Exhibition till August 28th, 2021
Works from the Beeskow Art Archive in dialogue with contemporary positions
The memory of the GDR as a country of one's own origins and part of today's Federal Republic is the focus of the exhibition "Zeitumstellung". Recent socio-political developments make it clear how diverse and heterogeneous the memories of this supposedly "disappeared" country are. The interplay of selected works from the Beeskow collection with contemporary positions in this exhibition enables new dialogues, perspectives and questions. Works from the art archive will open up new perspectives on the GDR with current works by contemporary artists and expand the view beyond the historically conditioned borders. The exhibition looks back at life in the GDR and its representations, not Eastalgia, but remembrance and mediation into today.
The Beeskow Art Archive houses a special stock of artistic works from 40 years of the GDR that is of cultural and art historical interest. Owned by parties, mass organisations and state institutions of the GDR before 1990, the works have belonged to the new federal states since German reunification. The Beeskow depot holds the shares of the states of Berlin, Brandenburg and Mecklenburg-Western Pomerania. The exhibition "Zeitumstellung" is part of a reorientation whose aim is, among other things, to open up the collection even more to new perspectives through a contemporary approach.
Schloss Biesdorf, as the municipal gallery of the district of Marzahn-Hellersdorf, has already worked together with the Beeskow Art Archive in recent years. Smaller presentations from the context there and also selected positioning of individual works in the current contemporary context have been shown several times.
In this exhibition, the focus is now on works from Beeskow.
In dialogue with contemporary works, this exhibition can offer a further contribution to the discussion about the artistic heritage of the GDR. he exhibition will be accompanied by an educational programme.
Artists in the exhibition:
Joachim Bayer, Claudia Borchers, Gudrun Brüne, Manfred Butzmann, Fritz Duda, Wolfgang Eckhardt, Bernhard Franke, Friedrich-Wilhelm Fretwurst, Peter Fritz, Ellen Fuhr, Gerhard Füsser, Dieter Gantz, Albrecht Gehse, Gerd Gombert, Max Görner, Bruno Griesel, Claas Gutsche, Ruthild Hahne, Monika Hamann, Harald Hauswald, Michael Hegewald, Hermann Hensel, Eberhard Hertwig, Christa und Günter Hoffmann, Martin Hoffmann/Reinhard Zabka, Frenzy Höhne, Jo Jastram, Doris Kahane, Susanne Kandt-Horn, Doris Karras, Achim Kircher, Konrad Knebel, Kurt-Hermann Kühn, Rolf Lindemann, Harry Lüttger, Maria Mateva, Harald Metzkes, Ingeborg Michaelis, Paul Michaelis, Rainer Muhrbeck, Barbara Müller-Kageler, Gudrun Petersdorff, Mario Pfeifer, Carla Pohl, Volker Pohlenz, Inken Reinert, Lothar Rericha, Gottfried Richter, Horst Ring, Gerhard Rommel, Gerti Schlegel, Rolf Xago Schröder, Werner Schulz, Maria Sewcz, Hartmut Staake, Daniel Theiler, Hans Ticha, Andreas Wachter, Norbert Wagenbrett, Malte Wandel, Christoph Wetzel, Walter Womacka, Axel Wunsch, Thomas Ziegler, Annett Zinsmeister, Christof Zwiener
Curated by Elke Neumann
A cooperation project between Schloss Biesdorf and the Kunstarchiv Beeskow.
Exhibition from 15.11.2020 to 30.01.2021
On the way by bus in Berlin and Bangkok.
Moods and stories, captured in a mixed media installation by the artist couple Christine Falk & Alfred Banze, with paintings, films, drawings, sounds and texts.
The installation on the ground floor of Schloss Biesdorf consists of a Bangkok room and a Berlin room, in which Christine Falk's architecture-related paintings and Alfred Banze's informal drawings and videos are shown alternately. In the Bangkok film, the acoustic cacophony of the big city is replaced by music. It is inspired by Thai pop music of the 1960s, with gongs and xylophones, plucked instruments, monks' songs and street noise. The Berlin film is accompanied by original sounds and texts by Christine Falk.
Public buses are a very flexible means of transport. Buses go to places that are not in the public eye, but tell a lot about the respective city. They enable mobility for the urban periphery. In the visual arts, public space has long been recognised as a commercially threatened social cultural asset and has since been considered a broad field of experimentation.
The prelude to the exhibition was shown at the Goethe-Institut Bangkok in autumn 2019. In Berlin the exhibition was planned for March 2020, but could not be realised at that time due to corona. Much has changed in the meantime and thus realities are shown that do not exist in either city at the moment. From today's perspective, the scenes of the videos, which were recently still everyday, describe scenarios of longing.
The idea for the exhibition project was born in Bangkok during a ride in an old open collecting bus. In Berlin the artist couple uses public transport and the bicycle, the car has long been abolished.
Christine Falk and Alfred Banze met 15 years ago at the Goethe-Institut in Bangkok. Since then they have realised numerous joint projects on exoticism, globalisation and intercultural dialogue, time and again in Bangkok.
Further details: www.bangkokbybusberlin.de
An event of the Department of Culture Marzahn-Hellersdorf.
More information on culture in Marzahn-Hellersdorf can be found on the Internet at www.kultur-marzahn-hellersdorf.de.
Virtual tour through the exhibition
Exhibition from August 23rd, 2020 - January 30th, 2021
Opening on August 23rd, 2020, 10:00-9:00 pm
Works by Sigrun Drapatz/Tanja Lenuweit, Ina Geißler, Eva Kietzmann, Thomas Kilpper, Ulrike Kuschel, Fabian Lippert, REINIGUNGSGESELLSCHAFT, Hartmut Staake, Daniele Tognozzi, Ina Wudtke
The artistic positions of the exhibition move between taking stock, analysing the political, economic and social aspects and possible future scenarios of public and private space, often in direct relation to the settlement area in the Berlin district of Marzahn-Hellersdorf, which is considered the largest contiguous single house settlement in Germany.
Since the beginning of industrialisation and the associated urbanisation, the question of the distribution of living and usage spaces in the city has been raised. Originally, suburban settlements were an alternative to the catastrophic living conditions of the metropolises, especially for the lower classes of the population. They enabled people to escape from the confinement of the inner cities and to live healthily on the outskirts of the city. The gardens served as a cultivation area, they were help for self-help and at the same time compensation and supplement to the work in the city. In the meantime, the land has become speculative capital, the result is exploding land prices. Today, the expansion and densification of the single house settlement is regarded as a secure capital investment.
The artists use different media and formats to deal with usage scenarios and strategies of public and private space, present and future. Against the background of a rapidly growing city, the effects of climate change, also with regard to the role of suburban settlements, and growing socio-economic injustice, the question of land ownership in relation to the tension between the needs of the individual and those of the community is becoming increasingly urgent. Is the autonomy of individuals actually realised through (residential) property? What models are conceivable for a city worth living in this area of conflict?
Exhibition idea and concept by Sigrun Drapatz and Ina Geißler, collaboration: Tanja Lenuweit and Fabian Lippert, project management: Karin Scheel
September 3rd 2020, 6:00 pm "Ausfallstraße Ost // Eastern arterial road"
The musicians Zappi Werner Diermaier (Faust), Elke Drapatz, Dirk Dresselhaus and N. U. Unruh (Einstürzende Neubauten) react to the B1 main road passing the palace and communicate with the traffic sound. The experimental ensemble plays on the south terrace of Schloss Biesdorf for the guests in the park. (Event in the context of the KGB art week from August 28th, 2020 - September 6th, 2020)
"The Plaice in the Sea of Houses - on the nature of small suburban settlements"
A study of the emergence of suburban housing estates for the unemployed in the early 1930s. The artists' search for traces in the district of Marzahn-Hellersdorf leads to five settlements that were built between 1932 and 1934. They map the settlements in a sea of houses, circle the historical setting, follow their development on the basis of historical documents and collect the stories and memories of the inhabitants*.
