until 06.06. | #5069ARTatBerlin | Haverkampf Leistenschneider shows from Friday, 1. May 2026 the exhibition ALLTAG by the artist Katherine Bradford. For this year’s Berlin Gallery Weekend, Haverkampf Leistenschneider is delighted to present new works by Katherine Bradford (b. 1942, New York). The artist will be present for the exhibition’s opening. Like dreams, Bradford’s paintings have an ability to make the ‘everyday’ become utterly, glowingly strange. The US American artist is celebrated globally for her bright color-field compositions populated by enigmatic figures, and for inviting us to find metaphysical significance in small, out-of-joint details. This selection of new works attests to the artist’s long-standing interest in the tensions between intimacy, isolation, empathy, and dependency that constitute a life lived among others. The group scenes here are warm, familiar, and charged with Bradford’s characteristic humor, but are also rarely without hints of friction or shades of ambivalence. We see figures huddling together before a painting, but attention is split by a screen that doubles it. Onlookers surround a stiffly supine body, something haunting about their stoic, faceless passivity. Heads of dinner guests drop heavily into plates of food, trading the social for the oblivion of sleep. While so much of Bradford’s work explores states of […]

until 28.06. | #5065ARTatBerlin | EBENSPERGER BERLIN shows from Saturday, 2. May 2026 (Opening: 01.05.) the exhibition Remains by the artist Göksu Kunak. Inspired by Yves Klein’s Anthropometries, Göksu Kunak’s REMAINS will be a live performance in which a BMW becomes both stage and canvas. A bodybuilder and a CrossFit athlete, fully coated in blue pigment, imprint their movements onto the vehicle—transforming physical exertion into a living painting. Combining action painting with Matthew Barney’s focus on physical endurance, Kunak’s work treats muscle as sculptural material—fusing strength, surface, and gesture. A speculative narrative, written and performed live by Kunak, unfolds alongside the action, guiding the piece through a hyperreal fictional framework. As an icon of contemporary culture and urban form, the BMW itself becomes an active performer: a sculptural body that absorbs, reflects, and advances the narrative. Opening: Friday, 1. May 2026, 6–10 pm Exhibition dates: Saturday, 2. May – Sunday, 28. June 2026     Titel image caption: Göksu Kunak, REMAINS, 2026, AI genareted simulation Exhibition Göksu Kunak – EBENSPERGER BERLIN | Zeitgenössische Kunst in Berlin | Contemporary Art | Exhibitions Berlin Galleries | ART at Berlin

until 18.07. | #5062ARTatBerlin | GALERIE STEFAN RASCHE presents from 1. May 2026 the exhibition Intersection by the artist Jan Ros. Under the title “Intersection”, the gallery is presenting new works by Jan Ros in a solo exhibition from 1 May to 18 July 2026. The city, architecture and space – these are the themes of the Dutch painter, who has been part of the gallery’s programme for 20 years now. Working from photographic references, he transforms these motifs into multifaceted paintings that, whilst essentially object-oriented, also produce abstract passages defined entirely by colour. Thus, he varies degrees of sharpness and the flow of movement depending on the subject, modelling three-dimensional volumes from broad brushstrokes, working with stencil-like inserts and sharp contours that stand out from their painterly surroundings like cut-outs. His repertoire includes urban landscapes as well as famous buildings of international modernism, but also depictions of cars and aeroplanes, of transient places such as petrol stations and terminals, which are reminiscent of scenes from a road movie. In doing so, however, he does not depict the hectic bustle of urban life, but rather the silence of deserted spaces. Jan Ros’s window paintings, which draw the eye to an […]

until 30.05. | #5059ARTatBerlin | Galerie Max Hetzler (Bleibtreustraße 45) shows from 30. April 2026 the exhibition Between the Lines by the artist Darren Almond. Galerie Max Hetzler, Berlin, is pleased to present Between the Lines, a solo exhibition of new works by Darren Almond. In the first gallery, Almond’s large-scale painting Monolith acts as an underlying manifesto for the rest of the exhibition. A clearly defined zero emerges from its arboreal background, a form with multiple readings as a conceptual symbol: from the signalling of infinity, to the vanishing point of perspective, to Buddhist philosophies of ‘nothingness’. The zero as a figure can act as both a beginning and an endpoint, where life and presentness sit within bracketing eternities – a brief, luminous interval between birth and death. Here, its form is intertwined with that of the suspended, naked branches of a willow tree in winter, as if seen while sheltering under its canopy, looking outwards to an undisclosed horizon. The use of highly diluted pigment across the canvas echoes the way water caresses a willow’s branches during a rainstorm: the act of painting mirrors the physical behaviour of rainwater cascading under Earth’s gravitational pull, completing the water cycle and circle of life. The willow, […]

