“Der chinesischstämmige Millionär”

Exhibition opening on Saturday, September 8th at 7 pm

Maniere Noire
Waldenserstrasse 7A
10551 Berlin


Opening times: Friday, Saturday, and Sunday 4–7 pm

Artist’s talk with Myriam Naumann on Saturday, September 29th at 7 pm. 

(scroll down for information in English)

Nach der Publikation ihres Romans Wie viele Tage (Literaturverlag Droschl, Februar 2018) wird Andrea Scrima die Ausstellung „Der chinesischstämmige Millionär“ als Teil der Reihe „Appropriating Language“ im Projektraum Manière Noire realisieren.

Die Vorlage für diese Arbeit ist eine Passage aus ihrem Roman Wie viele Tage; sie beschreibt ein Zeitungsfoto aus der New York Times, in dem eine Horde aufgebrachter Menschen das Haus eines Millionärs plündert. Daraus entsteht eine großformatige zweiteilige Textarbeit, die in Form von Klebebuchstaben auf die Wand aufgebracht wird. Gegenstand der künstlerischen Arbeit ist die medienreflexive Beschreibung eines Bildes von einem Bild: ein Text über das Foto eines Porträts auf Leinwand von einem Mann, der vor kurzer Zeit um sein Leben geflohen ist – ein Ölgemälde, das Sekunden nach der Aufnahme des Fotos zerstört wurde.


Scrima Maniere Noire



full corner (Canon)

Adhesive letters on wall, each text block 250 x 250 cm.



me & myriam 2

In conversation with the research associate Myriam Naumann of Humboldt University, Berlin. September 29, 2018.



me & myriam

In conversation with the research associate Myriam Naumann of Humboldt University, Berlin. September 29, 2018.



Myriam Naumann: I’d like to return to the text installation for a moment. In the exhibition “The Ethnic Chinese Millionaire” at the Berlin gallery Manière Noire, the method of turning text into space described above undergoes a variation; the result is a (complex) connection between literature (A Lesser Day) and art (the three works of the exhibition). How would you characterize the relationship between your book and the exhibition?

Andrea Scrima: The exhibition consists of an image printed on an invitation card; a large-scale text installation on two walls; and opposite these, on a shelf mounted to the wall, a small sculptural object. Although I’ve exhibited many such text works in the past, now, after I’ve published a book, the relationship to text suddenly takes on a new, perhaps even problematic dimension, because the passage I’ve used comes directly out of A Lesser Day. And so it’s no longer about formal questions alone; there’s a reciprocal inquiry between art and literature going on here. Is this nothing more than two vastly enlarged pages of an open book? An image is described: a photograph cut out of the newspaper in which a raging crowd is in the act of plundering a millionaire’s home. In the foreground, an oil painting is held aloft by several people: it’s the portrait of the millionaire. The photo was taken in the 1990s, when ethnic Chinese businessmen living in Indonesia were thought to have caused the economic crisis of the time and suddenly found themselves in danger. The narrator describes the photograph in painstaking detail; she literally reconstructs the photograph in words. What is the mental image that results from this description, and what relationship does it bear to the original photograph? It’s about the description of an image of an image here: a text about the printed photograph of a portrait painted on canvas of a man who has fled for his life only moments before—an oil painting that was destroyed seconds after the picture was taken. The media-reflexive aspects of this relationship are very interesting to me.

— Written conversation to be published soon.


Object on shelf

Prepared Object. Oil paint of half an apple. Shelf ca. 15 x 15 cm.



books (Canon)



side corner (Canon)

Adhesive letters on wall, each text block 250 x 250 cm.



Detail (Canon)

Detail, installation



At the back of the gallery, in its separee, Manière Noire also presented a selection of photographs from an earlier text/photo installation titled Through the Bullethole

More images from this installation can be found here


Bullethole 8

Photograph from the series Through the Bullethole



Bullethole pictures, back room

In the separee at the back of the gallery: A selection of photographs from the earlier project Through the Bullethole.



store front (Canon)





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