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

Experience the grand "Elias Oratorium" by Felix Mendelssohn Bartholdy, presented by the esteemed Chor and Orchester of the Hermann Ober Ensembles. This magnificent performance will take place in Berlin at the Jesus-Christus-Kirche, hosted by the Ev. Kirchengemeinde Berlin-Dahlem. Immerse yourself in the captivating melodies on July 13, 2024, at Hittorfstraße 23, 14195 Berlin. Admission to this exceptional event is free of charge. Don't miss this opportunity to witness the beauty of Mendelssohn Bartholdy's masterful composition brought to life by talented musicians in a truly awe-inspiring setting.

The Sommerkonzert der kreativmolkerei – Fleetwood Mac Special in Berlin promises an evening filled with live music and unforgettable performances by local artists. The event, held at the Freilichtbühne an der Zitadelle on July 13, 2024, will kick off with ChaPhyllis, whose unique music will captivate the audience and set the mood for the night. The highlight of the evening will be a special performance of Fleetwood Mac's iconic album "Rumours" by a talented duo, Lena Kiese and Marc Krüger, accompanied by a selection of classic hits spanning generations. The concert will bring together music lovers for a shared experience that defines the unique atmosphere of kreativmolkerei concerts. Discounted tickets are available for students, recipients of social benefits, and individuals with disabilities above a certain level. Limited tickets may be available at the door, so be sure to secure yours in advance by calling 030 - 333 40 22. Ticket prices range from 0 € to 17,17 €.

Experience an unforgettable city tour aboard a ship in Berlin, followed by the excitement of the EM Final on the Fan Mile! Embark on a unique journey through the city by water to the EM Final in Berlin. The meeting point is the Moltke Bridge near the main train station, where guests will depart together for an exhilarating football experience. Enjoy the atmosphere and discover the city from a different perspective. This exclusive experience is perfect for football enthusiasts and those looking to explore Berlin. Don't miss out - secure your tickets now for this extraordinary event. The event "Schifffahrt Stadtrundfahrt zum Fußball EM-Finale in Berlin" will take place at Moltkebrücke, 10557 Berlin on July 14, 2024, with tickets priced at 34,90 €.

Discover the enchanting world of classical music at the Kammerkonzert von Duo de Soleil "Wir pfeifen, zwitschern, tirilielen" in Berlin. This mesmerizing event will take place on July 15, 2024, at the prestigious venue, Adelheidallee 19. Immerse yourself in the harmonious melodies of Duo de Soleil as they showcase their extraordinary musical talents. The concert promises to be a delightful experience, transporting the audience to a place of serenity and beauty. Best of all, admission to this cultural celebration is completely free of charge. Mark your calendars and make your way to Adelheidallee 19, 13507 Berlin, for an unforgettable evening of music and art. Don't miss this rare opportunity to witness the magic of Kammerkonzert von Duo de Soleil "Wir pfeifen, zwitschern, tirilielen".

Experience the enchanting melodies of the Kammerkonzert featuring the works of W.A. Mozart, performed by Joanna Filus-Olenkiewicz on violin and Ludmila Jowtschewa on viola. This captivating concert will take place at the Am Rathauspark in Berlin on July 17, 2024. Don't miss this opportunity to immerse yourself in the harmonious blend of strings at the "Konzert im Freien: Frauen, Natur, Komm und verpasse es nicht!" event. Admission is free, allowing you to enjoy the beauty of music surrounded by the serene atmosphere of nature. Come and witness the talented musicians as they showcase their artistry in this picturesque setting. Mark your calendars for a memorable evening filled with classical masterpieces in the heart of Berlin.

The WeAreDevelopers World Congress 2024 is an exciting event that brings together top global players in the tech scene. Held in Berlin at the CityCube Berlin venue, the congress offers a wide range of workshops, panels, and keynotes to cater to all tastes and tech stacks. Attendees can expect to gain valuable knowledge and skills that will help them excel in their careers. From July 18 to July 19, 2024, the WeAreDevelopers World Congress will provide an opportunity for tech enthusiasts to connect with industry leaders and stay updated on the latest trends and developments in the tech world. Whether you are a seasoned professional or just starting out, this event is a must-attend for anyone looking to stay ahead in the rapidly evolving tech industry. Mark your calendars and join the global tech community at the WeAreDevelopers World Congress 2024 in Berlin.

當萬籟俱寂，僅存星光傾灑，2024 年植物之夜將迎來盛大開幕。此次展會在德國柏林素有盛名的植物園舉行，地處柏林市中心，環境幽靜，風景如畫。在這個植物學的殿堂，參觀者將有機會親眼目睹種類繁多的植物奇蹟。7月20日喧囂退散，靜謐降臨，展會將帶來一場與眾不同的夜晚體驗。該活動不僅展示花草樹木的自然之美，亦是一場原生態教育的盛會。2024 年植物之夜，約定您與自然奧秘的一次近距離會面，實屬不可錯過的瑰麗之夜。

當萬籟俱寂，僅存星光傾灑，2024 年植物之夜將迎來盛大開幕。此次展會在德國柏林素有盛名的植物園舉行，地處柏林市中心，環境幽靜，風景如畫。在這個植物學的殿堂，參觀者將有機會親眼目睹種類繁多的植物奇蹟。7月20日喧囂退散，靜謐降臨，展會將帶來一場與眾不同的夜晚體驗。該活動不僅展示花草樹木的自然之美，亦是一場原生態教育的盛會。2024 年植物之夜，約定您與自然奧秘的一次近距離會面，實屬不可錯過的瑰麗之夜。

Don't miss the exciting event "Sammy Obeid in Berlin with Ahmed!" featuring American comedians Sammy Obeid and Ahmed Al Kadri on July 23, 2024, at Huxleys Neue Welt in Berlin. The show includes two sessions at 6 pm and 8:30 pm. Sammy Obeid, hailing from Oakland, California, chose a career in comedy over a job at Google and holds a world record for performing comedy for 1,001 consecutive nights. He currently hosts 100 Humans on Netflix and has appeared on popular TV shows like Last Comic Standing and America's Got Talent. Ahmed Al Kadri, based in LA, transitioned from being an Accountant to a comedian, drawing inspiration from his upbringing and everyday situations. His comedic work on platforms like Tik Tok and IG has garnered a significant following. Get ready for a night filled with laughter as these talented comedians take the stage in Berlin. Ticket prices range from €33.70 to €80.12.

3D Art Basics - Campus Berlin offers a comprehensive workshop tailored for those keen on pursuing a career in game art. Designed as an ideal starting point, this workshop provides an accessible introduction to 3D modeling software, particularly focusing on 3Ds Max. Led by a seasoned instructor, participants will be led through the process of crafting a 3D object, applying basic textures, and generating a high-quality png image. Upon completion, attendees will depart with a tangible memento of their achievement, equipped with the knowledge and expertise necessary to elevate their game art ambitions. This event is a prime opportunity to kickstart a career in game art. Ensure not to miss out - secure your spot today! The workshop will take place at SAE Institute Berlin, located at Cuvrystraße 4, 10997 Berlin, on July 24, 2024. Ticket sales will commence on July 10 at 12:00 AM.

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 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.

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.