until 13.06. | #5063ARTatBerlin | Meyer Riegger Berlin shows from Friday, 1. May 2026 the exhibition Der See und die Sonne by the artist Caroline Bachmann. On the occasion of Gallery Weekend 2026, Meyer Riegger is pleased to present a new series of paintings by Caroline Bachmann. ‘A place can repeat itself without being the same. In Wisconsin, there is a Geneva Lake that shares hardly anything but the designation with its European namesake. Geneva Lake was named in 1835 after an eponymous body of water in New York State and had previously been called Kish-Way-Kee-Tow. In Caroline Bachmann’s new series of paintings, such shifts become the point of departure. The location named Geneva Lake is not explored as a fixed geographical entity, but as a structure constituted by memory, projection and experience. Between the earlier paintings of Lake Geneva and the new works on Geneva Lake, closeness and distance do not appear exclusively as relational space, but as intertwined moments of perception that re-create places as framed landscapes in an ambiguous sense.’ Excerpt from the text by Melanie Ohnemus, translated by Karl Hoffmann. Opening: Friday, 1. May 2026, 6-9 pm Exhibition dates: Friday, 1. May – Saturday, 13. June […]

until 27.06. | #5055ARTatBerlin | Taubert Contemporary shows from Friday, 1. May 2026 the exhibition kristalline by the artist ALBERT WEIS. When used as an adjective, the word crystalline refers to ordered, three-dimensional periodic structures. The structure of these formations is based on a lattice and essentially determines the physical features of a material. The opposite form is amorphous. A profound engagement with systems of order and their forms characterizes the work of Berlin-based artist Albert Weis in many ways. In the current exhibition, titled kristalline, these explorations and their artistic expressions reach their culmination. In doing so, Weis draws, among other things, on utopian concepts from architecture and urban planning of the early 20th century as well as the post-World War II era. Architects such as Eileen Gray, Carlo Mollino, Hans Scharoun, Bruno Taut, and others used crystalline forms in their designs for social spaces beyond the context of war. The exhibition kristalline features works that make direct references to the aesthetic and social utopias of modernism. The focus is not limited to the individual works; the entire spatial design of the exhibition is also intended as a reference to visionary concepts of interior design. The four exhibition rooms […]

until 13.06. | #5051ARTatBerlin | Semjon Contemporary shows from Saturday, 02. May 2026 (Opening: 01.05.) the exhibition THE MESSAGE ACCORDING TO SANSOVINO6: weaving resilience by the artist Edward L. Buchanan. Edward L. Buchanan, born in 1970 in Cleveland, Ohio, and living in Milan since the early 1990s, had already made an appearance at Semjon Contemporary in 2012 with his Milan-based gender-fluid knitwear label Sansovino 6, transforming the space into an Indigo pop-up shop where his invention of knitted jeans was presented as a spatial collage (incidentally, numerous fashion houses copied his knitted jeans upon their early release). The pandemic and the foreign policy turmoil of recent years have repeatedly forced him to postpone his second exhibition, but now the time has finally come. Although, his unique fashion illustrations and collages have been featured time and again in group exhibitions. This will be his second one man show ever. As an African American in Italy—ever since his first job in 1994 as designer director for Bottega Veneta’s ready-to-wear collections, hired immediately after graduating from the Parsons School of Design in New York, he has long since become”italianized” and defines himself often as an AfroItalian, yet he continues to experience the unfortunate […]

