Featured Events in Berlin in April, 2024 (February Updated)

Between 1949 and 1990, thousands migrated to the GDR from countries such as Algeria, Angola, Chile, Cuba, Guinea-Bissau, Mozambique, Syria, and Vietnam. Their stories remain largely untold. The exhibition and research project Echoes of the Brother Countries is dedicated to the often overlooked political, economic, educational, and artistic links, as well as the exchange and migration movements between the GDR and other socialist-orientated states, the so-called brother countries. However, in the shadow of the iconographic depictions of solidarity such as a 'united class struggle' or 'socialist internationalism', there were other realities. Despite the GDR’s emphasis on fair labour conditions and professional development, migrants experienced labour exploitation, cramped living quarters, surveillance, curtailment of certain freedoms such as getting pregnant or being in a relationship, racist and xenophobic attacks, withheld wages and broken promises by their government and the GDR government. However, there were practices of solidarity across individual, local, national, and global scales, including GDR support for so-called anti-colonial, anti-imperialist, and liberation struggles in other parts of the world. How were these relations made possible? And how much of this history and its legacies remain visible today? The exhibition and research project brings together numerous positions that create a common space for remembrance, dialogue, and reflection on transnational solidarities and contradictions. With an extensive opening and educational programme, Echoes of the Brother Countries explores the question of how these interwoven histories continue to shape the former brother countries to this day, especially the lives of the people who migrated under the conditions of these alliances. The multidisciplinary project critically maps the GDR history and relations with its brother countries, a term that is critically taken up for its gendered problematics, and illusions of and allusions to equality. Amid erasures, gaps, and absences in broader public educational discourses, the project attempts to understand the reverberations of those histories in Germany as well as in the former br countriesother to situate these relations as part of a global history of cultural movement and exchange. With contributions among others by Abed Abdi, Khaled Abdulwahed, Donald Acquaye, Maimuna Adam, Kais al-Zubaidi, Santos Chávez, Ivan Cibulka, Sarah Ama Duah, NguyÃ1⁄4n LÃ Ã...c, Ângela Ferreira, Carla Filipe, Lea Grundig, Sami Hakki, Kiluanji Kia Hendaário Jano, Isaac Newton-Schule, Emile Itolo, Januário Jano, Hiwa K, Euridice Zaituna Kala, Martha Ketsela, Songhak Ky, Verena Kyselka, Heinz-Karl Kummer, Hernando LeÃan, Humberto LÃopez, MORUS High School, Nástio Mosquito, Olu Oguibe, Cés OlhagRosenfeld, Riad Ali Saad, Farkhondeh Shahroudi, Sophie-Brahe-Gemeinschaftsschule, Dito Tembe, Sung Tieu, Christoph Wetzel, Horst Weber

Artists: Yalda Afsah, Taslima Ahmed, Douglas Boatwright, Yvon Chabrowski, Beth Collar, Armin Lorenz Gerold, Rosanna Graf, Line Skywalker Karlström, Mazen Kerbage, Dina Khouri, Bob Kil, Bitsy Knox, Vera Lutz, Katharina Marszewski, José Montealegre, Marcela Moraga, Christophe Ndabananiye, Lucas Odahara, Emeka Okereke, Mooni Perry, Shirin Sabahi, Romana Schmalisch & Robert Schlicht, Mohammad Shawky Hassan, Paola Yacoub, Bassem Yousri, Sati ZechMarch 2–April 28, 2024Curators: Ines Borchart, Layla Burger-Lichtenstein, Susanne Mierzwiak, and Katharina Schilling A project in cooperation with Haus am LützowplatzFunded by the Berlin Senate Department for Culture and Community

