Featured Events in Berlin in May, 2025 (April Updated)

Mark Bradford, with his layered forms, materials and conceptual complexity, explores the social and political structures that reify marginalized communities and vulnerable groups. As Bradford's first solo exhibition in Germany, it also marks the reopening of the historic Rick Hall of the Hamburger Bahnhof Museum. On display are 19 works he has created over the past 20 years. The exhibition will travel to the Aijulie Pacific Museum in Seoul in August this year and will be exhibited at the Kunstmuseum Bern in Switzerland in February next year.

Mark Bradford, with his layered forms, materials and conceptual complexity, explores the social and political structures that reify marginalized communities and vulnerable groups. As Bradford's first solo exhibition in Germany, it also marks the reopening of the historic Rick Hall of the Hamburger Bahnhof Museum. On display are 19 works he has created over the past 20 years. The exhibition will travel to the Aijulie Pacific Museum in Seoul in August this year and will be exhibited at the Kunstmuseum Bern in Switzerland in February next year.

Mark Bradford, with his layered forms, materials and conceptual complexity, explores the social and political structures that reify marginalized communities and vulnerable groups. As Bradford's first solo exhibition in Germany, it also marks the reopening of the historic Rick Hall of the Hamburger Bahnhof Museum. On display are 19 works he has created over the past 20 years. The exhibition will travel to the Aijulie Pacific Museum in Seoul in August this year and will be exhibited at the Kunstmuseum Bern in Switzerland in February next year.

Mark Bradford, with his layered forms, materials and conceptual complexity, explores the social and political structures that reify marginalized communities and vulnerable groups. As Bradford's first solo exhibition in Germany, it also marks the reopening of the historic Rick Hall of the Hamburger Bahnhof Museum. On display are 19 works he has created over the past 20 years. The exhibition will travel to the Aijulie Pacific Museum in Seoul in August this year and will be exhibited at the Kunstmuseum Bern in Switzerland in February next year.

This showcase exhibition at the Neues Museum is dedicated to one of the first animals to be domesticated by humans: the donkey.The particular significance of this widely underestimated grey animal in the contexts of Ancient Egypt and Mesopotamia is presented here from a range of different perspectives, ultimately revealing one key detail: the donkey was utterly indispensable in the ancient world.

This showcase exhibition at the Neues Museum is dedicated to one of the first animals to be domesticated by humans: the donkey.The particular significance of this widely underestimated grey animal in the contexts of Ancient Egypt and Mesopotamia is presented here from a range of different perspectives, ultimately revealing one key detail: the donkey was utterly indispensable in the ancient world.

Donkeys are one of the earliest farm animals raised by humans. This exhibition will use paintings, sculptures, pottery, papyrus and other objects collected by the Egyptian Museum and the Near Eastern Museum in Berlin to detail the use of donkeys in different fields such as agriculture, military and religion in the ancient world, and present the importance of donkeys to ancient Egypt and Mesopotamia from different perspectives. People often think that donkeys are stubborn, stupid and lazy, but they don’t know that this idea is based on prejudice based on misunderstanding of donkeys’ behavior. In fact, donkeys are smart, loyal and self-reliant animals. Donkeys mainly play an important role in civilian life, but they can also be used in military scenes, taking on the responsibility of carrying food and equipment, and calming excited horses.

This showcase exhibition at the Neues Museum is dedicated to one of the first animals to be domesticated by humans: the donkey.The particular significance of this widely underestimated grey animal in the contexts of Ancient Egypt and Mesopotamia is presented here from a range of different perspectives, ultimately revealing one key detail: the donkey was utterly indispensable in the ancient world.

Les Fleurs du Mal (The Flowers of Evil) by Charles Baudelaire is one of the milestones of world literature. First published in Paris in 1857, the volume caused a scandal that led to Baudelaire being taken to court. Despite these less than auspicious beginnings, the poems were to have an enormous impact. In literature as well as in art, they laid the foundations for a new aesthetic that overturned the traditional idea of the oneness of the beautiful and the good. Taking Odilon Redon’s charcoal drawing Fleur du Mal (c. 1890) in the Scharf-Gerstenberg Collection as its starting point, the exhibition takes the visitor on a journey through the art of the early modernist period all the way to contemporary works that shed light on the various aspects of Baudelaire’s aesthetics as well as its after- and side effects. In addition to a small selection of works that were created as a direct response to his poems, the exhibition focuses on specific themes that are central to Les Fleurs du Mal.