until 27.06. | #5048ARTatBerlin | Galerie Société shows from Friday, 01. May 2026 (Opening: 30.04.) the exhibition Chrysalizing by the artist Edi Rama. The exhibition‘s title conjures a suspended, generative moment of transformation. This sense of movement resonates across Rama‘s practice: in the passage from drawing to sculpture, in the biomorphic forms his new works assume, and in the broader arc of a life lived at the threshold between artistic and political identity. Trained as a painter at the Academy of Fine Arts in Tirana, where he subsequently taught as a professor, Rama has pursued an artistic practice in parallel with a political career spanning nearly three decades—first as Minister of Culture, then as Mayor of Tirana from 2000 to 2011, and as Prime Minister since 2013. These two spheres of activity have always informed each other: as mayor, Rama transformed Tirana‘s crumbling communist-era buildings through an ambitious program of colorful geometric facades, demonstrating at the scale of a city that the aesthetic and the political could be one and the same act. It was through this process that his drawing practice first emerged: printing the facades on A4 sheets, he began experimenting with felt tip markers to determine which […]

until 29.05. | #5046ARTatBerlin | Galerie Michael Haas shows from Friday, 1. May 2026 the exhibition “Jean Dubuffet” by the artist Jean Dubuffet. Jean Dubuffet (1901–1985) was one of the most radical artists of the post-1945 era. Throughout his artistic career, he created distinct cycles of work, each representing a new challenge and set of questions, which he brought to a close as soon as their possibilities seemed exhausted. His influence on his own and subsequent generations cannot be overstated. Galerie Michael Haas presents a selection of paintings and drawings from the years 1942 to 1961. Accompanying the exhibition a catalogue with texts by Dr Margrit Brehm and Prof. Axel Heil will be published. Location: Niebuhrstraße 5, Berlin-Charlottenburg Opening: Friday, 01. May 2026, 18:00–20:00 Uhr Exhibition dates: Friday, 01. May – Friday, 29. May 2026     Image Caption: Courtesy by Galerie Michael Haas Exhibition Jean Dubuffet – Galerie Michael Haas | Zeitgenössische Kunst in Berlin | Contemporary Art | Ausstellungen Berlin Galerien | ART at Berlin

until 20.05. | #5044ARTatBerlin | Gallery Dittmar shows from Friday, 1. May 2026 the exhibition „Beyond Photography“ by the artist Katja Liebmann. Katja Liebmann, born in Halle an der Saale in 1965, studied art at the Academy of Fine Arts in Nuremberg, the Berlin University of the Arts, and the Royal College of Art in London. She first attracted attention in the mid-1990s with her series “Gotham City,” which was acquired by the Saatchi Collection in 1998. That same year, she was nominated for the Citibank Photography Prize (Deutsche Börse Photography Prize). During her studies at the Royal College of Art from 1997 to 1998, she undertook a research and teaching residency at the State University of New York. She then taught at the London College of Printing and Camberwell College of Art until 2000. In 2000, she received a grant from the Hasselblad Foundation in Gothenburg, which included an exhibition. That same year, she moved to Berlin and continued working on her series of images, “Walking Across a Bridge,” which she had begun developing in 1997 and which combines film and photographic techniques. In 2001, she exhibited her “Berlin Ornaments” series at the Goethe-Institut in London, a continuation of […]

until 14.06. | #5039ARTatBerlin | Loock Galerie shows from Friday, 1. May 2026 die Ausstellung Face (the joys were greater) by the artist Rei Naito. In dialogue with the gallery space, the artist places three compositions of four sculptures and two additional sculptural bodies of work. Each Face forms a set with a single Grace, made with floral-print fabric, and a tiny glass bead hung from the ceiling. Return the secret to the world is presented as a set with 1 – 3. An infinite space of light created by mirrors placed on the floor and ceiling. Recurring titles, motifs, and materials in the oeuvre of Rei Naito engage the viewer’s subconscious within a delicate balance of contraction and release, expanding and deepening the interpretation of the works. Naito often describes her works in terms of circulation between „inside of life“ and „outside of life“. 1 Face (the joys were greater), 2024 Face (the joys were greater) was created by chance more than thirty years ago. One day, Naito was worked up and was about to throw some printed matter that was attached to the wall away. Noticing that it was a person, she decided to put it back. The […]