The mystery in Morandi's work, the state of suspension between those present and absent, was the starting point for Silke Panknin's work “Tabula Rasa”. Pascal Reif drew an abstract industrial scene in “Schwarzfall” (Blackfall). Everything disappears into black. Everything arises from black. Simon Terzer's “Dazwischen” (In between) builds a bridge between his nature-loving home in the Dolomites and the dynamic city of Berlin. Like a slip of the tongue that betrays one's thoughts, each image of Sara Toussaint's "Atto Mancato" alluded to a reality detached from the object it represents. In “Das Leuchten der Zukunftsmaschine - The sleeping Berlin starship” Klaus W. Eisenlohr looked for visual inspiration during the art event “The Sun Machine is Coming Down”at Berlin`s icc. Ebba Dangschat's pictures from the “Polyphonia” series were intuitive snapshots that she captured while traveling, visual dialogues whose echo resonated in the viewer. With “I used to look at the sky”, Melina Papageorgiou dedicated herself to the streets of Berlin. She is only interested in the material: the asphalt. With “Atemeta” Jewgeni Roppel filtered out the existential phenomena of media technology using his own moods and metaphors. Doris Schmid's video "It's all a dream" with music by Eunice Martins turned out to be a fantastic and dream-like short story, inspired by the Argentine author Julio Cortázar. For her work “Matsu-Japan” Silke Panknin photographed trees that were supported with huge sticks. "I remember that followers of Shintoism assumed that nature is sacred and that kami, so-called gods, live in these trees". For “Very First Place”, Kirsten Johannsen invited people to describe the first place they remember. She then developed architectural models and cartographic folding objects, which she presented with audio documents. „Fremd bin ich eingezogen, fremd zieh ich wieder aus“ (A stranger I arrived here, a stranger I go hence) was about Sibylle Hoffmann’s and Hansgeorg Jeggle`s photographic search for the self and a search for the other, the strangeness in this world.

Depicted from various vantage points, Tal R’s lakes resemble amoebic forms which surge toward the viewer and push against the broad, curving shorelines that surround them. Brightly coloured mounds conjure mountain ranges, while globular clouds deliver rainfall in thick, agitated downward strokes. Elsewhere, bouncing lines suggest ripples in the water’s undulating surface, while minimally delineated pebbles, plants and spruces decorate the rocky shore. Tal R’s play with shapes and colours finds centre stage in these compositions, which capture the landscape as much as they do the act of creation itself. ‘The interesting thing for the artist is that you start to develop language,’ Tal R says, ‘and the moment you create words, they are just on the tipping point of meaning something else.’ The colour pink bears its own associations: ‘It is both superficial and it means something […] it’s a very clichéd colour. Rosa is something to jump into.’ Indeed, Tal R’s lakes fluctuate in colour; bright coral waters give way to deeper fuchsia and more sinister mulberry tones, in turn speaking to the uncanny undercurrent beneath these pictures. Deceptively simple and formally reduced, the artist’s forms are nonetheless burgeoning with potential, restlessly redefining themselves as they summon a vision of nature in constant flux. Similarly, the shapes of the paintings on view challenge definition. Reminiscent of puzzle pieces, folded papers or even keyholes – a term often invoked by the artist to describe art’s promise to depict other realms – these canvases dare the viewer to complete them. As the familiar tips into abstraction, we are prompted to consider the essential question of picture-making: how do we translate the world around us? Tal R (*1967, Tel Aviv) lives and works in Copenhagen. The artist's work has been the subject of numerous solo exhibitions in institutions including Palazzo Experimental, Venice (2023); Kunsten Museum of Modern Art, Aalborg; Malmö Art Museum; Museum MORE, Gorssel; Artipelag, Stockholm (all 2022); Ordrupgaard, Charlottenlund (2021); Glyptoteket, Copenhagen (2020); Hastings Contemporary (2019); MOCAD, Detroit (2018); Louisiana Museum of Modern Art, Humlebæk; Museum Boijmans Van Beuningen, Rotterdam (both 2017); Institut für Modern Kunst, Nuremberg (2016); ARoS Aarhus Kunstmuseum; Pinakothek der Moderne, Munich (both 2013); Kunsthalle Düsseldorf; Museu Brasileiro da Escultura, Sāo Paulo; Museum Kunstpalast, Düsseldorf (all 2012); Der Kunstverein, Hamburg (2011); Centro de Arte Contemporaneo, Malaga (2009); Essel Museum, Klosterneuburg (2008); BonnefantenMuseum, Maastricht; Camden Arts Centre, London; and Kunsthalle Mannheim (all 2007), among others. Tal R’s work is included in the collections of the Art Institute of Chicago; Berlinische Galerie, Berlin; Centre Pompidou, Paris; Hammer Museum, LA; K11 Art Foundation, Hong Kong; Louisiana, Humlebæk; Kiasma, Helsinki; Moderna Museet, Stockholm; SMK, Copenhagen; and Walker Art Center, Minneapolis, among others. Press contact: Galerie Max HetzlerHonor Westmacotthonor@maxhetzler.comBerlin: +49 30 346 497 85-0

