Featured Events in Berlin in June, 2024 (May Updated)

Experience the transformative power of dance at the 5 Rhythms Dance with Oliver ~ 2-DAY BODY WAVES WORKSHOP in Berlin. Delve into the theme of TRAUMA & DANCE as Oliver, an accredited 5Rhythms teacher, leads participants through a journey of healing and self-discovery. Taking place on June 29th and 30th at Studio 2 - Bethanien, this workshop offers a safe space to explore the connection between movement and trauma recovery. By immersing yourself in passionate dancing and powerful music, you can deepen your relationship with your body, mind, and life. Oliver's expertise, derived from his training under 5 Rhythms founder Gabrielle Roth in New York City, ensures a transformative experience. Join this workshop to not only enhance your own practice but also fulfill prerequisites for 5Rhythms Teacher Training. Remember to bring an open mind, comfortable attire, and a water bottle. Secure your spot by registering in advance via email. Don't miss this opportunity to embark on a journey of healing and self-discovery through dance.

The 30th anniversary of the musical partnership between violinist Alexei Aigui and pianist Dietmar Bonnen will be celebrated at the upcoming Panda concert in Berlin. Commencing in 1994 with a memorable performance in Moscow, the duo's bond has flourished over the years, with collaborations in various ensembles and participation in the Russian-German Composers Quartet. Alexei Aigui and Dietmar Bonnen have honed their unique musical style through interpretations of diverse genres such as early music, Kurt Weill, Hendrix, and Zappa. At the highly anticipated Panda concert, marking three decades of their collaboration, they will showcase their original compositions and offer fresh interpretations of cinematic music treasures in addition to their established repertoire. The event, featuring Alexei Aigui on violin and Dietmar Bonnen on piano and vocals, will take place on June 29, 2024, at the PANDA Platforma on Knaackstraße 97 in Berlin. Tickets for this special occasion are priced at €20.

Join the prestigious Friends of Sea Gull Football Annual Golf Tournament - 2024 at the Ocean City Golf Club in Berlin on June 29. Check-in starts at 11:00 a.m., followed by a shot-gun start at 12:30 p.m. Attendees have various ticket options, from Individual entry at $150 to Foursome packages at $600, all including a post-event dinner. For those interested in solely attending the dinner, tickets are available for $50. Additionally, participants can support the event by becoming a Hole Sponsor for $100 or purchasing a Reverse Raffle Ticket for $100. The Reverse Raffle Ticket offers the chance to win an exciting prize package for a Washington Commanders football game experience. Tickets for the dinner and raffle can be obtained at the event. All proceeds from the tournament will benefit the SU Football Program and the Coach Mike McGlinchey Endowment. For inquiries, please contact Robb Disbennett at 410-543-6360 or rwdisbennett@salisbury.edu. Thank you to our loyal supporters and partners for their continued generosity towards this event.

URBAN NATION presents TALKING… & OTHER BANANA SKINS, curated by Michelle Houston. The colorful and vibrant exhibition provokes dialogue through urban and contemporary art. The exhibition will function as a catalyst and serve as a host for discourse about the most pressing issues of our times. It presents a new facade commissioned by the internationally renowned collective BROKEN FINGAZ CREW from Israel (Haifa). The exhibition shows paintings, installations, sculptures and video works across the breadth of urban and contemporary art. Highlighted artists include ROCCO AND HIS BROTHERS (Berlin), ICY AND SOT (Tabriz/NY), VARIOUS AND GOULD (Berlin), JOSÉPHINE SAGNA (Hamburg) and LOW BROS (Hamburg). PARTICIPATING ARTISTS: 1UP, AEC INTERESNI KAZKI, AMARTEY GOLDING, ANA BARRIGA, ANDREAS ENGLUND, ANNA LUKASHEVSY, BILL POSTERS, BJÖRN HEYN, BROKEN FINGAZ CREW, DAVE THE CHIMP, DENIS CHERIM, DISNOVATION, EL MAC, FAISAL HUSSAIN, FAUST, FRANCO FASOLI AKA JAZ, HIJACK, HIN, HOT TEA, HUGO BAUDOUIN, HUH?, ICY AND SOT, IDA LAWRENCE, ISAAC CORDAL, JAN VAN ESCH, JEFF HONG, JIMMY TURRELL, JOSÉPHINE SAGNA, KNOW HOPE, LE FOU, LOOK THE WEIRD, LOW BROS, NOEMI CONAN, OLEK, RICH THORNE, ROCCO AND HIS BROTHERS, SEPE, SIMON MENNER, SPLASH AND BURN, SPY, TEZZ KAMOEN, THE WA, VARIOUS AND GOULD, VERA KOCHUBEY, YOANN BOURGEOIS.