Sigrun Drapatz (*1963), lives and works in Berlin and Kiel. After completing her studies at the Berlin University of the Arts in 1998, she worked as a freelance visual artist and participated in projects and exhibitions in Germany and abroad. Together with Tanja Lenuweit she is doing research on the nature of the allotment garden.
Tanja Lenuweit is a cultural scientist and works in the field of historical-political education. Her research interests include migration and the culture of memory. Together with Sigrun Drapatz, she curates 2020 Block 57, an open archive on life and work in Berlin-Kreuzberg, which deals with a changing urban neighbourhood shaped by external and internal influences.
Painting series (30 pieces) with cut out and 6 body fences made of black foam
The painted portrait series "Gated Unities" outlines the variety of motivations for owning your own home - financial freedom, independence from the favour of a landlord, self-determination through alternative forms of living or creative self-realisation are contrasted with pure possessive thinking, prestige and an overemphasis on security and independence. Ina Geißler has photographed a series of individually designed garden fences in Biesdorf. She developed body fences from these motifs and assigned them to fictitious owners. Various references between private and public are expressed. In addition, fences cut out of foam can be tried on by visitors. They offer the possibility of physically recreating "life behind the garden fence".
Ina Geißler, born 1970, lives and works in Berlin. In 2011 she realised the permanent sound installation Unterton at the Martin-Gropius-Bau, Berlin, together with the architect Fabian Lippert. Since then she has increasingly turned to interdisciplinary projects for public interior and exterior spaces, in addition to her large-format paintings and cut-outs. Ina Geißler deals with real spatial as well as socio-psychological factors that shape the exchange between private and public space.
video installation, 2020
In her current video installation Eva Kietzmann deals with the construction of public space in a German single-family house settlement. She guides the audience with the camera through the place where they live and invites them to study its arrangement and architecture. At the same time the observer* does not remain unobserved. In this video the artist takes up a real experience in Biesdorf and transfers it to the place where she herself grew up. In her artistic work, Eva Kietzmann has been dealing with the privatisation of urban space and the associated aesthetic and social effects for many years. In doing so, she is always concerned with a reflection on the construction of public space and the power relations produced within it.
Eva Kietzmann, (*1977), uses different media and formats such as video, installation, drawings for her works. She studied audiovisual media, artistic work in public space and information science in Offenbach and Berlin. From 2009 to 2016 she worked with Petra Kübert as a duo on the staging of public spaces and image production of the city. She regularly takes part in exhibitions in Germany and abroad and has received various grants.
Woodcut in multiplex birch, printing ink, 2020
In his woodcut Kommune B(iesdorf) Thomas Kilpper gathers a wide variety of protagonists of revolutionary or alternative forms of life and work from the last 200 years. Emancipatory movements and ideas repeatedly collide with ossified structures of society. Experiments to change ways of life are thrown back, fail or remain minoritarian. And yet: change is permanent. The way we live today will not remain the same: The social development process will continue.
The birchwood panels used by Kilpper are recycled material from his floor work Spuren des Krieges (Traces of War) for the exhibition VERMISST Der Turm der blauen Pferde (Missing the Tower of the Blue Horses), which took place in Munich's Pinakothek der Moderne in spring 2017 and which focused on the lost painting by Franz Marc, once stigmatised as "degenerate". Kilpper had a modern 60-tonne Leopard II tank of the German armed forces driven over the wood, so that its chain pattern was imprinted in it, which contrasted with war glorifying quotations from Marc's field letters. For Kommune B(iesdorf), Kilpper turned the plates over and reworked them, but the reverse side is visible as a fragment and included in the new work.
Thomas Kilpper, (*1956), is an artist and has lived in Berlin since 2003. He is represented by the Galerie Nagel Draxler. His works can be found in public collections in London, Frankfurt/M., Oslo and Nuremberg. Since 2014 he is professor for art at the university in Bergen, Norway. Together with Ina Wudtke he runs after the butcher, an exhibition space in Berlin for contemporary art and social issues.
2 channel video, 6:35 min, 2020
The artist's sister and her husband have purchased a plot of land one kilometre south of Schloss Biesdorf in order to build a second row house there. The plot of land directly adjoins the property of the artist's parents, who also built a house there 25 years ago. In the first video, excerpts from conversations around the coffee table and interviews with the people involved are edited together with photographs of the construction project. In addition to construction details, concerns related to debt are also addressed. The description of a self-drawn floor plan by the 6-year-old daughter makes it clear how much the children are also involved in the construction process. The second video shows in fast motion the changes on the property since autumn 2019.
Ulrike Kuschel, born 1972 in Berlin, studied fine arts at the Berlin University of the Arts. Context-related research and a conceptual approach are characteristic of her artistic method, which encompasses various media. She received several scholarships, including a scholarship from the Konrad Adenauer Foundation (2014), a scholarship from the Villa Massimo in Rome (2010), a scholarship from the Kunstfonds Bonn Foundation (2007), a scholarship from the Senate Department for Science, Research and Culture, Berlin (2006) and won the GASAG Art Prize in 2006. Numerous exhibitions and participation in exhibitions at home and abroad.
Urban design models, 2020
Biesdorf is part of one of the largest contiguous single-family home areas in Europe. The population density is very low. Although Biesdorf and its surroundings are green, the streets are mostly deserted. Here people are exclusively "lived in". The public space seems inanimate. It is missing: Gastronomy, local supply, commerce, a lively mix of uses. The car is the number one means of transport.
The exhibition juxtaposes various urban development models of densification. In doing so, valid norms are playfully overcome.
More density can contribute to a better mix and liveliness, from which the residents as well as the entire urban society benefit.
Fabian Lippert (*1972), lives and works in Berlin.
He graduated in architecture in 1999 from the Berlin University of the Arts and has been working as a freelance architect since 2002. In 2009 he founded the architectural office LKA-Berlin together with Sandra Kavelly. Together with Ina Geißler, he won 1st prize in the 2011 competition Kunst am Bau des Martin-Gropius-Baus with the sound installation Unterton. Further joint works will be created. His projects include architecture, art in construction and furniture design.
Performative traffic light phase measurements
Multimedia installation, 2020
The project group REINIGUNGSGESELLSCHAFT carries out a performative time measurement of traffic light phases on the heavily trafficked B1. The B1 is an important traffic artery connecting the centre of Berlin with the eastern districts. According to the BUND, the crossing of the B1 / B5 Alt-Biesdorf is one of the most pedestrian-hostile places in Berlin. The traffic axis is characterised by a high level of commuting. At the same time, the B1 cuts through the old centre of Biesdorf and isolates the districts on both sides of the road from each other. With this project, REINIGUNGSGESELLSCHAFT raises the question of what cities and traffic will look like in the future. Will we still be able to provide motorised transport with the high degree of public space and time it requires? What would happen if Biesdorf, as a model project, decided to deduct 5 seconds of the signal time (traffic light time?) of road traffic on the B1 every year and add it to the pedestrian time? Will the ratio of pedestrian and road traffic possibly have reversed in 5 years? There will be an answer to this question in 2025, when Biesdorf celebrates its 650th birthday. Then the performance will be repeated and it will become clear whether and how mobility concepts in public transport have developed by then. In the exhibition the results of the performance will be presented as a video and photo series.