Program Artists: Collective Gabriela Germany, Ban Ying shelter house and consultant service for migrant women, Raksa Seelapan (with Fah Passion-Asasu, Liad Hussein Kantoworicz), Analie Gepulanin Neiteler & Anika Baluran Schäfer, Sine Plambech & Sommai Molbaek, Stefanos Tai, Susanne Wycisk, Vijitra Kunawut Curated by Sarnt Utamachote as part of the exhibition program POLY 2024 at Galerie Wedding In collaboration with Week Against Racism, Thaispora Podcast, Sinema Transtopia, Ban Ying Berlin and Gabriela Germany What is care, if turned away from the customers, back to the providers themselves? The project departs from the extremely violent cliché images that are projected on especially Thai and Filipina women and queer bodies. Some of us have been asked »are you married to a German guy? « during our visa application, some have been called »women from the catalogue«, some »prostitute«, some »maids«. These racist words triggered us, collective un.thai.tled, to dig deeper into such histories and, unfortunately, the realities of our »sisters and aunties«. A research grant by Akademie der Künste in 2022 therefore allows us to continue our trajectory from previous engagement with the Thai community in Preußenpark (»Thai Park«, Berlin). The result is the exhibition and programme IN NOBODY’S SERVICE, as part of the POLY programme of Galerie Wedding, focusing on a multidisciplinary polysemic approach to history writing, labour, love, and care in contemporary arts practice. Migration histories from Thailand and Philippines to the West have been shaped by American influences and colonisation in the region and entangled the white colonisers’ military bases and their desires with the conditions of gendered migration after. With West Germany’s parallel interests in tourism and developing labour exchanges – of sex, care and the reproductive industry, it gave birth to, for example, the marriage agencies in Berlin (that linked husband and wife together), or cheap maid agencies across developing countries, the brothels and massage salons in Frankfurt am Main and Hamburg. Here our bodies have been rendered to mere »providers« – resulting in questions like the ones posed at the visa application centre. Are we »that kind of woman«? At the same time, we also recognise that these oppressive spaces can be subverted into places of care, comfort, and knowledge. This project aims to allow such a past now entangled in our present to be our material for artistic collaboration with our »sisters and aunties«. Highlighting the non-biological kinship and relationality, we attempt to focus on the proximity of common struggles and empathy that arose. De-stigmatizing this service sector (including sexwork) and its negative connotations on us, we take this as a chance to reclaim our rights to healing and temporal liberation. When »that kind« and »this kind« come together, then we are unbeatable. Via the intersection of class, gender, sexuality, and – if we may say – dreams, IN NOBODY’S SERVICE recognises the carved-out realities beyond the realms of their white husbands or social conditions – now available for us, now in nobody’s service.