URBAN NATION presents TALKING… & OTHER BANANA SKINS, curated by Michelle Houston. The colorful and vibrant exhibition provokes dialogue through urban and contemporary art. The exhibition will function as a catalyst and serve as a host for discourse about the most pressing issues of our times. It presents a new facade commissioned by the internationally renowned collective BROKEN FINGAZ CREW from Israel (Haifa). The exhibition shows paintings, installations, sculptures and video works across the breadth of urban and contemporary art. Highlighted artists include ROCCO AND HIS BROTHERS (Berlin), ICY AND SOT (Tabriz/NY), VARIOUS AND GOULD (Berlin), JOSÉPHINE SAGNA (Hamburg) and LOW BROS (Hamburg). PARTICIPATING ARTISTS: 1UP, AEC INTERESNI KAZKI, AMARTEY GOLDING, ANA BARRIGA, ANDREAS ENGLUND, ANNA LUKASHEVSY, BILL POSTERS, BJÖRN HEYN, BROKEN FINGAZ CREW, DAVE THE CHIMP, DENIS CHERIM, DISNOVATION, EL MAC, FAISAL HUSSAIN, FAUST, FRANCO FASOLI AKA JAZ, HIJACK, HIN, HOT TEA, HUGO BAUDOUIN, HUH?, ICY AND SOT, IDA LAWRENCE, ISAAC CORDAL, JAN VAN ESCH, JEFF HONG, JIMMY TURRELL, JOSÉPHINE SAGNA, KNOW HOPE, LE FOU, LOOK THE WEIRD, LOW BROS, NOEMI CONAN, OLEK, RICH THORNE, ROCCO AND HIS BROTHERS, SEPE, SIMON MENNER, SPLASH AND BURN, SPY, TEZZ KAMOEN, THE WA, VARIOUS AND GOULD, VERA KOCHUBEY, YOANN BOURGEOIS.

URBAN NATION presents TALKING… & OTHER BANANA SKINS, curated by Michelle Houston. The colorful and vibrant exhibition provokes dialogue through urban and contemporary art. The exhibition will function as a catalyst and serve as a host for discourse about the most pressing issues of our times. It presents a new facade commissioned by the internationally renowned collective BROKEN FINGAZ CREW from Israel (Haifa). The exhibition shows paintings, installations, sculptures and video works across the breadth of urban and contemporary art. Highlighted artists include ROCCO AND HIS BROTHERS (Berlin), ICY AND SOT (Tabriz/NY), VARIOUS AND GOULD (Berlin), JOSÉPHINE SAGNA (Hamburg) and LOW BROS (Hamburg). PARTICIPATING ARTISTS: 1UP, AEC INTERESNI KAZKI, AMARTEY GOLDING, ANA BARRIGA, ANDREAS ENGLUND, ANNA LUKASHEVSY, BILL POSTERS, BJÖRN HEYN, BROKEN FINGAZ CREW, DAVE THE CHIMP, DENIS CHERIM, DISNOVATION, EL MAC, FAISAL HUSSAIN, FAUST, FRANCO FASOLI AKA JAZ, HIJACK, HIN, HOT TEA, HUGO BAUDOUIN, HUH?, ICY AND SOT, IDA LAWRENCE, ISAAC CORDAL, JAN VAN ESCH, JEFF HONG, JIMMY TURRELL, JOSÉPHINE SAGNA, KNOW HOPE, LE FOU, LOOK THE WEIRD, LOW BROS, NOEMI CONAN, OLEK, RICH THORNE, ROCCO AND HIS BROTHERS, SEPE, SIMON MENNER, SPLASH AND BURN, SPY, TEZZ KAMOEN, THE WA, VARIOUS AND GOULD, VERA KOCHUBEY, YOANN BOURGEOIS.