The project group REINIGUNGSGESELLSCHAFT consists of the visual artists Martin Keil (*1968) and Henrik Mayer (*1971). Both studied at the HfBK Dresden, live and work in Berlin. The projects of the RG are participatory and relate to public space. Contemporary art has the role to reflect social life and to contribute to changes.
oil on canvas
On loan from the Beeskow Art Archive
Interactive gravitational funnel with quotations from real estate advertising texts
How does art and cultural production relate to the complexity of barely visible ownership structures that shape our urban space? Why is it important today, in a time of excessive financialisation of land and housing, to also artistically reflect everyday life in this respect?
Daniele Tognozzi takes up these questions with two installations that are the result of an examination of the business and genesis of a number of real estate companies that operate around Schloss Biesdorf and Elsterwerdaer Platz respectively. The installation at the driveway to Schloss Biesdorf consists of a flag, the flag of the Swedish Johnson family, which was hoisted along the paved driveway of the palace. The family's business gave rise to the Nordstjernan real estate development company, now Bonava, which built 325 condominiums, the so-called Biesdorf city gardens, in front of the castle park in 2016.
In the interior of the palace, the artist exhibits a gravitational funnel. As soon as a coin falls into the dark hole in the middle, it activates a loudspeaker, which turns the object into a mouthpiece and presents advertising texts from the real estate industry.
Daniele Tognozzi (IT/DE), born in Bergamo, is a visual artist and author. He studied free art at the Accademia di Belle Arti di Bologna and received his MA in spatial strategies at the Kunsthochschule Weißensee in 2018. He is involved in "Kunstblock & Beyond", an association of artists and cultural workers who are active in the fight against gentrification and real estate speculation as part of the Berlin 'Mietenwahnsinn-Bündnis'. As part of "Kollektiv Quotidien" he is also editor and co-author of the book "Lefebvre for Activists", which was published by ADOCS Hamburg in 2020.
In "Anger" Ina Wudtke takes up the question of land and quotes the form of the village ranger in her textile work. "Anger" or "Allmende" (in English "commons") refers to the village square used jointly as a laundry area, pasture or garden, the proceeds of which were shared. In their rage over capitalist urban politics, contemporary urban activists* transfer the image of the commons to the present day by recognising the soil as a precious resource alongside water and air and striving to restore it to community ownership. Ina Wudtke embroidered quotations from Karl Marx and the contemporary feminist Silvia Federici next to the eye-shaped Angerfläche, in which they mark the fencing (privatisation) of the medieval communal areas as the beginning of the capitalist age and the associated devaluation of women (-work and reproduction).
"A palace for Berlin" was originally a spoken word text written by Ina Wudtke for a demonstration against the Berlin City Palace for its topping-out ceremony in 2015. In 2020, in the context of a demonstration against the installation of the Reichsapfel mit Kreuz on the castle dome, together with the "Coalition of Cultural Workers Against The Humboldt Forum", Ina Wudtke read the text live on Schinkelplatz. This was followed by a textile work which re-used the text together with the outline of the palace.
Ina Wudtke, born 1968, is a conceptual artist and lives in Berlin. From 1992 to 2004 she published the queer-feminist artist* magazine NEID. Her research-based work questions hegemonic political and social discourses and intensifies counter-discourses on topics such as gender, work and city. In 2018 her book "The Fine Art of Living" about her artistic work against gentrification from 2008-2018 was published (Berlin, Archive Books).
Exhibition from August 23rd, 2020 to November 6th, 2020
Photographs by Aenne Burghardt, Ekkehart Keintzel, André Kirchner, Andreas Muhs, Peter Oehlmann, Cordia Schlegelmilch, Jörg Schmiedekind, Wolf Jobst Siedler, Peter Thieme, Volker Wartmann, Arnd Weider and Jochen Wermann. 2016 to 2020
The B1 main road connects numerous places of historical significance that shape the cityscape and make German history of the 20th century readable and tangible: November Revolution, Weimar Republic, Nazi period, war and post-war, Berlin's division and reunion after the fall of the Wall and German reunification. The contradictory history of this city, its ruptures and changes manifest themselves in the urban spaces and architecture found along the B1, which can be experienced and understood like a sequence of exhibits.
Twelve photographers show their personal perceptions and conceptions of these urban spaces, which are anchored in the present but never allow their history to be forgotten.
The Berlin Round Table on Urban Photography, which now brings together fourteen photographers on a regular basis, works on common photographic themes in addition to discussion and exchange.
In 2016 the discussion about the B1 began. A section of this traffic route, which originally stretched from Königsberg to Aachen, passes through Berlin, from Mahlsdorf in the east of the city to the Glienicke Bridge in the southwest.
As part of the EMOP Berlin – European Month of Photography 2020
Curated by Dr. Gerlinde Förster
Ronald Paris (*1933) is one of the outstanding painters and graphic artists of his generation. The retrospective exhibition shows paintings and drawings that exemplify the artist's life's work in a contrasting spatial counterpart.
The artist's oeuvre includes paintings and drawings, graphics and collages, stained glass, tapestries, stage sets and construction-related works in public space. Of equal artistic importance to large-format works in exposed locations are the paintings and graphics created on the easel in the studio, often inspired by literature, theatre and travel.
Paris needs the experience of the landscape, the human figure, and it needs the history associated with it. The desire to understand the human being by nature, to get behind the reasons and abysses of his actions, is the real driving force that drives the creation of his pictorial world to this day.
He seeks recourse to ancient figures and myths, is inspired by the dramas of Shakespeare to the poetry of Volker Braun and takes up this material for his artistic interpretations. Prometheus, Odysseus, Marsyas, Appolon, Sisyphus, Kassandra, Medea, Icarus, Iphigenia, Sappho or Hamlet, Lear and others are metaphors for him to place basic human themes in the social context of his time.
An important facet of his work are the portraits, they are the condensed expression of his realistic art. One of those portrayed is Otto Nagel. Even today, the time at the Academy of Arts, which was formative for Paris, is still alive with him as his master student. Other drawings such as those by Ernst Busch, Hanns Eisler, Heiner Müller, Harry Kupfer and Inge Keller refer to Paris' great proximity to the theater.
To this day, Paris' need is to intervene artistically. Through many of his artistic interpretations he polemically and defiantly challenges a dialogue. He is one of the few picture makers who, in search of the truth, ruthlessly illuminates living space and defends human dignity with his art. This basic trait is characteristic of his artistic attitude.
The exhibition is supported by the exhibition fund Kommunale Galerien Berlin of the Senate Department for Culture and Europe.
The Berlin-based photographer Christine Fenzl portrayed young people from the Berlin districts of Hellersdorf, Marzahn, Lichtenberg and Hohenschönhausen who were born during and after the fall of the Berlin Wall. For their parents, the Wall was a matter of course, but in their own world it is hardly imaginable anymore. Her series takes a look at the generation of the "Nachwendekinder" (Post-Reunification Youth).
In sensitive shots, Fenzl traces the stories and expectations of the protagonists, always maintaining the perspective of undivided interest in their motifs. She shows the people close up and undisguised, in the right light and in a familiar moment. The changing places, in which the prefabricated concrete slab architecture in particular allows us to draw conclusions about the past, also reflect youth as a state of transition.
Christine Fenzl has personally experienced the profound changes that Berlin underwent after the fall of the Wall. She moved there in 1992 and became Nan Goldin's assistant. Initially she lived in the western part of the city, then in the former eastern part of Mitte, where renewal and upheaval, but also challenges, were felt daily. Especially in the places where renewal and development have already taken place, it is becoming increasingly difficult to remember the exact course of the border.
"I am afraid that the images of this time will disappear. Driven by the continuing change, but still noticeable former division of the city, it is important to me to give the 'Wendekinder' generation a face. I want to capture the young men and women in pictures that were born into this special time and are thus part of the history of the city," summarizes Christine Fenzl.
The exhibition is supported by the exhibition fund Kommunale Galerien Berlin of the Senate Department for Culture and Europe.