“What is the non-binary body? What is the non-binary jacket? What is the non-binary haircut? What should the nail bed look like? Like the calluses on your feet. Which shoe size should you have. Do you sit leaning forward a bit or leaning back slightly. Which hair color is non-binary. Which eye color. Which skin color. How much body fat is non-binary. Do the tips of the feet point towards the center or outwards? How does the cough sound.”1 Jay Ritchie’s solo exhibition Wandlung & Scherben [Transformation & Shards] examines social roles and identities in the binary gender system. In a society that consistently feels compelled to categorize bodies not only in terms of gender but also more generally, Ritchie’s photographic and sculptural works focus on the non-binary body and its resilience without negating its wounds. In a personal and poetic manner, Ritchie demonstrates through their own transition how gender can be a journey and a process. However, by making individual experiences visible, the works in the exhibition do not only refer to queer realities. Wandlung & Scherben instead negotiates identity in general as a flowing continuum rather than a rigid construct. Gender is not understood as a fixed category but as a state that, like our entire being, can change and transform. Identities are shaped through experiences, which influence and at times even restrict life. Negative experiences express themselves through traumatization, which can manifest itself in the body as posttraumatic stress disorder. Jay Ritchie speaks as an affected person about their own traumas, which are taken up in the artistic process and made visible. At the same time, Ritchie detaches them from their individual focus, instead understanding them as a collective phenomenon that needs to be addressed. Through this particular mode of thematization, Ritchie creates a space in flux that addresses feminist themes powerfully through its vulnerability, exploring topics like shame, guilt, and self-assertion, and thereby describe a political act. Wandlung & Scherben opens an artistic-discursive space, becoming a plea to rethink and change social structures. The exhibition title indicates that the search for one’s own identity seldom comes to an end. At the same time, it becomes clear that personal development and healing trauma is never linear but is always characterized by interruptions and disruptions. Only by publicly negotiating individual and collective traumas, talking about them, and not remaining silent, can intergenerational cycles of violence be broken and a macrosocial transformation be made possible. Our bodies don’t owe anyone anything. 1 Irina Nekrasov/a: Welche Haarfarbe hat Geschlecht. In: etece buch (ed.), Realitäten. 30 Queere Stimmen. Berlin: etecee buch, 2022.

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 exhibition shows the spectrum of the recent work and introduces into the individual visual worlds of sthe chinese artist Li Zhi, born 1964. Philosophical reflections are expressed and intuition, inspiration and concentration are combined. The images, which strive for peace and quiet, resemble invitations to meditation. They show weathered rocks, fairies or elves in flight, statues, monks, rising mists, meditation figures, views of moving water or deep, wide skies. These unobtrusive motifs are an expression of Buddhist culture and the artist's spiritual experience. Moments of search, change, transformation and transcendence gather in them. They repeatedly address the phenomenon of time, the emptiness in time. They teach a deeper way of seeing and at the same time report a relaxed, tense expectation of the right, present moment of awakening to set off for new, unknown shores.

In the vast expanse of the universe, darkness permeates space above and below, asking us to reconsider its significance beyond conventional perceptions. Donna Haraway proposes humus over humans. Its parables depict the underworld as a place devoid of the life-giving rays of the sun that urge us to explore the depths of darkness, where humanity intertwines with the natural world as symbionts in a shared process. There has to be smth in the room creates a space where we – human beings altogether – can imagine ourselves as these symbionts and get into uncovering pearls of possible worlds that exist inside us. Slowly we tackle these pearls with senses, soft touch, a gentle inhale, or swift glimpse. In this room, one is invited to use their entire body as tentacles and perceive the world through touch, feeling and trying things out. If we think of our bodies as tentacles, we can imagine the other, the non-human. The exhibition invites artists who work with potential of posthumanist worlds that we could inhabit, embracing the dark and everything that comes with it: Natália Sýkorová examines the boundaries between human and non-human as well as natural and artificial. Her installations and performances invite us to a trans-corporeal experience. Jung Min Lee focuses her paintings on post-apocalyptic narratives told through a science fiction-inspired imagination. Stanislav Zábrodský uses his objects as a metaphorical lens that serve as a reflection on the temporality of existence and our place within it. And finally ONEIRIC SPACE, the research platform exploring the interplay between dreams and waking life at an individual and collective level, will provide us a space where we can cultivate our intimate realms and reflect on the nature of dreams and dreaming during their participatory reading, titled Wading Thru Dreams, 2gether on 7th of April.

