Posts with tag Berlin
Martin Kähler – Campo
“WHEN I STATE THAT I AM AN ANARCHIST, I MUST ALSO STATE THAT I AM NOT AN ANARCHIST IN ORDER TO BE IN KEEPING WITH…
Read moreJohn Miller – An Elixir of Immortality
The Schinkel Pavillon is pleased to present An Elixir of Immortality – a long overdue Berlin survey of the work of the internationally acclaimed artist,…
Read moreCalla Henkel and Max Pitegoff
In my eyes, the core of Calla and Max’s work is the idea of community and shared experience. It examines the ways in which these…
Read moreCarlo Benvenuto
Carlo Benvenuto’s research is determined by the desire of communicating as little as possible. The artist works at home, with his furniture and belongings, reducing…
Read moreMarge Monko – Flawless Seamless
In her work the artist reflects critically on gender roles and visual clichés using images, films, objects, collages and various modes of display. She makes…
Read moreJose Dàvila
Over the course of a career spanning more than 20 years, Guadalajara-based Jose Dávila has engaged with the architecture, symbolism, and material integration of space.…
Read moreKapwani Kiwanga – Under the cover of darkness
The show presents different bodies of works by the artist, which examine racialized surveillance and controlling policies, as such as her in depth interrogation of…
Read moreDaniel Steegmann Mangrané
Daniel Steegmann Mangrané’s practice encompasses a wide range of media, including film, sculpture, sound, gardens and drawing.
Read moremoving is in every direction
The exhibition “moving is in every direction. Environments – Installations – Narrative Spaces” traces the history of installation art from the 1960s until today, with…
Read moreJames Hoff
In Like Insects Smacking Themselves Senseless Against a Screen at Night to Get to the Light Inside – a quote taken from an 80s book…
Read morePaul Maheke – In Me Everything is Already Flowing
For his first solo exhibition in Berlin, Paul Maheke quotes philosopher Luce Irigaray “In me everything is already flowing,” as it appears in Astrida Neimanis’…
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