The newspaper accompanying the exhibition can be read here:
A newspaper for every day (in German only)
The discussion round scheduled for April 4th, 2020 from 4:00-5:30 pm has been moved to the virtual room and will be streamed live:
Livestream (Event in German)
Exhibition from February 24th 2020 to June 4th 2020
Vernissage: February 23th 2020, 6-10 p.m.
When exactly is NOW? When does the past become NOW? When does the future begin after NOW?
Work from: Atsushi Fukunaga (installation), Renate Herter (photography, installation), Jörg Jantke (painting), Andreas Kempe (video, rear glass projection), Ulrike Kötz, (performance/installation), Bärbel Möllmann (camera obscura/photography), Ulrike Möschel (installation), Michael Morgner (graphic arts), Julia Murakami (photography), Annette Peuker-Krisper (graphic arts), Daniel Rode (installation), Andreas Sachsenmaier (works on paper), Thyra Schmidt (silkscreen with audio collage), Joachim Seinfeld (object boxes), Aljoscha Begrich/Axel Töpfer/Jo Preußler (collage and installation), Rebecca Ann Tess (photography), Klaus Walter (light box/painting), André Werner (video installation), Sinta Werner (photography/objects)
Translated with www.DeepL.com/Translator (free version)
Atsushi Fukunaga (installation), Renate Herter (photography, installation), Andreas Kempe (video, back glass projection), Ulrike Kötz, (performance/installation), Bärbel Möllmann (camera obscura/photography), Ulrike Möschel (installation), Julia Murakami (photography), Daniel Rode (installation), Andreas Sachsenmaier (works on paper), Thyra Schmidt (silkscreen with audio collage), Joachim Seinfeld (object boxes), Axel Töpfer/Jo Preußler (collage and installation), Rebecca Ann Tess (photography), Klaus Walter (light box/painting), André Werner (video installation), Sinta Werner (photography/objects) anda.
Curated by Andreas Sachsenmaier, Joachim Seinfeld, Bärbel Möllmann, Karin Scheel
"Longing for the NOW" in Schloss Biesdorf is the first part of a three-part exhibition in Berlin, Dresden and Düsseldorf. The exhibition series revolves around the "longing for the NOW", that elusive moment of the present. In order for the NOW to become (graspable), what lies before and what lies after must be considered. These three phases - past, present, future - are therefore the focal points of the exhibition, whereby each time is assigned a cultural and socio-political dimension.
The fleeting and fragile moment of NOW can best be captured in the moment of the creative process. Consequently, the Berlin prelude in Schloss Biesdorf deals with both the present and the moment of artistic creation. Seventeen artists are taking up this challenge in Schloss Biesdorf.
In his film loop Baumfall/Scioto River, for example, Andreas Kempe shows exactly the short but so strongly lingering moment when a tree falls onto a cycle path. The twittering of birds, the murmuring of the wind and the rustling of leaves are interrupted for only a few seconds by a loud crash and then continue as if nothing had happened. In her photo series "Alpha++ Models", Rebecca Ann Tess juxtaposes the urban centers of the world and shows the sterile aesthetics of neoliberally shaped cities in which human bodies appear only as fragments and even nature itself is only fitted into geometric structures as a green wall or an accurately trimmed hedge. The individual that once existed in these places, the regional characteristic of the past disappears and the new, the seemingly smooth comes. In her photo collages, installations and sculptures Sinta Werner plays with reality and its image and reflects the NOW through illusory spaces and mirrors.
In Ulrike Möschel's object, the momentary nature of the present is brought to bear at the moment of reflection through a reflective surface. For this she uses silver leaf, an old and traditional material for the production of mirrors. In Düsseldorf, Möschel refers to the past with additional green oxidised surfaces.
As is usual for an exhibition in Schloss Biesdorf, works from the holdings of the Beeskow Art Archive are also represented in "Longing for the Now". The works by Annette Peuker-Krisper, Jörg Jantke and Michael Morgner broaden the view of the theme to include positions from the perspective of artists who worked in the GDR.
as well as the longing for the same, we perceive as a sequence of moments that we divide into past, present and future. But what is present, the moment, the moment, the NOW? Is it even comprehensible? Or has it not already elapsed when we become aware of it? This question and how we deal with it seems to be immensely important for us humans. The longing for the NOW, as well as its failure, has been and is treated by the great religions as well as by philosophy. People have devised a number of strategies to live the moment, and only the moment, in self-forgetfulness. The (positive) moment should be enjoyed, the fading out of past and future should lead to the greatest happiness. But will we even get there? To the NOW?
Artistic creation, just like the NOW, is always risky. "Sehnsucht nach dem Jetzt" therefore presents both finished works and works created directly on site, such as installations or performances, in all locations in order to do justice to the uncertainty of the moment.
A newspaper will be published to accompany the exhibition, expanding the spectrum of the exhibition's artistic-visual works to include the written word and creative "notes".
Structured in the style of a classical daily newspaper in the categories politics, feuilleton, miscellaneous, advertisements etc., this "A newspaper for all days" gathers together artistic works as well as scientific contributions, poems, literary texts etc.
The programme of events and offers for art education can be found at www.schlossbiesdorf.de
The Düsseldorf exhibition (2021) reflects not only the past, but also philosophical contemplation, while the exhibition in Dresden (GEH8 Kunstraum June 12nd - June 28th 2020) links the political will to shape the future with the desire to create.
An event of the Department of Culture Marzahn-Hellersdorf.
You can find more information about culture in Marzahn-Hellersdorf on the Internet at www.kultur-marzahn-hellersdorf.de.
all photos from the exhibition rooms © Birgitta Schmidt
Exhibition from October 28, 2019 to February 14, 2020
Vernissage on October 27, 2019, 06:00-10:00 p.m.
30 years ago, in November 1989, after 28 years of existence, the Berlin Wall, symbol of German division, was accidentally opened by strong public pressure from many people in the eastern part of the country.The trigger was a misleadingly formulated note read at a press conference by Günter Schabowski, O-tone: "To the best of my knowledge ... that is immediately, at once".On the occasion of this globally symbolic event, Schloss Biesdorf will open the exhibition Von Menschen und Mauern/Of People And Walls on October 27,2019.In addition to various artistic works on the Berlin Wall, its opening and its slow disappearance, the exhibition shows positions on political walls in a global context. Today, walls still demarcate and exclude people all over the world, they lock them in, constrict and separate people from each other. The perspectives of the participating artists reveal dividing lines and boundaries between the included and the excluded, illuminating the relationship between man and political power. Works of fine art from various genres are shown: painting, graphics, sculpture, photography, performance, multimedia and video.
Marina Abramovic/Ulay, Kurt Buchwald, Christo (reproduction with the kind support of Matthias Koddenberg), Sighard Gille, Sabina Grzimek, Franz John, Martin Kippenberger (reproduction with the kind support of Galerie Gisela Capitain), Mark Lammert, Wolf Leo, Ute Mahler and Werner Mahler, Rudi Meisel, Manfred Paul, Stefan Roloff, Jürgen Schneider, Erasmus Schröter, Victor Sloan, Peter Thieme, Wolf Vostell and Dieter Wendland and others
Curated by Gabriele Muschter and Uwe Warnke in collaboration with Karin Scheel
Lenders: the artists, DPA
A catalogue will be published to accompany the exhibition.
Dialogical guided tours through the exhibition with Fenia Franz (Labor M)
on Saturdays, 02.11. / 09.11. / 16.11. / 23.11. / 30.11. / 07.12. / 14.12.2019 // 11.01. / 18.01. / 25.01. / 01.02.2020 each 02:00-03:00 p.m.
Further information on the accompanying programme: Labor M – Art Communication
An event of the department of culture Marzahn-Hellersdorf.