Les Fleurs du Mal (The Flowers of Evil) by Charles Baudelaire is one of the milestones of world literature. First published in Paris in 1857, the volume caused a scandal that led to Baudelaire being taken to court. Despite these less than auspicious beginnings, the poems were to have an enormous impact. In literature as well as in art, they laid the foundations for a new aesthetic that overturned the traditional idea of the oneness of the beautiful and the good. Taking Odilon Redon’s charcoal drawing Fleur du Mal (c. 1890) in the Scharf-Gerstenberg Collection as its starting point, the exhibition takes the visitor on a journey through the art of the early modernist period all the way to contemporary works that shed light on the various aspects of Baudelaire’s aesthetics as well as its after- and side effects. In addition to a small selection of works that were created as a direct response to his poems, the exhibition focuses on specific themes that are central to Les Fleurs du Mal.

Les Fleurs du Mal (The Flowers of Evil) by Charles Baudelaire is one of the milestones of world literature. First published in Paris in 1857, the volume caused a scandal that led to Baudelaire being taken to court. Despite these less than auspicious beginnings, the poems were to have an enormous impact. In literature as well as in art, they laid the foundations for a new aesthetic that overturned the traditional idea of the oneness of the beautiful and the good. Taking Odilon Redon’s charcoal drawing Fleur du Mal (c. 1890) in the Scharf-Gerstenberg Collection as its starting point, the exhibition takes the visitor on a journey through the art of the early modernist period all the way to contemporary works that shed light on the various aspects of Baudelaire’s aesthetics as well as its after- and side effects. In addition to a small selection of works that were created as a direct response to his poems, the exhibition focuses on specific themes that are central to Les Fleurs du Mal.

The Gemäldegalerie is showcasing 60 paintings from the Museum of Western and Eastern Art in Odesa, the famous port city in the south of Ukraine that has in recent years been ravaged by war. The artworks in question were evacuated from the city before the onset of war and transferred to safety in Berlin, where they will be brought into dialogue with paintings from the collections of Berlin’s museums. The large-scale special exhibition, which follows on from a small preview presentation in the spring of 2024, is an extraordinary collaborative project funded by the Federal Government Commissioner for Culture and the Media.

The Gemäldegalerie is showcasing 60 paintings from the Museum of Western and Eastern Art in Odesa, the famous port city in the south of Ukraine that has in recent years been ravaged by war. The artworks in question were evacuated from the city before the onset of war and transferred to safety in Berlin, where they will be brought into dialogue with paintings from the collections of Berlin’s museums. The large-scale special exhibition, which follows on from a small preview presentation in the spring of 2024, is an extraordinary collaborative project funded by the Federal Government Commissioner for Culture and the Media.

The exhibition will display 60 artworks from the Odessa Museum of East and West and 25 artworks from the Berlin Gallery, comparing the similarities between the two collections and exploring the artistic origins between Ukraine and Western European countries. The Odessa Museum of East and West was founded in 1923 and is one of the most important foreign art collection institutions in Ukraine. In September 2023, 74 core collections from the Odessa Museum of East and West's painting collection were sent to Berlin to avoid being affected by the war. This collection is all European paintings from the 16th to 19th centuries, including paintings by many well-known artists such as Frans Hals, a Dutch Golden Age painter, Bernardo Strozzi, an Italian Baroque painter, Andreas Achenbach, a German romantic landscape painter, and Frits Thaulow, a Norwegian impressionist painter. The exhibition will be divided into 9 chapters, first introducing the German-Ukrainian art transfer and protection cooperation project and its background, and then displaying the collection according to different art schools and genres.

The Gemäldegalerie is showcasing 60 paintings from the Museum of Western and Eastern Art in Odesa, the famous port city in the south of Ukraine that has in recent years been ravaged by war. The artworks in question were evacuated from the city before the onset of war and transferred to safety in Berlin, where they will be brought into dialogue with paintings from the collections of Berlin’s museums. The large-scale special exhibition, which follows on from a small preview presentation in the spring of 2024, is an extraordinary collaborative project funded by the Federal Government Commissioner for Culture and the Media.

