Whitehot Recommends: In Between at GALERIE 3AP

(Photos: Joëlle Pidoux. Courtesy of Galerie 3AP, POV Contemporary, Haverkampf Leistenschneider and the artists)

Emmélie Lempert, Toni Meyer, Alex Müller, Jonas Brinker: In Between 
February 14 – March 29, 2026
POV contemporary + Galerie 3AP  
Brückenstrasse 76 60594 Frankfurt a.M.

By WM, February 2026

From the press release:

GALERIE 3AP and POV CONTEMPORARY present In Between, a group exhibition featuring works by Emmélie Lempert, Toni Meyer, Alex Müller, and Jonas Brinker. On view at Galerie 3AP’s space in Frankfurt am Main, the exhibition opens on 14 February 2026, 2–4 PM, and runs through 29 March 2026. In Between marks the first collaboration between the two galleries.

As indicated by its title, In Between explores liminal states where perception shades into a kind of shifting porousness. Highlighting an imagistic tension between presence and absence, the body as object and the body as memory, the works on view become freeze-frames of transitional encounters. Suggesting surfaces both tangible and intangible, meaning gathers in the spaces between the artworks as much as within the materials that compose them.

Emmélie Lempert’s mixed-media pieces vertically reconstruct a world riddled with holes. The textiles situated between planes of glass function as artifacts, implicating the body as both an objective fact and an opening in the felt reality of experience. This collapse of public and private space – an ambiguous vulnerability caught between transparency and translucency – is mirrored in the untitled works of Toni Meyer’s Sofa Series. Here, the luminosity of the prints reveals ever-new planar gaps, new points of entry into the surface of the real. Creating a topography out of the folds of a plush velvet cover, shadows are recast as reflections, and reflectiveness itself becomes labyrinthine.

Alex Müller’s Die Erinnerung vom Hutmacher recasts the medium-specificity of glass as a vitrine to poignantly disrupt the linearity of ordinary experience. Situated somewhere between biography and memory, the central object in Müller’s work gathers a historicized absence around itself. Captured like a butterfly in a net, the displaced suitcase becomes a material symbol around which fluid and unresolved narratives constellate, filling out the work’s details.

Jonas Brinker’s archival prints capture the meticulous strangeness embedded in the everyday. Frost, a photographic close-up of a frozen freezer compartment, recalibrates in-betweenness as a threshold for a newly framed experience. The image is both cinematic and speculative: movement, action, and process are displaced, yet not rendered invisible. Scale and materiality oscillate between technique and landscape-like association. The work reveals an interior space that unfolds only through sustained attention – a quality that resonates throughout the exhibition.

Throughout In Between, familiar realities are rendered hyperreal and emotionally charged. The body appears only as vestige (Lempert); as memory (Meyer); as an object sundered from utility (Müller); or as a processional phantom (Brinker). Staging performativity without a stage – without presence or body – each work subtly discloses hidden thresholds and vistas embedded in our everyday gestures and movements. The sense of being in between develops less as a theme than as a condition generating a polyphonic choreography of absence. WM