More information about culture in Marzahn-Hellersdorf can be found on the Internet at
Marina Abramovic / Ulay, Performance artist, Nwe York, Amsterdam/Ljubljana
"China Ring", 1986
In preparation for their long-term project "The Lovers - The Great Wall Walk" they travelled through China to get to know the country and its people. The video "China-Ring" was created. In 1988 both finished their collaboration with the project "The Lovers - The Great Wall Walk". In ninety days, they approached each other from both ends of the Great Wall to finally separate on the last day, the Day of Encounter.
Kurt Buchwald, Photographer, Action Artist, Berlin
from the series: "Ein Tag in Ostberlin", 1986/2019, photo print on Alu-Dibond
"Blendenwagen", 2005, chipboard and wood, painted
Kurt Buchwald has always worked consistently and conceptually. From the very beginning he has questioned the medium of photography itself. In his works he repeatedly shows us what the process of photography actually is. It is obvious that the view through the viewfinder is extraordinarily limited.
Christo (1935-2009), New York
Temporary wall project with metal drums (Rue Visconti, Paris, 6th arrondissement), 1961/62, collage and typewritten text
One year later, in 1962, Christo and his wife Jeanne-Claude erected a wall of oil barrels in the Rue Visconti on the left bank of the Seine in Paris under the impression of the construction of the Wall in 1961. The title "The Iron Curtain", his concern: to show the effects of the broken off connection of paths between people.
(Reproduction with the kind support of Matthias Koddenberg)
Sighard Gille, painter/graphic artist, Leipzig
"The Beginning of Something", object, 1989
Shortly after the fall of the Berlin Wall, Sighard Gille painted a picture under the first impression of this event, but was then so insecure and overwhelmed by the rapid changes that he scratched the paint off the canvas again and filled it into a jelly sausage glass.
It is also to be understood as a failed attempt, which the artist in this way manages to transform into something new in a profound and humorous way.
"Star of Unity", oil on canvas, 1991
"9.10.89", oil on canvas, 1989
Sabina Grzimek, sculptor, Berlin and Brandenburg
"Seven gestures of the upright gait", 1993, bronze, (middle version)
Enumerator, Looking, Questioner, Rising from the water, Caller, Thinker, Reminder
The figures are all rather rejecting, concentrated on their interior, brusque to the outside - they assert themselves.
The upright gait as a symbol of pride, dignity, strength of character. The figures have backbone and remain consistent, even in difficult situations: as a moral statement of conscience. In addition to the figures, etchings by the artist are shown.
Franz John, multimedia artist, Berlin
"interzone", 1999, CD-ROM, iMac computer + mouse
Immediately after the opening of the Berlin Wall, including the death strip, Franz John covered the entire length of the Wall. He wanted to capture their condition - while the tourists tried to break out pieces of the Wall in the inner-city area. Under the suspicious eyes of border guards on their meaningless activities, he laid the foundations for a document that he later published in the CD ROM shown here.
Martin Kippenberger (1953-1997), Berlin, Paris, Vienna and elsewhere
O. T., from the series "dear painter, paint me", 1981, reproduction on Alu-Dibond
In 1981 he created the painting "Lieber Maler mal mir", which he did not paint himself, but "commissioned" as an ironic depiction of the divided city of Berlin.
(Reproduction with the kind support of Galerie Gisela Capitain)
Mark Lammert, painter/graphic designer, Berlin
Picture series "ALLIIERT", 1994-1996, oil on the backs of maps
The large-format series of pictures entitled Alliiert recalls the state of Germany after the end of the Second World War, the disunity of the people, guilt and atonement. The human figure, strongly reduced, available as material. Only the picture carrier of this painting, the reverse side of old maps mounted on linen, showing a Europe if you saw it, that it doesn't exist any more, opens another dimension.
Wolf Leo, designer, Berlin
"Painting reasons: The East Side of the Berlin Wall", painting action at Potsdamer Platz, 19.-21.11.1989, 1989/2019, collages, reproductions
Wolf Leo co-initiated the painting action at Potsdamer Platz on 21.11.1989.
Artists met to paint the wall from the east side. The next day, border guards painted everything over - it was only months later that the "Eastside Gallery" was created. The artists were too early with their action.
Ute Mahler and Werner Mahler, Photographers, Berlin
Series "Where the world ended", 2010-2012
The series "Wo die Welt zu Ende war" (Where the world ended) is a joint work 2010-2012. With the certain feeling that history is never over, they travelled to the former "green" border. At the previously manifest dividing line between the political blocs, they experienced the remains of a restricted area in which death at home and the world actually came to an end.
Rudi Meisel, Photographer, Berlin
From the series "Landsleute", 1977-1987
As a West German photographer he accompanied the journalist Marlies Menge on her travels in and through the GDR. In the process, he developed a look at the found everyday life, which is out for what connects it, recognizes it and captures it. This is not denunciatory, know-it-all and arrogant. It is downright irritating, surprising. It resonates with a lot of humour.
Manfred Paul, Photographer, Berlin
20.04.1990 - 15.00 o'clock - Köpenicker Street / Panorama, 1990, Digital-Print on Alu-Dibond
20.03.1990 - 07:00 - Schwedter Street, 1990, Baryt-Print
24.02.1990 - 16:30 - An der Buchholzer Straße, 1990, Baryt-Print
18.06.1990 - 18:00 - Bernauer Strasse, 1990,Baryt-Print'
21.03. 1990 - 9:30 - At the Falkplatz, 1990, Baryt-Print
20.02.1990 - 8:30 - An der Buchholzer Straße, 1990, Baryt-Print
19.04.1990 - 10:00 - Cemetery St. Hedwig-Gemeinde / French Cathedral Community, 1990, Baryt-Print
02.01.1990 - 14:00 - Schwedter Strasse, 1990, digital print
Manfred Paul's impressive photographs are dedicated to a casual everyday life. Only titled with date, time and place do they recall what is often overlooked as a banal phenomenon and are thus also a chronicle of vanished places.
Stefan Roloff, German-American painter, video artist and filmmaker, Berlin/New York
Vopos in the East and Fopos in the West I - III, photo of the action at the border crossing Bernauer Straße, Berlin, 1981, light boxes
In 1980, the artist went directly to the wall with a few friends to carry out an artistic action. Dressed in whitewashed military coats and caps, they build an observation tower on which puppets occupy it, march, assume positions, observe and are observed. In imperfect poses, they copy a set of rules that they could observe every day beyond the Wall. Their not harmless performance was a theatre of the absurd.
Jürgen Schneider, author and artist, Düsseldorf
Walls in West Belfast, 1990
Victor Sloan, photographer, Northern Ireland
Walls in Northern Ireland, 2019
Jürgen Schneider and Victor Slohan independently photographed the walls in Northern Ireland, yet the brutality of this division is unanimously reflected in the images.
Erasmus Schröter, Photographer, Leipzig
From the series "Komparsen", 2016/2017
With a slightly mocking look, the pictures suggest (although they were not created specifically in connection with the Berlin Wall) the desolation of the Berlin Wall as well. An everyday life that clouds over everything; accepting the circumstances and hoping.
Peter Thieme, Photographer, Berlin
"Berlin Escape", 1961-1988, Fine Art Prints
In the 2010s, Peter Thieme photographed places along the Berlin Wall where border breakthroughs were recorded between 1961 and 1989 - Berlin places / Berlin escapes - and, by the way, tells the story of fateful events. The authentic places have long since been reshaped, streets and built-up areas have taken their place.
