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.