KW Institute for Contemporary Art is presenting Antechamber, a new sound installation by Berlin-based sound artist and computer musician Jessica Ekomane (b. 1989). The work transforms the KW Institute’s loft space into a site of embodied listening, providing a space for reflection on modes of knowledge, social listening habits and their cultural imprints.

KW Institute for Contemporary Art is presenting Antechamber, a new sound installation by Berlin-based sound artist and computer musician Jessica Ekomane (b. 1989). The work transforms the KW Institute’s loft space into a site of embodied listening, providing a space for reflection on modes of knowledge, social listening habits and their cultural imprints.

KW Institute for Contemporary Art is presenting Antechamber, a new sound installation by Berlin-based sound artist and computer musician Jessica Ekomane (b. 1989). The work transforms the KW Institute’s loft space into a site of embodied listening, providing a space for reflection on modes of knowledge, social listening habits and their cultural imprints.

Women’s contributions to society are often unseen and seldom considered in art. Many women’s names and their stories have long since been forgotten. Using French, German, Italian, Spanish and Dutch works on paper, the exhibition looks behind the allegorical scenes to shed light on women’s work in the 18th century, including toiling in the fields, caring for children and performing manual labour.The small thematic exhibition presents 25 French, German, Italian, Spanish and Dutch prints from the 16th to 18th centuries preserved in the Kupferstichkabinett’s (Museum of Prints and Drawings) rich holdings. Works have been selected that show women in everyday activities, working as peasants, farmhands, teachers, maids, midwives and courtesans. One focus provide insight into the professions practised by women, including attending to births as midwives; another shows those areas of society where men and women went about their daily tasks side by side (as equals?). Beneath the allegorical layers of meaning, the viewer often discovers self-confident women going about their lives, yet the hardship of everyday travail is evident. To this day, so-called care work for children and the elderly receives little recognition; efforts are being made to reconcile work and family life and to achieve equality between women and men, including in financial matters, but these goals have yet to be fully attained.

Women’s contributions to society are often unseen and seldom considered in art. Many women’s names and their stories have long since been forgotten. Using French, German, Italian, Spanish and Dutch works on paper, the exhibition looks behind the allegorical scenes to shed light on women’s work in the 18th century, including toiling in the fields, caring for children and performing manual labour.The small thematic exhibition presents 25 French, German, Italian, Spanish and Dutch prints from the 16th to 18th centuries preserved in the Kupferstichkabinett’s (Museum of Prints and Drawings) rich holdings. Works have been selected that show women in everyday activities, working as peasants, farmhands, teachers, maids, midwives and courtesans. One focus provide insight into the professions practised by women, including attending to births as midwives; another shows those areas of society where men and women went about their daily tasks side by side (as equals?). Beneath the allegorical layers of meaning, the viewer often discovers self-confident women going about their lives, yet the hardship of everyday travail is evident. To this day, so-called care work for children and the elderly receives little recognition; efforts are being made to reconcile work and family life and to achieve equality between women and men, including in financial matters, but these goals have yet to be fully attained.

Women’s contributions to society are often unseen and seldom considered in art. Many women’s names and their stories have long since been forgotten. Using French, German, Italian, Spanish and Dutch works on paper, the exhibition looks behind the allegorical scenes to shed light on women’s work in the 18th century, including toiling in the fields, caring for children and performing manual labour.The small thematic exhibition presents 25 French, German, Italian, Spanish and Dutch prints from the 16th to 18th centuries preserved in the Kupferstichkabinett’s (Museum of Prints and Drawings) rich holdings. Works have been selected that show women in everyday activities, working as peasants, farmhands, teachers, maids, midwives and courtesans. One focus provide insight into the professions practised by women, including attending to births as midwives; another shows those areas of society where men and women went about their daily tasks side by side (as equals?). Beneath the allegorical layers of meaning, the viewer often discovers self-confident women going about their lives, yet the hardship of everyday travail is evident. To this day, so-called care work for children and the elderly receives little recognition; efforts are being made to reconcile work and family life and to achieve equality between women and men, including in financial matters, but these goals have yet to be fully attained.