The Fourth Plinth is renowned across the globe for bringing world-class contemporary art to London’s most prominent historical public square and Antelope is the 14th commission since the programme of artworks began in 1998. Supported by Bloomberg Philanthropies, Samson Kambalu’s bronze resin sculpture restages a photograph of Baptist preacher and pan-Africanist John Chilembwe and European missionary John Chorley, taken in 1914 in Nyasayland (now Malawi) at the opening of Chilembwe’s new Baptist church. Chilembwe is wearing a hat, defying the colonial rule that forbade Africans from wearing hats in front of white people, and is almost twice the size of Chorley. By increasing his scale, the artist is elevating Chilembwe and his story, revealing the hidden narratives of underrepresented peoples in the history of the British Empire in Africa, and beyond. John Chilembwe was a Baptist pastor and educator who led an uprising in 1915 against British colonial rule in Nyasaland triggered by the mistreatment of refugees from Mozambique and the conscription to fight German troops during WWI. He was killed and his church destroyed by the colonial police. Though his rebellion was ultimately unsuccessful, Malawi, which gained independence in 1964, celebrates John Chilembwe Day on January 15th and the uprising is viewed as the beginning of the Malawi independence struggle. The artist, Samson Kambalu, was born in 1975 in Malawi, and now lives and works in Oxford where he is Associate Professor of Fine Art and a lifelong fellow at Magdalen College, Oxford University. His sculpture, which was made in Deptford, was selected by the Fourth Plinth Commission Group, chaired by Ekow Eshun, following an exhibition at the National Gallery where nearly 17,500 people commented on the selection. For over two decades, The Fourth Plinth has showcased the work of great artists who have not shied away from tackling the important issues of the day. Yinka Shonibare CBE considered the legacy of British colonialism in Nelson’s Ship in a Bottle. Katharina Fritsch commented on gender equality and the masculine posturing in the square with her work Hahn/Cock. Michael Rakowitz’s recreation of the Lamassu, a winged bull and protective deity that was destroyed in Nineveh (near modern day Mosul) in 2015 shone a light on the devastating impact of war on cultural heritage, and Heather Phillipson’s THE END presented a giant swirl of whipped cream, a cherry, a fly and a drone that transmits a live feed of Trafalgar Square, suggesting both exuberance and unease and responding to Trafalgar Square as a site of celebration and protest. Antelope will be on the Fourth Plinth until September 2024 and is a highlight of the inaugural Sculpture Week London, a new initiative that will celebrate public art throughout London in a collaboration between Frieze, Sculpture in the City and the Mayor of London's Fourth Plinth Programme. The Fourth Plinth is funded by the Mayor of London, Arts Council England and Bloomberg Philanthropies. It features on Bloomberg Connects, the free app that allows users to access over 100 museums, galleries, and cultural spaces around the world anytime, anywhere. Through the Fourth Plinth guide, users can access a range of exclusive content, including a video of Kambalu discussing the Fourth Plinth installation and his practice more broadly, information on past commissions and a welcome from Justine Simons OBE, London's Deputy Mayor for Culture and Creative Industries. Samson Kambalu said: “I am thrilled to have been invited to create a work for London’s most iconic public space, and to see John Chilembwe’s story elevated. Antelope on the Fourth Plinth was ever going to be a litmus test for how much I belong to British society as an African and a cosmopolitan. Chilembwe selected himself for the Fourth Plinth, as though he waited for this moment. He died in an uprising but ends up victorious.”

The Fourth Plinth is renowned across the globe for bringing world-class contemporary art to London’s most prominent historical public square and Antelope is the 14th commission since the programme of artworks began in 1998. Supported by Bloomberg Philanthropies, Samson Kambalu’s bronze resin sculpture restages a photograph of Baptist preacher and pan-Africanist John Chilembwe and European missionary John Chorley, taken in 1914 in Nyasayland (now Malawi) at the opening of Chilembwe’s new Baptist church. Chilembwe is wearing a hat, defying the colonial rule that forbade Africans from wearing hats in front of white people, and is almost twice the size of Chorley. By increasing his scale, the artist is elevating Chilembwe and his story, revealing the hidden narratives of underrepresented peoples in the history of the British Empire in Africa, and beyond. John Chilembwe was a Baptist pastor and educator who led an uprising in 1915 against British colonial rule in Nyasaland triggered by the mistreatment of refugees from Mozambique and the conscription to fight German troops during WWI. He was killed and his church destroyed by the colonial police. Though his rebellion was ultimately unsuccessful, Malawi, which gained independence in 1964, celebrates John Chilembwe Day on January 15th and the uprising is viewed as the beginning of the Malawi independence struggle. The artist, Samson Kambalu, was born in 1975 in Malawi, and now lives and works in Oxford where he is Associate Professor of Fine Art and a lifelong fellow at Magdalen College, Oxford University. His sculpture, which was made in Deptford, was selected by the Fourth Plinth Commission Group, chaired by Ekow Eshun, following an exhibition at the National Gallery where nearly 17,500 people commented on the selection. For over two decades, The Fourth Plinth has showcased the work of great artists who have not shied away from tackling the important issues of the day. Yinka Shonibare CBE considered the legacy of British colonialism in Nelson’s Ship in a Bottle. Katharina Fritsch commented on gender equality and the masculine posturing in the square with her work Hahn/Cock. Michael Rakowitz’s recreation of the Lamassu, a winged bull and protective deity that was destroyed in Nineveh (near modern day Mosul) in 2015 shone a light on the devastating impact of war on cultural heritage, and Heather Phillipson’s THE END presented a giant swirl of whipped cream, a cherry, a fly and a drone that transmits a live feed of Trafalgar Square, suggesting both exuberance and unease and responding to Trafalgar Square as a site of celebration and protest. Antelope will be on the Fourth Plinth until September 2024 and is a highlight of the inaugural Sculpture Week London, a new initiative that will celebrate public art throughout London in a collaboration between Frieze, Sculpture in the City and the Mayor of London's Fourth Plinth Programme. The Fourth Plinth is funded by the Mayor of London, Arts Council England and Bloomberg Philanthropies. It features on Bloomberg Connects, the free app that allows users to access over 100 museums, galleries, and cultural spaces around the world anytime, anywhere. Through the Fourth Plinth guide, users can access a range of exclusive content, including a video of Kambalu discussing the Fourth Plinth installation and his practice more broadly, information on past commissions and a welcome from Justine Simons OBE, London's Deputy Mayor for Culture and Creative Industries. Samson Kambalu said: “I am thrilled to have been invited to create a work for London’s most iconic public space, and to see John Chilembwe’s story elevated. Antelope on the Fourth Plinth was ever going to be a litmus test for how much I belong to British society as an African and a cosmopolitan. Chilembwe selected himself for the Fourth Plinth, as though he waited for this moment. He died in an uprising but ends up victorious.”