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.

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.

The exhibition shows not only, but above all, examples from the time of the pandemic, which the artist used to pose new questions about painting. As a result, his paintings are increasingly vague memories rather than motifs, more state than concrete reference, in terms of questions immanent to the image and subjective perception. They revolve around the moment in which the colours loosen their ties to the object and strive for autonomy. Time plays a central role, because the appearance of spontaneous, gestural painting that Wagner’s works create is deceptive. In fact, they are the result of a lengthy process that can extend over weeks and months. Wagner lets them rest again and again, only to look at them again later with a fresh eye. The results are pictures that, unlike other examples of the present day, do not serve as memento mori of bygone eras, but manifestations of real, pulsating forms. Alexander Wagner lives and works in Berlin.

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 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.

It is with great pleasure that BBA Gallery in Berlin presents "Shades of Night", the debut solo exhibition of the Dutch artist Vincent van Gaalen, who won first place in the BBA Photography Prize in 2022. After several months of renovations, BBA Gallery is reopening our new exhibition space as part of the exhibition. "Lights out with Vincent van Gaalen" is also the motto for Earth Hour on Saturday 23. March, which we want to spend together with you. Van Gaalen's artistic photographs of natural landscapes in the light of the full moon emphasise the importance of our unique ecosystems, the preservation of which is evermore threatened.

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.

In Severed Connections: Do what I say or they will kill you Yishay Garbasz uses the traditional artistic language of landscape to understand contemporary borders. Using a large format view camera as a way to help her see what is actually there. Working in Korea, Israel and Palestine, as well as Belfast. In each of these locations, barriers exist as single dimensional lines of defence (the opposite of deep defence) for separate warring groups living in close proximity. Through photography, video, and sculpture, the artist conceptualizes the architecture of separation with an anthropologist’s sensibility. Garbasz challenges the assumption that good fences make good neighbours, maintaining that severing connections between groups creates a culture of fear that allows governments to control their own people by creating a fear of the ‘other’. Opening: 27.3. 2024 6 to 8 p.m. Exhibition period: 2.4. to 2.5.2024 Opening hours: Mon – Fri 12 to 6 pm and by appointment

Join the PHYSICAL ACTION IN PERFORMANCE MAKING workshop in Berlin this April 2024, a dynamic international event focused on physical action in the realm of performance. This four-day workshop, taking place from Monday 1.04.2024 to Thursday 4.04.2024 at DOCK 11 EDEN, Breite Str 43, 13187 Berlin (Pankow), offers a unique opportunity for directors, actors, and dancers to enhance their directorial skills in physical, drama, musical theatre, choreography, and circus. Led by dedicated professionals and pre-professionals, this program demands full participation and promises an intensive training experience. Participants will delve into a range of techniques, including Meyerhold's Biomechanics, M. Chekhov's Psychological Gesture, and Stanislavsky's Physical Action, all based on the renowned Ostrenko Brothers Method. Throughout the event, attendees will explore the art of building images and characters through physical movement and interaction with space and partners. They will also learn how to integrate isolated elements into cohesive performance fragments, as well as develop actors' creativity, improvisation, and spontaneity in rehearsal and training. This workshop welcomes individuals passionate about physical action in performance making, providing an opportunity to deepen their skills and knowledge. The working language of the event is English. Don't miss out on this unique chance to develop in what you really love. Secure your spot now for €214.51.

Schattenflucht bezeichnet bezeichnet die Strategie von Pflanzen, aus den übermächtigen Schatten größerer Gewächse heraus ans Licht zu wachsen. Catherine Bourdon und Miriam Smidt arbeiten sich in ihren Farblaboren ans Licht. Sie erforschen Leuchtkräfte, auch in ihren Brechungen und Verwerfungen, verschränkt mit Schatten und Schwarz. Perzeptiv nähern sie sich den Materialien Ton und Farbe, spielerisch und beobachtend.