until 01.08. | #5035ARTatBerlin | Sprüth Magers Berlin shows from Saturday, 2. May 2026 the Solo exhibition by the artist Thomas Demand. Thomas Demand is known for his photographs of meticulous paper models that reconstruct scenes charged with historical, political and cultural significance, as well as everyday moments. On the occasion of Gallery Weekend Berlin, Monika Sprüth and Philomene Magers are pleased to present a solo exhibition of new works by Demand. In 2025, Demand began working with a new technique, creating smaller-scale images printed on copper. The material has deep roots in art history: used as “canvas” during the Renaissance, it later served as the support for some of the earliest photographs printed on silver-plated copper sheets, extending its significance into the history of photography. The new works range from tightly framed views of nature to abstractions of AI-generated imagery. Through his constructed worlds, the artist interrogates the paradoxes of perception, probing how we read our surroundings, how we remember them, and the ways we are influenced and manipulated. Whether capturing nature’s chance arrangements or AI’s dystopian visions, Demand’s work deftly navigates the space between sculpture and photography, illusion and image, reality and interpretation. Opening: Saturday, 2. May 2026, […]

until 30.05. | #5033ARTatBerlin | Galerie Martin Mertens shows from Saturday, 25. April 2026 the „Je rêve un jardin“ by the artist Katrin Bremermann. The new exhibition by Berlin-based artist Katrin Bremermann once again brings together different bodies of work within her artistic universe. The French title (“I Dream of a Garden”) Katrin lived in Paris for many years and now once again has a second residence in France can perhaps be understood as a reference to her work in the sense that her highly distinctive visual language in objects, collages, and paintings has developed almost organically over time. It continues to grow, builds on earlier forms, and repeatedly produces dazzlingly beautiful new “blooms.” One of these more recent developments is a series of collages in steel frames, in which Bremermann partly incorporates forms that she had previously used as stencils for her lacquer paintings or as printing blocks for her hand-printed works. She also presents large canvas objects that follow in the tradition of the “shaped canvas” artists of the 1960s and 1970s, such as Frank Stella, Ellsworth Kelly, Kenneth Noland, and Morris Louis. However, these artists represent only part of the fertile ground within the broad field of […]

until 08.08.| #5030ARTatBerlin | neugerriemschneider (Christinenstrasse) shows from 2. May 2026 the exhibition by the artist Pae white. pushmi-pullyu, Pae White’s seventh solo exhibition with neugerriemschneider, features a flourishing cosmos of creatures including crabs, snails, flies, butterflies and other bugs, molded in resin-encased thread, textile in relief or resplendent ceramic. These new works grow from White’s career-long investigation of tradition-rich materials and legacies of craft, and her predilection for expanding their possibilities. Here, bringing together indigenous handwork, Jacquard weaving and experimental technologies, she places her subjects under a magnifier, creating magnetic scenes that invite conscious inquiry of the worlds from which they are culled. Assembling the conditions for introspection, these works are pedestals for the underobserved: Beings seen in fleeting glances or hidden from view are held, savored and brought into focus, heralded as wonders – sources of revelation. In her practice, White seizes upon an inquisitive impulse to capture the splendor of the ephemeral. In an increasingly fragile present, her act is a radical one, slowing and concentrating attention, imparting her fascination with the minutiae and the monuments of the world around her. Spotlit by the artist’s transformative gestures, everything from tendrils of smoke and crumpled foil to popped […]

until 20.06. | #5027ARTatBerlin | Gallery Esther Schipper shows from Friday, 1. May 2026 the exhibition Hyperarousal by the artist Celeste Rapone. Esther Schipper Berlin is delighted to announce “Hyperarousal”, Celeste Rapone’s first exhibition at the gallery. Rapone presents three paintings which, through narratively dense compositions, explore the tense intersection between sensual stimulation and nervous irritation. With their flat and compact forms, the female protagonists in the exhibited paintings symbolise the tense glamour of millennial anxiety and the libidinal energies that drive them. An intuitive eye for detail and a witty sense of irony enable Rapone to depict the anxious mood characteristic of her generation in ambiguous, twisted and almost embarrassing scenes. Caught between restlessness and paralysis, the anxious millennials we encounter in her work inhabit a kind of delicate vulnerability. Here, the theatrical foreboding of doom meets the pleasurable suspension of its arrival. Female vigilance seems caught between the fear and the pleasure of potential danger. Rapone paints alla prima, without preliminary sketches. She establishes formal parameters by choosing a colour; the figurative elements of each composition are thereby dictated by the hue. Whilst ‘Waiting’ (2025) is permeated by an ice-blue colour palette, ‘Loner’ (2025) draws on shades of moss, […]