Wolf Vostell (1932- 1998), painter, sculptor and happening artist, Berlin
9. November 89, 1989 (reproduction on Alu-Dibond), from the cycle "Fall of the Berlin Wall".
An artist full of life energy, he reacted with great joy to the news that the wall no longer existed. He spontaneously painted the large-format painting "9 November 89", 1989 from the cycle "The Fall of the Berlin Wall". Vostell saw himself as a political artist. He has created over 50 works on the theme of the Wall, including large-format paintings, drawings, and silkscreen prints, some of which are shown in the exhibition.
Dieter Wendland, Photographer, Berlin
Wendland's visual language is calm and objective, his gaze very accurate without dissecting. Pain over the desolation of the city divided by a wall becomes clear in the pictures.
We show the following works with the kind support of dpa/Deutsche Presse-Agentur GmbH:
"U.S. Mexico Border Fence and Landscape, no year, digital print.
"US Mexico Border Wall Arizona," 2019, digital print.
"Nicosia: The last divided capital of Europe", 2016, Digital-Print
"Cyprus - Greek Border in Nicosia", 2006, digital print
Passages to Jerusalem for the first Friday prayer of Ramadan, 2019, digital print
"East Jerusalem: Living with the Wall", 2018, Digital-Print
"Nachtansicht der entmilitarisierten Zone", 2018, Digitaldruck
"Südkorea Koreas Diplomatie", 2018, Digitaldruck
"China, Mutianyu, Große Mauer", o. J., Digitaldruck
Sun Jun Badaling
"Große Mauer voller Herbstfarben", o. J., Digital-Print
Video/Web Preview "If you were ..." (Ellen Kobe. Performance at the vernissage "KLASSE DAMEN!". 2019), Photo: Tom Wagner
100 Years Opening of the Berlin Art Academy for Women
Exhibition from June 17, 2019 to October 13, 2019
Vernissage: June 16, 2019, 06:00-10:00 p.m.
with Birgit Bellmann (graphic print), Alke Brinkmann (painting), Ines Doleschal (collage), Else (Twin) Gabriel (photography, video, painting), Ellen Kobe (performance, installation), Coco Kühn (installation), Petra Lottje (video, drawing), Seraphina Lanz (wall piece, object), Cornelia Renz (drawing), Karin Rosenberg (object), Fiene Scharp (Cut-out), Elisabeth Sonneck (installation), Ute Weiss Leder (installation), Gaby Taplick (installation)
as well as Charlotte Berend-Corinth (painting, printmaking), Hannah Höch (collages), Marg Moll (sculpture), Lotte Laserstein (drawing), Doramaria Purschian (drawing, painting), Emy Roeder (sculpture), Erna Schmidt-Caroll (drawings, painting), Maria Slavona (painting), Gertrud Spitta (painting), Milly Steger (sculpture), Elisabeth Voigt (printmaking) and Julie Wolfthorn (painting).
As of March 1919 women were allowed to study at the Royal Academy of Art in Berlin. Until then they had been dependent on private teachers, overpriced "ladies' classes" or arts and crafts schools. Today only a few of the female artists who asserted themselves in the patriarchal art world in the 19th century until the First World War are known and were sometimes able to fight for a recognized position that would secure their livelihood. Their works still lie largely unexplored in archives and depots. A few, such as Jeanne Mammen, Lotte Laserstein and Renée Sintenis, have recently received late and timid appreciation.
In an exhibition at Schloss Biesdorf we want to juxtapose the partly still unknown works of first-generation sculptors and painters such as Julie Wolfthorn, Marg Moll, Milly Steger and Erna Schmidt-Caroll with positions of contemporary Berlin artists. In portraits and landscape paintings, still lifes and children's portraits, the artists of Classical Modernism show not only their talent, but also their bias in a world of motifs dictated to them by their male colleagues. When Hannah Höch and others consciously break with the iconographic tradition and touch on social taboos in terms of content, this demonstrates her great courage and self-confidence. Breaking taboos is also a concern of contemporary female artists. They develop site- and exhibition-related works that critically reflect today's art world – its exhibition practice and funding structures, its value system and gender issues. Through room installations, film and video, cut outs, collages, painting and performance, the Berlin artists open up a visual dialogue with the artists of the time and create a space for thought for questions that are virulent both then and now.
In conjunction with a mediation concept and an accompanying programme of lectures, films, readings and a discussion forum in the lecture hall of Biesdorf Palace, we see the exhibition KLASSE DAMEN! as a contribution to a socio-political discourse and as an impetus for an effective public reflection. As artists and curators, as women for whom the balancing act between family and artistic work is a daily challenge, we have a great interest in making the largely unknown history of the admission of women to the art academies public. With it we thematize and discuss all the implications that arose for women then and still arise today – from family fractures, childlessness and poverty to defamation, prejudice and ostracism to "modern" problems such as structural discrimination in the art world with its still rampant gender pay and gender show gap.
Curation: Ellen Kobe and Ines Doleschal in collaboration with Karin Scheel
Accompanying programme: lectures, panel discussion, musical-literary matinee, film programme etc.
Art education: Labor M in collaboration with Birgit Bellmann
Lenders: Bröhan-Museum, Georg Kolbe Museum, Kunstarchiv Beeskow, Reinickendorf zu Berlin District Office, Galerie Die Möwe Berlin, Berlinische Galerie, Akademie der Künste, Das Verborgene Museum, as well as private collectors.
Dialogical guided tours through the exhibition with Fenia Franz (Labor M)
on Saturdays, 22. Jun. / 29. Jun. / 06. Jul. / 13. Jul. / 10. Aug. / 17. Aug. / 24. Aug. / 07. Sept. / 14. Sept. / 21. Sept. / 28. Sept. 2019 each 02:00-03:00 p.m.
Accompanying Programme: Labor M – Art Communication
collect, select, release
Works of Kathrin Sohn, Burchard Vossmann, Ila Wingen, Sophie Tiller, Almud Moog, Doris Hinzen-Röhrig and Susanne Piotter
Exhibition from April 8th, 2019 – June 7th, 2019
Vernissage on Arpil 7th, 2019, 06:00 p.m.
Inherited, bought, created or even passionately collected, an average household allegedly owns 10,000 objects during its lifetime. An amazing number, but one that makes clear: we collect things, we select them – and let them go, sooner or later. A classic collection of bizarre objects, an inherited artist's estate, floods of images in social media, the constant growth of one's own artistic work, but also so-called dust collectors and global garbage collections are the approaches to the content of the respective artistic works in the exhibition on the upper floor of Schloss Biesdorf. To preserve, transform, give away or dispose of things requires individual decisions. What makes things valuable or worthless for people? The artists of the exhibition explore these questions in installations, objects, photographs and drawings. A catalogue will be published to accompany the exhibition.
Photographs by Gerhard Westrich
Exhibition from April 8th, 2019 – June 7th, 2019
Vernissage on April 7th, 2019, 06:00 p.m.
Photographer Gerhard Westrich has portrayed numerous people in the district of Marzahn-Hellersdorf in recent months. He was not looking for a representative cross-section of society, but for personal stories and moods.
The exhibition "MaHe inside" on the ground floor of Schloss Biesdorf shows a selection of the photographs taken, supplemented by brief statements by the people portrayed. The exhibition is accompanied by a publication, financed by the Stiftung Kulturwerk der VG Bild-Kunst.
Virtual Reality, Music and Performance
with Keez Duyves (NL) and Thomas Bratzke (D)
Room installation on June 1st and 2nd, 2019, 12:00-20:00 o'clock, Heino-Schmieden-Saal
The artists Keez Duyves (NL) and Thomas Bratzke of the Hybrid Sculptors group are creating a virtual flower garden in Schloss Biesdorf using Augmented Reality (AR) technology. Real plants and objects from the gardener's world are given an additional spatial level that becomes visible through projections. This process is accompanied by music. Visitors of all ages are invited to accompany the development of this virtual installation.