The Poetry Talk event in Berlin offers a captivating blend of reading, spoken word, and conversation with Marco Michalzik and Gofi Müller. This unique program delves into the inner world of the texts and authors, engaging the audience in a thought-provoking experience. It goes beyond a simple reading, incorporating a dynamic dialogue between the poets and the listeners. As the poets face each other, they recite their works, provide commentary, ask questions, and respond spontaneously with additional texts. Moreover, they actively involve the audience, encouraging questions and comments. The result is an immersive and intimate evening that promises an extraordinary literary and auditory journey for all participants. Marco Michalzik, a renowned spoken word artist, lyricist, and songwriter from Marburg, will be sharing his poetic talent. His latest poetry collection, "Wir werden alle verwandelt werden," was published by Lektora Verlag. Joining him is Gofi Müller, a Marburg-based author, artist, and podcaster. Gofi produces and co-hosts the COBAINS ERBEN podcast. His most recent poetry collection, "Den Stier bei den Hörner packen," features illustrations by Alica Waldmann and is self-published. Don't miss this extraordinary Poetry Talk event, a truly enriching experience that will take place on April 2, 2024, at Theater Verlängertes Wohnzimmer in Berlin. Tickets are available for purchase, with prices ranging from 10,49 € to 15,76 €.

If you are in Berlin and looking for a good laugh, make sure to mark your calendar for the English Stand Up Comedy Show in Mitte - Normal Dysfunctional Family Comedy. This event is set to take place at the Z-Bar, conveniently located at Bergstraße 2, 10115 Berlin, near U Rosenthaler Platz, on April 3, 2024. The best part? Admission is free, and both cash and card payments are accepted at the venue. Prepare to be entertained by talented comedians who will have you chuckling all night long with their hilarious takes on the quirks and nuances of normal dysfunctional families. So, round up your friends and head over to the English Stand Up Comedy Show in Mitte for a night of laughter and fun. Get ready to unwind and enjoy a comedic escape from the daily grind.

Join Lenzwerk at the exclusive Lenzwerk Goes Golf event at EvoGolf Club in Berlin. This premier golf and networking lounge, designed by Lenzwerk, offers a unique blend of modern design and a relaxed atmosphere. Experience top-tier golfing with state-of-the-art TrackMan simulators, where business and leisure seamlessly merge. EvoGolf Club embodies urban chic and athletic elegance, serving as an innovative meeting point for golf enthusiasts and non-golfers alike. Deepen business relationships, forge new connections, or simply unwind with partners and clients in this inviting setting. Alongside the golf experience, enjoy the exclusive lounge and bar for relaxation and indulgence. Whether unwinding after a busy workday or brainstorming new ideas in an inspiring setting, EvoGolf sets the stage for an unforgettable experience. Come and join us to conclude the week in style at Lenzwerk Goes Golf in Berlin on April 5, 2024 – admission is free.

Experience the vibrant underground English comedy scene in Berlin at After Dark Comedy, a late-night stand-up open mic held at Zosch in Mitte. Taking place at Zosch, this English-speaking event kicks off at 11 pm, with doors opening at 10:45 pm. Delve into the world of stand-up comedy in the deep hours of the night, where performers push boundaries and embrace the raw and daring. Entry is free for this pay-what-you-want show, with a recommended contribution of €10-€15. Seating is limited, so securing a spot in advance is advisable. Immerse yourself in the after-dark atmosphere and enjoy a night of uncensored humor and entertainment at After Dark Comedy at Zosch: A Late Night Comedy Show in Berlin.