The Asian Civilisations Museum presents Textile Masters to the World: The global desire for Indian cloth with a selection of exquisite garments and textiles at its Fashion and Textiles Gallery. Featuring 27 pieces from the National Collection and loans, the exhibition spotlights the historic global impact of textile production in India, and its role as evidence of trade and cultural exchange between India and regions such as the Middle East, Southeast Asia, and Europe from the fourteenth to nineteenth century. From fashion and furnishing, to gift exchange and heirlooms, visitors can marvel at the artistry and craftsmanship of early textile masters, and discover how Indian textiles influenced local designs, materials and fashions wherever they were traded.

The Asian Civilisations Museum presents Textile Masters to the World: The global desire for Indian cloth with a selection of exquisite garments and textiles at its Fashion and Textiles Gallery. Featuring 27 pieces from the National Collection and loans, the exhibition spotlights the historic global impact of textile production in India, and its role as evidence of trade and cultural exchange between India and regions such as the Middle East, Southeast Asia, and Europe from the fourteenth to nineteenth century. From fashion and furnishing, to gift exchange and heirlooms, visitors can marvel at the artistry and craftsmanship of early textile masters, and discover how Indian textiles influenced local designs, materials and fashions wherever they were traded.

The Hamburger Bahnhof presents a multi-layered panorama of Berlin's art scene and the city itself, spanning from the threshold of the opening of the Berlin Wall through to the present. With the new presentation of the collection in the west wing, the Hamburger Bahnhof invites the public to reflect on the role of art and cultural institutions in fostering inclusion, engagement and social transformation. Some 80 artworks, including paintings, works on paper, sculptures, photographs and videos, explore the sociopolitical and economic factors that have shaped the city and the artistic practices to have emerged from within it. Sibylle Bergemann, Rainer Fetting, Isa Genzken, Mona Hatoum, Emeka Ogboh, Anri Sala, Selma Selman, Isaac Chong Wai and Ruth Wolf-Rehfeldt are among the 60 artists included in the display. For the first time, the Nationalgalerie’s contemporary art holdings will enter into a long-term exchange with the art collection of the German Federal Government and the collection of the ifa – Institute for Foreign Cultural Relations. The exhibition will be further enriched by a selection of significant new acqui-sitions. Familiar major works will be shown alongside others that have rarely, if ever, been shown before.

More than 15 installations, sculptures and interventions have been set up in and around the Hamburger Bahnhof since it opened as a museum of contemporary art in 1996. These include Dan Flavin's striking blue and green light installation on the façade of the main building as well as works by Tom Fecht, Urs Fischer, John Knight and Gregor Schneider. Some of the works are more visible than others. The Endless Exhibition enables visitors to explore the artworks and to reflect on their relevance for the collection today – through public tours, a dedicated publication and website. Each year the Endless Exhibition will be expanded by a newly commissioned work of art that is to be permanently acquired for the collection of the Nationalgalerie. Berlin-based artist Judith Hopf, whose installation and sculptural work deals with social definitions and power relations, will kick off this important expansion of the collection.

