure (2026) is a life-size transformation of the stethoscope. The instrument, which typically serves diagnostic purposes, becomes here a form of self-address. Arnaut takes up the recurring act of listening to inner processes—a search for signals that does not always lead to clear results. The inscribed words “precious” and “pressure” point to a tension that cannot be resolved: between sensitivity and burden, between meaning and uncertainty.
With “Elitäre Kreise” (2026), this line of inquiry shifts into the social sphere. The oversized record evokes an object of cultural belonging without confirming it. The irregularly etched grooves subvert the idea of technical perfection and point to difference, deviation, and resistance. The work raises questions about circulation and participation: Who moves within such circles, and under what conditions?
Other works continue these lines of inquiry. In the painting “maybe i am just like my father,” a quote from Prince is translated into a visual language that oscillates between pathos and cultural coding. Guitar objects made of various woods appear as carriers of a potential sound that remains unplayed. A photographic work depicts a figure in an ambivalent gesture between closeness and pressure, attention and limitation.
The exhibition also reveals connections to contemporary subcultural discourses, such as those articulated in Tonight It’s a World We Bury Black Metal: questions of authenticity, demarcation, and the appropriation of cultural symbols. Arnaut’s works do not take up these motifs in an illustrative manner, but rather shift them into a more open context in which belonging becomes just as negotiable as its conditions.
Hours: Tuesdays and Thursdays, 4–7 p.m., and daily by appointment
Curated by Aileen Treusch. The exhibition is accompanied by a text by Alex Leo Freier.
Credit:
Exhibition view “ungerne” – Joschua Yesni Arnaut. Photos: Joëlle Pidoux, Courtesy: the artist and Galerie 3AP am Main
Galerie 3AP
Brückenstraße 76
60594 Frankfurt am Main
mail@galerie-3ap.de