and when I love I never admit, 2025
bent metal bars (ladder), solid round bars
Ø 14 mm, 50 × 20 cm each bar
variable dimensions
The work takes the form of an industrial metal ladder, mounted on the wall, whose lower rungs appear brutally incised and forced open, making any ascent impossible. Only the upper rungs remain intact, as a suspended hypothesis of a path. The work introduces an unresolved tension between the desire to escape and the impossibility of movement, leaving the origin of the sabotage in question: an external intervention or an act of self-sabotage. Within this ambiguity unfolds a reflection on escape as both aspiration and self-imposed safe zone, revealing the fragile boundary between protection and impediment.
“The negation of escape takes on a sculptural form in the work of Friedrich Andreoni, who introduces into the exhibition space a series of metal ladders, similar to those found in industrial buildings or in engineering infrastructures such as pylons and streetlight poles. Positioned at strategic points, these structures seem to shape the very architecture of the gallery: some are grafted into the walls as if they had anticipated the construction of the roof, producing a temporal dislocation, while others appear suspended against a blind window that leads nowhere. Many of them are bent, corroded, or brutally cut open, as if torn apart by a violent slash. What does it mean to claim the right to escape within an architecture that obstructs movement?”
Text by Arnold Braho
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and when I love I never admit (2025) has been part of the show Né qui, né altrove. On domestication curated by Arnold Braho at ArtNoble Gallery, Milan, Italy