The exhibition, Unbound: Performance as Rupture,addresses how over generations artists have used their bodies and the performative action recorded by the camera to intervene in and refuse dominant ideological orders and the colonial gaze perpetuated by the camera. Setting collection works in dialogue with loans, Unbound brings together seminal videos, films, and photographs from the 1970s to today that through performance afford various forms of rupture, fracture, and pause, which resonate on aesthetic as well as social and political levels. In addition to performance documentation and performance-for-the-camera, the exhibited artworks offer investigations into contemporary image and performance economies that examine how bodies move across or evade physical and digital spaces. With works by Panteha Abareshi, Eleanor Antin, Salim Bayri, Nao Bustamante, Matt Calderwood, Peter Campus, Patty Chang, Julien Creuzet, Vaginal Davis, Ufuoma Essi, VALIE EXPORT, Shuruq Harb, Sanja Iveković, Stanya Kahn, Tarek Lakhrissi, Klara Lidén, Senga Nengudi, Lydia Ourahmane, Christelle Oyiri, P. Staff, Sondra Perry, Howardena Pindell, Pope.L, mandla & Graham Clayton-Chance, Katharina Sieverding, Akeem Smith, Gwenn Thomas.

Where humans build, nature is destroyed. This dilemma is becoming increasingly clear in view of finite resources and the enormous contribution that construction contributes to global warming. Three Berlin projects show how opponents can become teammates. To do this, interdisciplinary teams rely on the potential of mushrooms, trees and clay using the latest technologies. Your buildings gain an ecological quality from the green materials, but also a completely new character: they breathe, grow and therefore come to life themselves. The surprisingly sensual experience of this architecture creates a conscious relationship with our environment and can therefore have a lasting effect that goes beyond the material. In the exhibition, expansive installations make this tangible. In addition, sketches, plans, photographs and models explain the three approaches and designs for a future-oriented building culture.

Where humans build, nature is destroyed. This dilemma is becoming increasingly clear in view of finite resources and the enormous contribution that construction contributes to global warming. Three Berlin projects show how opponents can become teammates. To do this, interdisciplinary teams rely on the potential of mushrooms, trees and clay using the latest technologies. Your buildings gain an ecological quality from the green materials, but also a completely new character: they breathe, grow and therefore come to life themselves. The surprisingly sensual experience of this architecture creates a conscious relationship with our environment and can therefore have a lasting effect that goes beyond the material. In the exhibition, expansive installations make this tangible. In addition, sketches, plans, photographs and models explain the three approaches and designs for a future-oriented building culture.

Kyiv Perennial interprets the idea of the biennial as a collective, long-term endeavor against the backdrop of survival – politically, socially, and culturally: “Perennial” means “lasting”, “enduring”, or “persisting”. Through presenting artistic and discursive practices, Kyiv Perennial addresses the multi-layered realities of war. The contributions engage and examine a wide-ranging spectrum of urgent themes, including war trauma, flight and displacement, the social and political polarization in European societies, ecological destruction caused by military conflict, and decolonial tendencies in contemporary Eastern European culture and politics. Russia’s ongoing invasion of Ukraine has given rise to a new wave of investigative, research-based, and documentary approaches deployed by artists, activists, and journalists. Their works have amounted to a collection of evidence of war crimes that reach from the killing of civilians and the erasure of architectural and other cultural heritage to environmental destruction that will affect Ukrainians until long after the end of the war. In addition to presenting these, Kyiv Perennial will put back into focus the Russian invasion of the Donbas region, the history of the Crimean Tatars, and German war crimes on Ukrainian soil during World War II. Going beyond a mere reckoning with the past, the exhibition orients itself towards the future, seeking possible exit strategies from the current deadlock of war, authoritarianism, and colonialism. The Berlin edition of the Kyiv Biennial commences with a three-day opening weekend: On February 23, the Kyiv Perennial opens at nGbK am Alex, two further openings follow at Between Bridges and station urbaner kulturen/nGbK Hellersdorf on February 24 and 25. On June 1, Prater Galerie organizes the symposium “What’s Left of the Friendship of Nations?”.