until 23.05. | #5023ARTatBerlin | Galerie Tammen shows from Friday, 10. April 2026 the group exhibition by the artists Michael Wismar, Eleonora Paradiese, Helga Raimondi and Volker März. Helga Raimondi, Sightlines Through a Fragmented World 2025, Paper, gold thread, black velvet, 30 x 24 cm, framed Michael Wismar + Eleonora Paradise, HAIKU XVI 2024, Poster prints on plywood and dammar resin, 112 x 81 x 4,5 cm Michael Wismar, HAIKU I 2024 | Poster fragments on MDF board and wooden frame, secured with glue and dammar resin, 120 x 75 x 6 cm Opening: Friday, 10. April 2026, 7–10 Uhr  Exhibition dates: Friday, 10. April– Saturday, 23. May 2026     Imagen caption: Volker März „Wahrheitssammler“ 2025 / fired clay, painted, height approx. 30 cm, in three parts Exhibition Wismar, Paradiese, Raimondi + März – Gallery Tammen | Contemporary art in Berlin | Contemporary Art | Exhibitions Berlin Galleries | ART at Berlin

until 09.05. | #5024ARTatBerlin | Laura Mars Gallery shows from 11. April 2026 the exhibition Parallelen sind nie daneben by the artist Joshua Zielinski. Are those little retro-style lamps gathered on the podium for the award ceremony? For the series Lakope,  Joshua Zielinski dismantled and reassembled discarded sports trophies. The small marble bases remain intact, but the trophies themselves, with their Talmi-aesthetic, are sometimes reminiscent of cake pans, sometimes of shimmering parasols mushrooms, one of which is trying to hold onto its hat with thin little arms. The trapezoidal, gentle yellow plinth raises the objects to the viewer’s eye level and unites them into a sculptural whole. The sculpture Twin is also the result of a transformation: originally, the sandstone was intended to serve as a plinth in a different context, but a sculpture was never installed on it. However, traces of its previous intended use (drill holes) and storage (discoloration and broken edges) have been deliberately preserved. Zielinski carved a stele from the existing material, whose shape corresponds to a mirrored profile of a “Berlin”-type baseboard. This historicizing form from the Wilhelminian era, a kind of “room plinth,” is a functional design element found in the old buildings of […]

until 09.05. | #5018ARTatBerlin | Gallery Thomas Schulte (Charlottenstraße) shows from Friday, 1. May 2026 the exhibition by the artists Jonathan Lasker und Walid Raad. Opening: Friday, 1. May 2026, 7–9 pm Exhibition dates: Friday, 1. May until Saturday, 9. May 2026     Bildunterschrift Titel: JONATHAN LASKER, RETURN THE FAVOR, 1986, OIL ON CANVAS, 152.4 X 177.8 X 3.81 CM, 60 X 70 X 1 1/2 IN Exhibition Jonathan Lasker + Walid Raad – Gallery Thomas Schulte | Contemporary Kunst in Berlin | Contemporary Art | Exhibitions Berlin Galerien | ART at Berlin

until 20.06. | #5015ARTatBerlin | Gallery Tanya Leighton shows from 1. May 2026 the exhibition “SUN” by the artist Antonio Ballester Moreno. Opening: Friday, 1. May 2026, 6-9 pm Exhibition dates: Saturday, 1. May – Saturday, 20. June 2026   Titel image caption: Placeholder ART at Berlin (Abbildung folgt) Exhibition Antonio Ballester Moreno – Gallery Tanya Leighton | Contemporary Kunst in Berlin | Contemporary Art | Exhibitions Berlin Galerien | ART at Berlin

until 08.05. | #5012ARTatBerlin | Galerie Volker Diehl shows from 11. April 2026 (Opening: 10.04.) the exhibition Risse im Eis by the artists Nikita Alexejew, Sven Gundlach, Eduard Steinberg, Wladimir Jakowlew, Anatoli Slepyshev and Andrej Reuter.  Opening: Friday, 10. April 2026, 7 pm Exhibition dates: Saturday, 11. April until Friday, 8. May 2026      Title image caption: Nikita Alexeev, God, Forgive the Commies!, 1988, mixed media on waxed tablecloth, 138 x 200 cm Exhibition Risse im Eis – Galerie Volker Diehl | Zeitgenössische Kunst in Berlin | Contemporary Art | Exhibitions Berlin Galerien | ART at Berlin