The Potator is an invention of the artist Keez Duyves of the collective PIPS:lab (NL). This versatile tool, based on a motion capturing system and augmented reality (AR), is used in the context of the project HALFHALF, which was developed in collaboration with the artist Thomas Bratzke aka ZASD, to extend canvases into space by means of virtual, three-dimensional color: Real painted images virtually continue from the surface into the space. The Potator combines painting, sculpture and movement and invites its users to create reality ...
Marzahn Hellersdorf – Photographic Positions
Exhibition from Febuary 17th – March 29th 2019
Finissage on March 29, 2019 from 6:00 p.m. to 10:00 p.m.
On the occasion of the 40th anniversary of Marzahn-Hellersdorf the idea of a cooperation between the district office Marzahn-Hellersdorf and the Ostkreuzschule für Fotografie was born.
In February 2019, the cultural prelude to this anniversary will take place in the form of a large photo exhibition in Biesdorf Castle, which was reconstructed in 2016 as a municipal exhibition venue.
The students of the OKS classes have been taking photographs in the district since March. Their work will be supervised by Maria Sewcz and Tobias Kruse, the teachers of the specialist classes.
In cooperation with the director of Schloss Biesdorf, Karin Scheel, Ludwig Rauch curates and supervises the exhibition as project manager.
The exhibition will be accompanied by a catalogue.
Admission is free
Vernissage: February 16th 2019 // 6:00-11:30 p.m.
We cordially invite you to the opening of the exhibition. Also Book Launch of "NY Edited. Belonging".
Participatory project of people with cognitive impairment
Artistic Direction: Carola Rümper
Exhibition from November 18th, 2018 until February 8th, 2019
The project focuses on the voluntary work of people with cognitive impairments. The commitment of these people is hardly noticed in society. As a rule, they are only perceived as recipients of help. The project breaks with this one-sided perception.
In an accompanied artistic process under the direction of the artist Carola Rümper, the participants developed photographs that represent their own honorary office. The photographic results are summarized in the memo game life spot.
In the exhibition, all the photographs taken can be seen lying on the floor as a giant memo. The expansive installation is at the same time a walk-in playing surface, each individual playing card measuring 45x45cm. As in the smaller model, the visitors are invited to find the same pairs of images.
The memory game is a socially known and popular medium to bring people together. A play form, which introduces visually into a topic. In life spot, idiosyncratic motifs are chosen for a special theme. Inclusion or participation of all humans in the society moves as topic into the foreground. Through the memo game form, the theme is brought "playfully" into society.
Admission is free
© all photos: Birgitta Schmidt
Exhibition from Sep 7th 2018 to Feb 8th 2019
The exhibition "Soft City" at Schloss Biesdorf shows works by artists from Japan and Germany who deal with urban developments in Japan and Europe.
In the exhibition "Soft City" they carry these experiences into the Berlin district of Marzahn-Hellersdorf in order to enter into a dialogue with the place and, of course, with the people against the background of the different cultural contexts. In recent weeks, some of the artists have been on the road in the district, and site-specific works developed in the process have been incorporated into the exhibition.
The exhibition's artistic works repeatedly focus on the human scale, which is much more present in Japanese urban space with its small-scale wooden architecture than in the West. The various workshops, performances, city explorations and other accompanying events also deal with possible strategies and visions for urban communities that are not determined by master plans, but by human perception and lively dialogue in urban space.
Florian Baron/Jenny Fadranski
David Bauer, Linda Havenstein
Yukihiro Taguchi/Chiara Ciccarello
Katsuhito Nakazato/Sugano Matsusaki
Concept and curation:
Titus Spree, Linda Havenstein, Karin Scheel
Florian Baron/Jenny Fadranski
At the 8th Congress of the Socialist Unity Party (SED) in 1971 it was decided to solve the housing problem as a social problem by 1990. The utopian settlement in Berlin-Marzahn was to be part of this solution.
In 1972, two researchers from the GDR Ministry of Cybernetics and Urban Planning were sent 45 years into the future to document how the settlement had developed and whether the social problem had been solved. This is a SciFi Mockumentary that takes up the urban utopias of the GDR using the East Berlin district of Marzahn as an example. Baron and Fadranski created a documentary snapshot of Marzahn's life in 2017 using the then innovative Super 8 film technique, which stages a journey through time as if scientists from the GDR's cybernetic research department in the 1970s were looking at the former utopian Marzahn of our present day.
The film is accompanied by music by sound artist Jana Irmert from her album FLOOD, released 2018 on Fabrique Records, digitally on Bandcamp.
For the installation, window facades were filmed in the Marzahn-Hellersdorf district, in which the light of the television sets is reflected inside the rooms.
The flickering television light is amplified on further monitors, suggesting the image of a Morse code, a kind of communication between the houses and their inhabitants.
The installation suggests a relationship and an internal communication in the community that exists despite the clearly separated houses and spaces between the residents and creates a public sphere. "Straßenwitz" ultimately proves to be a humorous caricature of the stereotypical and categorizing view of Marzahn-Hellersdorf.
"Me ne frego"
Standard household door curtains are combined to form a room-filling installation. Coloured patterns are worked into the monochrome curtains, which at first glance appear to be purely decorative elements. On closer inspection, however, these patterns turn out to be binary codes that reveal political slogans when decoded.
The door curtains, which also serve as room dividers, stand for the space between "door and hinge", the ambivalent space that lies between the private and the public. The slogans incorporated in the work go back to real slogans that had a concrete political demand, but have undergone a change through processing in digital space. The political slogans are just as ambivalent in their meaning as the public political discussion has shifted into an ambivalent space between the street and digital space.
"Martian Tooth Stratigraphy"
Masaru Iwai has approached the district of Marzahn-Hellersdorf in many artistic research tours. His experiences, his encounters with people and the traces of their actions are layered in moving images over the original structure of an existing urban planning.
Katsuhito Nakazato/Sugano Matsusaki
When people leave their homes, they naturally pass through corners of houses. The contrast between the corners and the urban landscape that appears behind them disappears from individual consciousness as part of everyday life and yet is an archetypal part of their own living environment.
The corners, which the inhabitants of the district Marzahns - Hellersdorf see, were depicted in pairs on screens. The original landscape, hidden from the everyday landscape, was uncovered.
Katsuhito Nakazato/Sugano Matsusaki
"Gento" (street cinema)
During the exploration tours in the district, the artists collected trash and found objects. Their image was projected onto walls with the Gentoki, an analog Japanese projector. The resulting images were photographed and form a series of human traces in public space in the exhibition.
"MMO" (Moving micro office)
Titus Spree's multi-layered work dealt with various aspects of public space in the Marzahn-Hellersdorf district.
DasMoving micro office (MMO) is a small space on wheels. With a footprint of 1 x 2 meters and a height of 2.4 meters, it can be walked through the city without much effort. In the course of the Soft City exhibition, MMO will move through the district of Marzahn-Hellersdorf as a temporary space for dialogue and communication. The MMO will also be used by the artist as a working space, it is of course also an experiment and - if you like - a food for thought on wheels. Creative freedom and the possible introduction of the individual into society in the often highly regulated urban space is an important aspect of this project.
The work "Schlafstadt" is a play with the term "Schlafstadt", which is often used in connection with "peripheral suburbs" such as the district of Marzahn-Hellersdorf.
A bamboo ball rolled through the district in the run-up to the exhibition and was fixed at various locations at short notice. Also pulled up, it could serve as a sleeping dwelling and open up a new level in the urban space. During the exhibition, the bamboo ball will be suspended in the airspace of the octagon in Biesdorf Castle.
"Tokyo at Portikus"
A fabric replica of a small house from Tokyo in the portico of Biesdorf Castle shows the way to the exhibition in the castle and visualises the different architectural dimensions in different cultures.