Noa Eshkol (1924-2007) war Tänzerin, Choreografin, bildende Künstlerin, Pädagogin und Theoretikerin. Sie gründete 1954 das Chamber Dance Quartett in Tel Aviv und entwickelte minimalistische Kompositionen ohne Bühnenbild, Kostüme oder Musik. Ihr Ziel war die absolute Konzentration auf das Wesentliche. Eshkol hatte ein tiefes Verständnis für Körper und Raum und entwickelte 1954 gemeinsam mit dem Architekten Abraham Wachmann ein einzigartiges Notationssystem, das körperliche Bewegungen aufzeichnet und der Dokumentation und Kommunikation dient: die Eshkol-Wachmann Bewegungsnotation (EWMN). Damit leistete sie einen wichtigen kulturellen und wissenschaftlichen Beitrag zu Entwicklungen in der Medizin, der computergestützten elektronischen Musik und der Kybernetik. Die umfangreiche Präsentation gibt Einblick in ihre Bewegungsforschungen seit den 1950er Jahren, Choreografien, Sprachstudien, Tänze, Textilkunst und das von ihr entwickelte Notationssystem für menschliche und tierische Bewegungen. Den Gegenpol zu ihren minimalistischen Choreografien und grafischen Tanznotationen bilden in der Ausstellung großformatige und farbintensive Wandteppiche, die sie ab 1973, mit Ausbruch des Jom-Kippur- Krieges gemeinsam mit ihren Tänzer*innen aus gesammelten und gespendeten Stoffresten schuf. Mit der Präsentation zum Leben und Werk dieser wegweisenden Künstlerin greift das Georg Kolbe Museum für die Institution wichtige Themen wie den modernen Tanz, Körper im Raum und die Architektur der Moderne auf. Die Ausstellung zeigt außerdem Werke zeitgenössischer Künstler*innen, die von Eshkols Praxis inspiriert wurden. Darunter Werke von Sharon Lockhart, Yael Bartana und Omer Krieger sowie eine neu für die Ausstellung entwickelte Arbeit von Ayumi Paul.

Noa Eshkol (1924-2007) war Tänzerin, Choreografin, bildende Künstlerin, Pädagogin und Theoretikerin. Sie gründete 1954 das Chamber Dance Quartett in Tel Aviv und entwickelte minimalistische Kompositionen ohne Bühnenbild, Kostüme oder Musik. Ihr Ziel war die absolute Konzentration auf das Wesentliche. Eshkol hatte ein tiefes Verständnis für Körper und Raum und entwickelte 1954 gemeinsam mit dem Architekten Abraham Wachmann ein einzigartiges Notationssystem, das körperliche Bewegungen aufzeichnet und der Dokumentation und Kommunikation dient: die Eshkol-Wachmann Bewegungsnotation (EWMN). Damit leistete sie einen wichtigen kulturellen und wissenschaftlichen Beitrag zu Entwicklungen in der Medizin, der computergestützten elektronischen Musik und der Kybernetik. Die umfangreiche Präsentation gibt Einblick in ihre Bewegungsforschungen seit den 1950er Jahren, Choreografien, Sprachstudien, Tänze, Textilkunst und das von ihr entwickelte Notationssystem für menschliche und tierische Bewegungen. Den Gegenpol zu ihren minimalistischen Choreografien und grafischen Tanznotationen bilden in der Ausstellung großformatige und farbintensive Wandteppiche, die sie ab 1973, mit Ausbruch des Jom-Kippur- Krieges gemeinsam mit ihren Tänzer*innen aus gesammelten und gespendeten Stoffresten schuf. Mit der Präsentation zum Leben und Werk dieser wegweisenden Künstlerin greift das Georg Kolbe Museum für die Institution wichtige Themen wie den modernen Tanz, Körper im Raum und die Architektur der Moderne auf. Die Ausstellung zeigt außerdem Werke zeitgenössischer Künstler*innen, die von Eshkols Praxis inspiriert wurden. Darunter Werke von Sharon Lockhart, Yael Bartana und Omer Krieger sowie eine neu für die Ausstellung entwickelte Arbeit von Ayumi Paul.