until 12.04. | #4958ARTatBerlin | Galerie Creative Game shows from Friday, 27. March 2026 the exhibition – Szenen aus Intarsiën – by the artists Ida Clay and Mo Faqeeh. The scenes depicted in the images are created using wood veneers through the technique of marquetry, a veneer-based form of inlay. The natural grain of the material meets graphic composition, creating a tension between design and materiality. The works explore the relationship between figure and space. Architecture and landscape dominate the picture planes; the figures depicted appear as simplified silhouettes, integrated into clear spatial arrangements. Proximity, distance, and isolation arise not from action, but from position and relationship. Ida Clay + Mo Faqeeh, Stufen, 2023, 63 x 40 cm The central element is the material itself. The images are created from thin wood veneer that is cut, joined, and pressed into a solid surface—a process reminiscent of marquetry. Different grains, densities, and hues give the space its texture. The material’s natural structure remains visible and defies complete control. Irregularities create a sense of movement within the surface. Ida Clay + Mo Faqeeh, Bucht, 2024, 108 x 83 cm This creates a tension between precise, graphic form and organic materiality. The scenes […]

until 11.04. | #5005ARTatBerlin | Galerie Georg Nothel currently shows the exhibition Untitled (Möglichkeiten einer Technik) by the artist Pierre Alechinsky, Peter Brüning, Michael Buthe, Eduardo Chillida, Christo & Jeanne-Claude, K.F. Dahmen, Damien Daufresne, Galli, K.O. Götz, Thomas Hartmann, Delia Jürgens, Markus Lüpertz, Robert Motherwell, Max Neumann, A.R. Penck,  Markus Prachensky, Robert Rauschenberg, Emil Schumacher, Carolin Seeliger, Richard Serra, Kazuo Shiraga, K.R.H. Sonderborg, Walter Stöhrer, Antoni Tàpies, Fred Thieler, Wolfgang Troschke, Emilio Vedova and Jan Voss. Galerie Nothelfer presents an exhibition of prints by 28 artists. On display are both historical post-war positions and contemporary works that provide insight into the diversity and possibilities of printmaking. Printmaking has established itself as an artistic medium on par with painting and drawing. For many artists, it was a central field of experimentation for formal innovations, serial processes and the combination of craftsmanship and artistic conception. It was not uncommon for the artistic focus to shift temporarily or permanently from painting to printmaking, as in the case of Toulouse-Lautrec’s lithographs or Andy Warhol’s silkscreen prints. In the second half of the 20th century, printmaking played a central role in the democratisation of art. It was recontextualised through the social and political upheaval of […]

until 07.05. | #4999ARTatBerlin | Galerie feinart berlin shows from Saturday, 28. March 2026 the exhibition “Millesfleur” by the artist Christine Jackob-Marks. Christine Jackob-Marks, whose work was most recently honored by Samuelis Baumgarte in the dialogue exhibition “KOSMOS” with Otto Piene in Bielefeld, has spent her entire artistic career exploring nature and the question of the truth that lies hidden behind the apparently visible. In her landscape paintings, nature becomes the source and mirror of human emotional spaces and existential questions. However, she also repeatedly addresses the traces of damage that humans inflict on their natural habitat. Christine Jackob-Marks, Birthday Bouquet, 2005, mixed media on canvas, 130 x 100 cm © feinartberlin This duality of nature is further differentiated in Christine Jackob-Marks’ flower paintings, which the exhibition explores by looking at three different creative phases. The works from her late student days in the early 1960s and her current works are worlds apart, much like Bettina von Arnim’s statement that “flowers are nature’s thoughts of love” and Charles Baudelaire’s “Fleurs du Mal.” On the one hand, there is beauty and harmony; on the other, transience and seductiveness. The image of the flower, connecting the two, proves that in both worlds […]