Women’s contributions to society are often unseen and seldom considered in art. Many women’s names and their stories have long since been forgotten. Using French, German, Italian, Spanish and Dutch works on paper, the exhibition looks behind the allegorical scenes to shed light on women’s work in the 18th century, including toiling in the fields, caring for children and performing manual labour.The small thematic exhibition presents 25 French, German, Italian, Spanish and Dutch prints from the 16th to 18th centuries preserved in the Kupferstichkabinett’s (Museum of Prints and Drawings) rich holdings. Works have been selected that show women in everyday activities, working as peasants, farmhands, teachers, maids, midwives and courtesans. One focus provide insight into the professions practised by women, including attending to births as midwives; another shows those areas of society where men and women went about their daily tasks side by side (as equals?). Beneath the allegorical layers of meaning, the viewer often discovers self-confident women going about their lives, yet the hardship of everyday travail is evident. To this day, so-called care work for children and the elderly receives little recognition; efforts are being made to reconcile work and family life and to achieve equality between women and men, including in financial matters, but these goals have yet to be fully attained.

2025 marks a century since became established, and today its applications are predicted to enact a paradigm shift in our world. Following two years of research and rare access to a , Laure Prouvost presents a multi-sensory new work with LAS.

2025 marks a century since became established, and today its applications are predicted to enact a paradigm shift in our world. Following two years of research and rare access to a , Laure Prouvost presents a multi-sensory new work with LAS.

2025 marks a century since became established, and today its applications are predicted to enact a paradigm shift in our world. Following two years of research and rare access to a , Laure Prouvost presents a multi-sensory new work with LAS.

Ayoung Kim’s (b. 1979 in Seoul, Korea) first solo exhibition in a German museum spans the most recent years of her artistic practice and explores concepts of time, reality, belonging, and queerness. Using Artificial Intelligence, video, game simulations, and sculpture, Ayoung Kim creates expansive fictional universes governed by their own temporal and spatial laws. Her works are linked by speculative narratives rooted in reality, and viewers become both spectators and first-person players, shaping the story from their perspective.

Ayoung Kim’s (b. 1979 in Seoul, Korea) first solo exhibition in a German museum spans the most recent years of her artistic practice and explores concepts of time, reality, belonging, and queerness. Using Artificial Intelligence, video, game simulations, and sculpture, Ayoung Kim creates expansive fictional universes governed by their own temporal and spatial laws. Her works are linked by speculative narratives rooted in reality, and viewers become both spectators and first-person players, shaping the story from their perspective.

Ayoung Kim’s (b. 1979 in Seoul, Korea) first solo exhibition in a German museum spans the most recent years of her artistic practice and explores concepts of time, reality, belonging, and queerness. Using Artificial Intelligence, video, game simulations, and sculpture, Ayoung Kim creates expansive fictional universes governed by their own temporal and spatial laws. Her works are linked by speculative narratives rooted in reality, and viewers become both spectators and first-person players, shaping the story from their perspective.

The Berlin Kupferstichkabinett is home to an impressive collection of modern art, including works by Edvard Munch, Käthe Kollwitz and Ernst Ludwig Kirchner. But what is less widely known is that the artists of Der Blaue Reiter also left behind a remarkable legacy of their own. As such, the Kupferstichkabinett is for the very first time dedicating a comprehensive exhibition to the art of Der Blaue Reiter, where it will showcase the museum’s holdings on the basis of 90 artworks organised according to specific themes. These will be complemeneted by a selection of works on loan from the Kunstbibliothek, the Museum Europäischer Kulturen and the Neue Nationalgalerie of the Staatliche Museen zu Berlin, as well from private Berlin collections.

The Berlin Kupferstichkabinett is home to an impressive collection of modern art, including works by Edvard Munch, Käthe Kollwitz and Ernst Ludwig Kirchner. But what is less widely known is that the artists of Der Blaue Reiter also left behind a remarkable legacy of their own. As such, the Kupferstichkabinett is for the very first time dedicating a comprehensive exhibition to the art of Der Blaue Reiter, where it will showcase the museum’s holdings on the basis of 90 artworks organised according to specific themes. These will be complemeneted by a selection of works on loan from the Kunstbibliothek, the Museum Europäischer Kulturen and the Neue Nationalgalerie of the Staatliche Museen zu Berlin, as well from private Berlin collections.