The show, curated by Christine Nippe, features landscapes punctuated by abstract elements, which are often overshadowed by an expressive sky with fragments of clouds. The majority of the natural representations, which are provided with a special color, are interspersed with geometric shapes that create dynamics, depth and rhythm. These elements create a simultaneous space. A central component of Jezierski's paintings is light: muted and bright colors as well as light and dark contrasts meet atmospherically and form their very own shimmering aura. At the same time, Jezierski goes back to the actual question of abstraction. She is more concerned with showing the width, depth and monumentality of a space than with depicting a specific landscape. With the help of abstract elements, cuts and shifts, she disrupts her and our memory and experience of a specific place and allows us to enter a space in between abstraction and figuration. Layers of color such as rock structures, waves and clouds pile up in her pictorial spaces and yet are repeatedly disturbed by abstract hatching, squares and structures. Her play with figuration and abstraction takes place in a zone of in-betweenness. It is precisely this tipping point - in English Verge - that the artist is interested in. How many figurative clues, such as the sky or towers of clouds, does it take to convey a sense of space? Or rather, when does abstraction with cuts and shifts dominate over figuration? Michelle Jezierski invites viewers to engage in this perception experiment and questions our sensory impressions with her painting. Michelle Jezierski comes from a family of musicians. At the age of 17 she decided to become a visual artist. At the Berlin University of the Arts she begins studying with the renowned professor of sculpture Tony Cragg. Cragg's influence is that she learns a lot about the use of space during this time. This was followed by a scholarship at the Cooper Union in New York with Amy Sillman. She finally completed her studies with Valérie Favre and has lived in Berlin ever since. Jezierski received scholarships from the Kunstfonds Foundation and NICA. Her works are in international collections. Her work has been shown in the Kunsthalle Dessau, the Tel Aviv Museum of Art and the Kunsthalle Emden, among others. A publication will be published to accompany the exhibition.

Thanks to the generous donation from the family of the collector Erich Marx, who died in 2020, to the Nationalgalerie collection, key works such as “Tram Stop. A monument to the future” (1976) and “Das Kapital Raum, 1970–1977” (1980). The new exhibition, exhibited for the first time in the Kleihueshalle and comprising around 15 works, explores the complex work and reception of Joseph Beuys. In addition to sculptures, environments and multiples, the works include groundbreaking actions such as “The CHEF THE CHIEF, Fluxus Song” (1964) and “I like America and America likes Me” (1974). The permanent presentation will now be shown with a changing solo exhibition of a contemporary position - starting on March 22, 2023, with the Israeli artist Naama Tsabar (* 1982).

With Gropius Bau presents Pallavi Paul's first comprehensive solo exhibition. As an artist and film scholar, Paul uses the camera to question how regimes of “truth” are produced and maintained in public life. In her multimedia practice, which includes film, installation, performance, drawing, photography and text, she negotiates the documentary not just as a film or image, but as an ecology of materials, networks, global alliances and systems.

With Circles of Light, the Gropius Bau will be showing the artist's most comprehensive overview exhibition in Germany to date from March 2024. The exhibition includes, among other things, film, video, photography, sound works, concrete poetry, sculptures and expansive installations as well as drawings and documentation from over 25 years. In her practice, Nancy Holt reimagined site-specific installations and working with natural and artificial light. She addressed ecological aspects early on and incorporated the earth's rotation, astronomy as well as time and place into her sculptures - and in doing so repeatedly challenged us to look beyond what we think we know. Holt's working method will be given a special presence in the exhibition in the Gropius Bau through the artist's texts and recordings.

The show, curated by Christine Nippe, features landscapes punctuated by abstract elements, which are often overshadowed by an expressive sky with fragments of clouds. The majority of the natural representations, which are provided with a special color, are interspersed with geometric shapes that create dynamics, depth and rhythm. These elements create a simultaneous space. A central component of Jezierski's paintings is light: muted and bright colors as well as light and dark contrasts meet atmospherically and form their very own shimmering aura. At the same time, Jezierski goes back to the actual question of abstraction. She is more concerned with showing the width, depth and monumentality of a space than with depicting a specific landscape. With the help of abstract elements, cuts and shifts, she disrupts her and our memory and experience of a specific place and allows us to enter a space in between abstraction and figuration. Layers of color such as rock structures, waves and clouds pile up in her pictorial spaces and yet are repeatedly disturbed by abstract hatching, squares and structures. Her play with figuration and abstraction takes place in a zone of in-betweenness. It is precisely this tipping point - in English Verge - that the artist is interested in. How many figurative clues, such as the sky or towers of clouds, does it take to convey a sense of space? Or rather, when does abstraction with cuts and shifts dominate over figuration? Michelle Jezierski invites viewers to engage in this perception experiment and questions our sensory impressions with her painting. Michelle Jezierski comes from a family of musicians. At the age of 17 she decided to become a visual artist. At the Berlin University of the Arts she begins studying with the renowned professor of sculpture Tony Cragg. Cragg's influence is that she learns a lot about the use of space during this time. This was followed by a scholarship at the Cooper Union in New York with Amy Sillman. She finally completed her studies with Valérie Favre and has lived in Berlin ever since. Jezierski received scholarships from the Kunstfonds Foundation and NICA. Her works are in international collections. Her work has been shown in the Kunsthalle Dessau, the Tel Aviv Museum of Art and the Kunsthalle Emden, among others. A publication will be published to accompany the exhibition.