until 18.04. | #4996ARTatBerlin |Galerie Friese currently shows an exhibition by the artists Norbert Kricke and Dieter Krieg. Norbert Kricke (1922–1984) is one of the central figures of postwar German art. His body of work, comprising three-dimensional sculptures and drawings, spans just over three decades and is consistently dedicated to exploring the line in space. The exhibition presents works from the 1950s and 1970s in collaboration with the artist’s estate. A special focus is placed on a group of large-format, extremely minimalist drawings from 1976: black ink lines traverse the drawing surface in an almost theatrical manner, transforming it into a pictorial space. In the context of postwar modernism, Kricke’s work can be read as an act of liberation oriented toward a new beginning, one that had far-reaching consequences for subsequent generations as well as for the definition of the genres of sculpture and drawing. Norbert Kricke, Raumplastik Rot-Weiß, 1953-54, gestrichener Stahl, 33 x 41 x 34 Ø 0,4 cm Norbert Kricke served as rector of the Düsseldorf State Academy of Art from 1972 to 1981. In this capacity, he appointed Dieter Krieg as a professor at the academy in 1978; Krieg’s works are on view in the first two […]

until 08.05. | #5000ARTatBerlin | Migrant Bird Space shows at Saturday, 28. March 2026 the exibition “UNSORTED CHAPTERS” by the artist Xia Peng. Opening 28 March 2026, Migrant Bird Space presents Unsorted Chapters, a solo exhibition by Xia Peng featuring new paintings in acrylic, including works on found objects. Developed closely with the artist, the show brings together large mythological canvases and intimate works painted onto flattened cardboard boxes, secondhand book covers, and record sleeves — surfaces that carry the weight of other lives and other uses. Trained in ink painting at the Central Academy of Fine Arts in Beijing before studying in Kassel, Xia Peng has spent over a decade in Berlin working between two pictorial traditions that understand space, time, and incompleteness in fundamentally different ways. This exhibition is his most experimental to date. The works do not resolve their contradictions. Figures surface through layers of paint and recede before the eye can locate them. Mythological subjects are named and then withheld. Found objects interrupt the image from beneath. Across all of it runs a single condition: what it means to keep working within forms that have quietly shifted and can no longer be fully relied upon. At a […]

until 27.06. | #4992ARTatBerlin | Galerie Brockstedt shows from Friday, 24. April 2026 the exhibition Paintings and Collages by the artist Tino Geiss. The deserted interiors, gardens and landscapes of the Leipzig-based painter Tino Geiss exude a sense of tranquillity: they invite us to step inside, to fill them with meaning, to shape them – with our own associations. It is no coincidence that the artist, who has exhibited at Galerie Brockstedt on several occasions, chose the title ‘Hortus’ for this exhibition of his latest works; a term that meant ‘enclosed garden’ to the ancient Romans and has since, in Christian art from the Middle Ages to the present day, described a sacred, protected garden surrounded by impenetrable walls. “I am interested in the form of memory that is not directly tangible, but which helps to determine the quality of the present state,” he says himself, “I find the question of the authenticity of images of memory and the construct we build around them fascinating.” Tino Geiss, Thüringer Herbst, 2026, 40 x 30 cm, Acryl auf Leinwand With his works, which can be viewed within the context of magical realism, Tino Geiss is a true representative of the New Leipzig […]

until 06.06. | #4990ARTatBerlin | CAMERA WORK shows from Saturday, 28. March 2026 the exhibition Peel Off by the artists Peter Beard, Michel Comte, Sebastian Copeland, Patrick Demarchelier, Victor Demarchelier, Arthur Elgort, Esther Haase, Olaf Heine, Jean-Baptiste Huynh, Russell James, Helmut Newton, Rankin, Eugenio Recuenco, Martin Schoeller, Ruud van Empel und Albert Watson. From March 28 to June 6, 2026, the CAMERA WORK gallery presents the group exhibition “Peel Off.” Featuring over 100 unique works by sixteen renowned artists, the exhibition explores the history of the legendary instant photograph. Among the works, spanning from the early 1970s to the present day and often created on the sets of famous photo shoots, are rare large-format pieces by Peter Beard, Michel Comte, and Olaf Heine. The instant photograph was significantly shaped by Herbert Erwin Land and the Polaroid company. Land introduced the first instantly developable photographic paper system in 1947 and later, with the Polaroid company, made it known worldwide. The patented development process established itself in professional photography as an important creative tool and was crucial for checking lighting and composition on set. The visible development time of the image, which was manually completed by peeling off the development sheets, heightened […]