Experience the thrill of dark comedy at the Dark Comedy OPEN MIC #129 - English Stand-Up event in Berlin. This is a place where dark humor enthusiasts can revel in the most twisted and demented jokes, not for the faint of heart. The show promises a night of morbid laughter and a touch of the macabre, hosted at the Kara Kas Bar on Kurfürstenstraße 9, 10785 Berlin, on April 5, 2024. Prepare for an evening of uncensored comedy as comedians take the stage to test their darkest material. With an entry fee of €3.42, secure your seat in advance for a night filled with shocking humor. The event offers a non-smoking environment and a Happy Hour starting at 7.30 pm, featuring discounted drinks. Brace yourself for free shots until 8.30 pm, followed by the show at 8.30 pm. This is an opportunity for those with a taste for the bizarre and a penchant for the unconventional to come together and enjoy a night of boundary-pushing comedy. Delve into the depths of humor at this unique and edgy event where comedians will push the limits of traditional stand-up comedy, delivering a show that is sure to leave a lasting impression.

Experience the enchanting fusion of Japanese poetics and multicultural art at the Wa Spoken Word Night in Berlin. Taking place at the Theater Verlängertes Wohnzimmer on April 5, 2024, this event invites you to delve into the theme 緖 SHO Inception, Ineinander verwoben. Embracing the essence of new beginnings and interconnectedness, this open mic night welcomes all forms of spoken word art, from poetry to music and performance art. Share your thoughts and stories in a welcoming environment that celebrates diversity and creativity. Join us for an unforgettable evening of poetry, art, and a celebration of Japanese culture. Admission to this inspiring event is priced at €9.43. Let's come together for a night filled with beauty and cultural richness.

German Death Metal heavyweights, Call of Charon, are set to unleash a wave of chaos and devastation as they kick off their European tour in Berlin this April. The event, titled "Call of Charon - Euro Tour 2024 - Berlin," promises an unforgettable night of intense music at the Jugendkulturzentrum Die Klinke Berlin on April 5th, 2024. Witness Berlin tremble as Call of Charon leaves a trail of destruction in their wake, supported by other brutal acts including HUMAN ABYSS, DEFACED HUMANITY, and DECISION. This is a rare opportunity for metal fans to experience the raw power and energy of these iconic bands live on stage. Secure your spot now for an evening of unrelenting metal mayhem for just 12,79 €. Don't miss your chance to be part of this epic event as Call of Charon's Euro Tour 2024 descends upon Berlin.

Moni Zhang presents "Asian Daddy, Dead| DARK English Stand-Up Comedy (F'Shain) 05.04" at The Wall Comedy Club in Berlin's Friedrichshain district on April 5th. This unique event promises an unforgettable evening of laughter and entertainment. Located conveniently next to Boxhagener Platz, the venue at Grünberger Straße 84 welcomes both cash and card payments, ensuring a hassle-free experience for all attendees. The show runs from April 5th to April 6th, giving comedy enthusiasts ample opportunity to catch Moni Zhang's performance. Best of all, admission to this one-of-a-kind stand-up comedy event is absolutely free! Don't miss this chance to witness Moni Zhang's hilarious and thought-provoking comedy routine that delves into dark humor and tackles taboo subjects with wit and charm. Mark your calendars and bring your friends along for a night of laughter and entertainment in the heart of Berlin.

Experience the captivating world of solo improvisation theater at the upcoming event "Soloprobe - Allein mit der Welt" in Berlin. Witness Martin A. Ciesielski, a seasoned improvisation theater performer with 25 years of experience, as he delves into the depths of human emotion and spontaneity. From ensemble performances to solo acts, Ciesielski's passion for improvisation transcends the stage, becoming a way of life and a philosophy. At Neue Bühne Friedrichshain on April 6, 2024, immerse yourself in a mesmerizing evening of self-discovery and creativity. Explore the boundaries between a solo rehearsal and a solo improvisation piece, where the lines blur, and the inner complexities of the human psyche are unveiled. Through playful and thought-provoking performances, Ciesielski invites you to marvel at the intricacies of human existence and the joy of embracing the unknown. Tickets for this unique event range from 5€ to 25€, offering an opportunity to experience the magic of solo improvisation in a captivating and intimate setting. Don't miss this chance to be part of a transformative theatrical journey, where every moment is crafted in the spontaneity of the present.