Popular Weekend Events in Berlin (November Updated)

8 November 2024 – The calendar for the 2025-26 season has been set. As revealed in the schedule adopted by the Executive Committees of the German Football Association (DFB) and DFL Deutsche Fußball Liga, the opening match of the Bundesliga will take place on 22 August 2025, while Bundesliga 2 will kick off three weeks earlier, on 1 August 2025. After Matchday 15 in the Bundesliga and Matchday 17 in Bundesliga 2 (19–21 December 2025), both leagues will pause for the winter break. Matches will resume in the Bundesliga on 9 January 2026 and in Bundesliga 2 one week later, on 16 January 2026. Matchday 34 – the final day of the Bundesliga season – is scheduled for Saturday, 16 May 2026. Matchday 34 of Bundesliga 2 will take place one day later, on 17 May 2026. The GermanSupercup, which pits the reigning Bundesliga champions against the DFB-Pokal winners from the previous season, is scheduled for Saturday, 16 August 2025. The first round of the 2024-25 DFB-Pokal will begin on the same weekend (15–18 August 2025). The DFB-Pokal matches featuring the two Supercup participants have been scheduled for 26 and 27 August 2025. The DFB-Pokal final will be held on Saturday, 23 May 2026, at Berlin’s Olympiastadion.

This special exhibition, presented in the staircase hall of the Neues Museum, offers a dialogue on the meaning of time, mortality and the connection between past and present. Contemporary art meets historical space, refers to ancient models and offers a modern adaptation of the classical reception of the myth of the Dioscuri, who walk eternally between death and life.

Since 2019, Wisrah C. V. da R. Celestino (*1989, Buritizeiro, Brazil) has been working closely with their genealogical predecessors to further investigate how familial ties, property regimes, and institutional procedures shape terms of visibility, authorship, and access. For their residency at Between Bridges (July – December 2025), the artist takes a closer look at their independent, intellectual, creative labor in a formal study on the legacy and body of work of Elizeu Celestino de Araújo (in memoriam), Vilson Celestino Batista, Maria Sebastiana Batista, Ana de F. V. da R. Celestino, Benedito L. da Rocha (in memoriam), and Iris V. Rocha. An exhibition, on view from September 6 to November 29 at Keithstraße 15, includes works by Celestino and their collaborators, and complicates the conditions under which artistic labor and intellectual property inform and are informed by institutional regimes.

The Berlinische Galerie has devoted over 1000 square metres to presenting its collection. Waiting to be discovered among the roughly 250 works on show are paintings, prints, photographs, architecture and archive materials rarely or never displayed before. Walking around this exhibition is like time travel and takes visitors through Berlin in 17 chapters: the Kaiser’s era, the Weimar Republic, the Nazi dictatorship, the new beginnings after 1945, Cold War in the divided city, and the counter-cultures and unconventional lifestyles that evolved in East and West under the shadow of the Wall. In East Berlin, an alternative art community developed from the late 1970s. In West Berlin from the late 1970s, aggressive art by the “Neue Wilden” placed the divided city back in the international limelight.

The exhibition examines the transformative potential of public art and explores the methods and motivations behind such works, as well as their social impact.

How did postwar societies process the experience of violence and destruction caused by the Second World War and the violent occupation of large parts of Europe by Nazi Germany? A previously overlooked but historically influential form of engagement was the exhibitions organized immediately after the end of the war, from 1945 to 1948, in many European countries by institutions, groups, and actors of diverse backgrounds. In times of social hardship, political uncertainty, ongoing violence, and unclear future prospects, the exhibitions aimed to document and visualize the effects of the Holocaust and Nazi crimes.

For the 2025/26 program year, artist Neda Saeedi was selected by a jury to create a site-specific work. In her sound installation, created for the monastery ruins, Neda Saeedi explores the question of how historical sites are remembered. "Who is remembered, who is excluded, and how do we deal with violent histories or missing monuments? Do we engage with the past in a way that allows us to shape the future?"

The Miettinen Collection is pleased to present Solo show by Anna Retulainen (b. 1969, Orimattila), one of the leading figures in Finnish contemporary painting.In her working process Anna Retulainen contemplates painting conventions and perceptions of painting. The subjects of her works are merely platforms for the application of paint; for finding a balance between movement, the layers of paint, and the vying between colours. Her paintings consist of details drawn from everyday life, from journeys real and imagined, or from the masterpieces of art history. Her style is expressionistic, and yet refined in a stylized manner. Above all, Retulainen is an exquisite colourist. The themes of her works vary from her beloved vegetable, fruit and flower still lifes, to more intimate drawings of her everyday life and those close to her. For Retulainen drawing is a way of living; it is her way of putting the world in its place.

Gökçen Dilek Acay, Emma Adler, Johannes Albers, Benedikt Braun, Zuzanna Czebatul, Uros Djurovic, Frederik Foert, Anja Fussbach, Alexei Gordin, Mathew Hale, HOLZINGERurbat, Tobi Keck, Alana Lake, Barbara Lüdde, Justina Los, Kristen Rästas, Roee Rosen, Silke Thoss, Endre Tót

Guðný Guðmundsdóttir's solo exhibition, "Noon," at the Schwartz Villa draws on nymphs, which the artist explores in their three forms across photography, installation, ceramics, and drawing: water lilies, dragonflies in their developmental stages, and spring nymphs. These elements are connected to another theme that has often been woven into Guðmundsdóttir's imagery in the past: the aesthetics of heavy industry, represented by seemingly unassailable machines and industrial buildings that, however, are not as powerful as they first appear, both in relation to the sun and the universe.