Yukihiro Taguchi/Chiara Ciccarello
For the exhibition Yukihiro Taguchi and Chiara Ciccarello create an animation project realized directly on the streets of Marzahn-Hellersdorf.
This cooperative project combines the real urban landscape of Marzahn-Hellersdorf, which Taguchi captured in stop-motion clips, with Ciccarello's imaginary figures, whose stories were inspired by their surroundings. Both hiked the district, filmed and drew directly on site and noted down the cartoon characters in the real landscape with the help of a transparent drawing surface. The animation is shown together with an installation of painted, transparent panels and drawings on the windows of the exhibition space.
The Japanese artist Ueno, who is also a practicing Ikebana master, works with the natural environment in the district and especially in Biesdorf Castle Park. He uses finds and materials from nature for his highly-present performances. His work provides visitors with a surprisingly intense view of the world around us.
Admission is free
On the upper floor of the palace, Kirsten Johannsen, Bärbel Schlüter and Birgit Szepanski show installations, objects and photographs of urban explorations. In some places, the exhibition draws attention to the perception of the city. In their respective working methods, the artists take up urban observations for site-related works: their atmospheres, their aesthetic spaces of experience, and their history(s).
Cooperation with the Experimental Film and Media Art class of the UdK Berlin under the direction of Prof. Nina Fischer and Dr. Marjan Sharifi
The exhibition "Examining the edge - peripheries in the mind and the city" on the ground floor of the palace is dedicated to the eponymous seminar of the Experimental Film and Media Art department of the UdK Berlin under the direction of Prof. Nina Fischer and Dr. Marjan Sharifi. The students of the UdK Berlin develop artistic positions on life in the spatial and mental periphery.
In cooperation with Schloss Biesdorf, artistic direction: Karin Scheel
In the context of Make City, Berlin Remixing / city newly mixed.
The exhibitions are accompanied by a supporting programme, which can be found at
Exhibition from May 11th to Jun 15th 2018
All 21 artists of this exhibition have or had their place of work in Marzahn-Hellersdorf for a while. Some works thematize the traces of this place, of the studio - others question the artistic work itself. Is arriving a goal, a longing, or a state that must always be redefined? Arriving in this exhibition also means arriving at Schloss Biesdorf, a new Berlin gallery. Works by: Charlotte Duale, Stephan von Arx, Robert Kipping, Thomas Bratzke, Maurice de Martin, Lukas Oertel, Thomas Wagner, Christian Schellenberger, Sascha Hundorff (with Anna Herms and Steve Paul Steven Paul), Wadim Hermann, Enikö Marton, Carola Rümper, Thomas Prochnow, An Seebach, Christiane Stegat, Daniel Wolter, Tobias Löffler, Irene Pätzug, Anne Michaux, Caroline Wagner, Ramon Muggli (curated by Karin Scheel)
Admission is free.
A portfolio from the holdings of the Beeskow Art Archive
Exhibition from march 25th - july 3rd 2019
In 1988, the Association of Visual Artists of the GDR commissioned a graphic portfolio to be published on the occasion of the 200th anniversary of the French Revolution. Why, one might ask, is the historical event chosen that is so ambivalent and carries with it a complex history of interpretation? The editors of the graphic folder had one specific aspect in mind: In the enclosed text, art historian Peter Pachnicke emphasizes the " sensuous power of persuasion " of the people who wrestled for recognition on the streets of Paris. However, this pathos conjured up there cannot be seen in the prints of the 16 artists, each of whom contributed one sheet.
In 1989, "Graphic to songs of the French Revolution" was published with the supplement of a record with a total of 21 songs sung by Dieter Süverkrüp, whose texts date from the time of the French Revolution. And even if the graphics with their titles refer to those battle and love songs, these rarely reflect the atmosphere of the pictures. Here, no people is revolting. In gloomy visions the artists show in lithographs, etchings, aquatints and a silkscreen, doubting figures, masses that are once again oppressed by a king and the grimaces of dubious "heirs" who move forward threateningly. Black dominates many of the compositions, be they delicate, fragile arrangements or figures formed with thick strokes. Even the coloured leaves in this compendium are gripped by this drastic quality. The tension-filled contrast between the interpretation of the clients and the interpretations and implementations of the artists also opens a glimpse of the now historical moment of 1989.
With works by Ulrich Hachulla, Karl-Georg Hirsch, Joachim Jansong, Joachim John, Rolf Kuhrt, Werner Liebmann, Gerd Mackensen, Reinhard Minkewitz, Rolf Münzner, Ronald Paris, Volker Pfüller, Otto Sander, Stefan Thomas Wagner, Frank Wahle, Trak Wendisch and Winfried Wolk.
Entrance is free.
Opening: march 24th 2019 // 2 PM
Graphics and photographs of poems by Johannes R. Becher.
Presentation of the Beeskow Art Archive - Archived Art from the GDR
Falko Behrendt, Christian Brachwitz, Helmut Brade, Manfred Butzmann, Michael Diller, Andreas Dress, Hubertus Giebe, Konstanze Göbel, Dieter Goltzsche, Ulrich Hachulla, Joachim John, Barbara Köppe, Wolfgang Mattheuer, Manfred Paul, Christine Perthen, Wolfgang Petrovsky, Uwe Pfeifer, Helfried Strauß, Ursula Strozynski, Dieter Tucholke, Werner Wittig
Exhibition from November 18th, 2018 until February 25th, 2019
Opening on Sunday, November 18th, 2018, 11:00 a.m.
Graphic folders are exhibitions on a small scale. The potential to capture a theme, an idea deeply and multi-facettedly in pictures floats between the folder lid and the folder floor. In the course of their 40 years, mass organizations and political institutions in the GDR have commissioned numerous graphic folders. The Beeskow Art Archive holds a significant collection of such portfolios, with examples from all four decades. This illustrates the development of the thematic production of GDR cultural policy, but also how differently artists dealt with these settings, where the limits of what can be said ran, where leeway was granted. Especially towards the end of the 1980s, the compilations appear increasingly ambiguous: gloom and ambivalence dominate many motifs that allow more than one interpretation.
Also the portfolio " ... und des Menschen Größe / ... and the greatness of man. Graphics and photographs of poems by Johannes R. Becher" (1988) can be seen in this context. "Schritt der Jahrhundertmitte / step of the middle of the century" (1958), the last volume of poetry that Becher created before his death, served 20 artists as the starting point for their work. It is the pondering of a poet like a socialist loyal to the line, disillusioned and doubtful at the end, about potentials and abysses of human existence in the context of society and history. The images that the artists derive from this text show people marked by dissension, sometimes in oppressive loneliness, sometimes in the whirlpool of social processes of which they themselves are the creators. While there are a few colored sheets among the 16 prints, the 20 photographs appear in grainy black and white. These photographs bear the melancholy for which East German author photography would become famous only a few years later.
The Beeskow Art Archive regularly shows excerpts from its holdings at Schloss Biesdorf. From Berlin, the presentations refer to the more than 20,000 works of art from the time of the GDR that have been preserved and made accessible in Beeskow in Brandenburg since the early 1990s.
A graphic folder work from Kunstarchiv Beeskow
The new exhibition presented by Kunstarchiv Beeskow is dedicated to the graphic artist Dieter Tucholke (1934-2001) who intensively and critically addressed German history from an East German perspective. The focus is on his graphic sequence "Negativbilder" [negative images] about Prussian history that he created in 1980-81 and which is one of his most famous works.
The artist is focused on the weaknesses and vices of the Prussian kings, since he deeply distrusted their so-called virtues. With an imagery that still fascinates today, Tucholke assembled the portraits from symbols and objects, which are accompanied by short mocking texts.