Following on from current discourses on the class question, Kerstin Honeit (* 1977 in Berlin) addresses social structures that lead to massive economic inequality in her new video work. In a poetic, resistant narrative, “Decors of Poverty” from the artist's family interior meet the architecture of the Steglitzer Kreisel, a well-known ruined building for luxury real estate speculation in Berlin, which in its municipal past as the location of the district office was also the distribution point for social assistance.

The group exhibition developed in Dakar proposes a new look at the past and creates access to other forms of knowledge and knowledge transfer. In their installations, photographs and objects, the participating artists examine how a future can be imagined from a decolonial perspective. was on view at the Musée Theodore Monod in Dakar in 2023 and is part of the TALKING OBJECTS LAB, a series of exhibitions, artist residencies and events that have been taking place since 2020 in Senegal, Kenya and Germany, among others.

In his first solo exhibition in Berlin, Franz Wanner (* 1975 in Bad Tölz) examines the current effects of the exploitation through forced labor that was practiced on a massive scale under National Socialism. Using photographs, texts, films and objects, the artist creates a narrative about social continuities from the Nazi era to today and identifies gaps in the German culture of remembrance.

The exhibition includes three work complexes with participatory wall and floor works that can also be activated sonically by the audience as instruments. The music performance designed for the exhibition is created in collaboration with musicians from Berlin and New York who define themselves as women or who are gender non-conforming. With the use of felt and sound, Tsabar refers to Joseph Beuys , whose works are being shown at the same time in the Kleihueshalle. The exhibition is the start of a series of contemporary presentations in dialogue with the collection presentation of Beuys' works. Naama Tsabar (born 1982, Israel, lives and works in New York) opens up hidden spaces and systems in her interactive works, redefines gender-specific narratives and shifts the viewing experience to a moment of active participation. Her sculptures and installations can be used as instruments by the audience or in collaborative performances. In the transformational process between sculpture and instrument, between form and sound, the intimate, sensual, physical potential of her works becomes tangible. By collaborating with local groups of female or non-binary performers, Tsabar opens up new spaces of feminist and queer history.

The exhibition includes three work complexes with participatory wall and floor works that can also be activated sonically by the audience as instruments. The music performance designed for the exhibition is created in collaboration with musicians from Berlin and New York who define themselves as women or who are gender non-conforming. With the use of felt and sound, Tsabar refers to Joseph Beuys , whose works are being shown at the same time in the Kleihueshalle. The exhibition is the start of a series of contemporary presentations in dialogue with the collection presentation of Beuys' works. Naama Tsabar (born 1982, Israel, lives and works in New York) opens up hidden spaces and systems in her interactive works, redefines gender-specific narratives and shifts the viewing experience to a moment of active participation. Her sculptures and installations can be used as instruments by the audience or in collaborative performances. In the transformational process between sculpture and instrument, between form and sound, the intimate, sensual, physical potential of her works becomes tangible. By collaborating with local groups of female or non-binary performers, Tsabar opens up new spaces of feminist and queer history.

Berlin aims to build. Yet, how to create as much affordable housing as possible in the shortest amount of time remains controversial. Jim Avignon is therefore concerned about Berlin’s housing policy and comments on it using his high-rise character created for the HaL courtyard sculptures series. Just as Jonathan Borofsky’s “Hammering Man” tirelessly swings his hammer, Jim Avignon’s sculpture “Workout-City” relentlessly lifts weights. Whether the motivation for this non-stop workout is driven by dollar signs or the societal longing for self-optimization remains unclear. Creating and finding living space seems to demand equally relentless effort. This is also felt by the Haus am Lützowplatz association, which has been planning a construction project on the property behind their building for some time. This is also felt by the Haus am Lützowplatz association, which has been planning a building project on the site to the rear for some time. Technical realisation of the sculpture: Johannes Marx

Berlin aims to build. Yet, how to create as much affordable housing as possible in the shortest amount of time remains controversial. Jim Avignon is therefore concerned about Berlin’s housing policy and comments on it using his high-rise character created for the HaL courtyard sculptures series. Just as Jonathan Borofsky’s “Hammering Man” tirelessly swings his hammer, Jim Avignon’s sculpture “Workout-City” relentlessly lifts weights. Whether the motivation for this non-stop workout is driven by dollar signs or the societal longing for self-optimization remains unclear. Creating and finding living space seems to demand equally relentless effort. This is also felt by the Haus am Lützowplatz association, which has been planning a construction project on the property behind their building for some time. This is also felt by the Haus am Lützowplatz association, which has been planning a building project on the site to the rear for some time. Technical realisation of the sculpture: Johannes Marx