until 24.04. | #4987ARTatBerlin | Galerie Nordenhake shows from Friday, 20. March 2026 the exhibition „Concrete Head“ by the artist Sofia Hultén. In her fifth solo exhibition at Galerie Nordenhake, Sofia Hultén presents new kinetic sculptures, a series of works on paper, and two groups of new sculptures. The title draws on an expression from her hometown of Birmingham: While the term usually refers to a stubborn or mentally rigid person, the artist knows it from her youth, when it was colloquially used to describe someone who could consume drugs without any noticeable physical consequences. In her practice, linguistic ambiguities intersect with material narratives, generating new meanings through their friction. […] United Fuckers of Contingency in Stasis, 2026, aluminum pole, jeans, coins, motor, stainless steel Sofia Hultén was born in Stockholm, Sweden, in 1972. She grew up in Birmingham, UK, and studied sculpture at Sheffield Hallam University. She has lived and worked in Berlin since 1998. Since 2023, she has been a professor at the State Academy of Fine Arts Stuttgart. Recent solo exhibitions include shows at the KINDL Centre for Contemporary Art, Berlin, and the Museum Tinguely, Basel, in collaboration with the Ikon Gallery Birmingham (both in 2018). She […]

until 25.04. | #4982ARTatBerlin | Contemporary Fine Arts shows from Friday, 13. March 2026 the exhibition „OOO LA LA“ the artists Maggi Hambling and Sarah Lucas. Hambling and Lucas first met 25 years ago, on 23 October 2000, their shared birthday, at the Colony Room Club in Soho. Since then, they have built a friendship marked by admiration and trust. They laugh a lot together. They are also neighbours in rural Suffolk, which keeps their bond grounded in the everyday, and sustained through conversation. That long proximity sits at the heart of the exhibition, showing how two distinct practices can speak to each other. OOO LA LA explores the affinities between their approaches, above all their alertness to how sex and death coexist. These themes belong to the same lived register, met with frankness and nerve. The exhibition is not the result of a joint studio process. The works were developed in parallel, and the connection becomes vivid when they are brought together. In their words, “The extraordinary thing is that when you’re in the show, it’s as if we were working at opposite ends of the same studio.” The exhibition takes that feeling seriously. Painting and sculpture sit close, as clear […]

until 25.04. | #4979ARTatBerlin | Galerie EIGEN + ART Berlin shows from ,Thursday 12. March 2026 the exhibition Seasons by the artist Ryan Mosley. The seasons are not merely perceived, but lived. They subtly alter how body and mind move and feel, even before we are aware of it. In Mosley’s paintings, figure and landscape merge into a unified whole. The figures reflect the contours of the terrain or seem to rise from it; they are part of the landscape, rather than placed upon it. In “Bedrock,” the striding figure visually merges with the water and rocks behind. Its body takes on the colors of the landscape, its skin touched by the peach-colored light of dusk. Where we often experience the body as a barrier between inner life and the outer world, these paintings instead visualize continuity. They suggest that the experience of the seasons is both internal and external—felt through the body and shaped by the world around us. […] Excerpt from the press release by Beth Hughes Ryan Mosley (born 1980) lives and works in Sheffield, UK, and studied painting at the Royal College of Art, London. The artist often synthesizes art-historical themes, styles and movements to create […]

until 18.04. | #4976ARTatBerlin | Meyer Riegger Berlin shows from Saturday, 14. March 2026 the exhibition „31 952“ by the artist Peter Dreher. The exhibition brings together various groups of works that the artist has created over a period of half a century. “The empty glass somehow symbolises the beginning of something and the end of something. Peter Dreher’s series Tag um Tag guter Tag (Day after day, good day) does not show a real glass (see Magritte), but a rather good, almost photorealistic representation of a glass. External forces push their way into the picture and are thrown back at the viewer. The curvature of the glass offers no opportunity to observe the artist painting. He is there, but then again he is not.” Excerpt from Towards an Empty Glass by Jonathan Monk Peter Dreher, Day after Day, Good Day (Day) 1983, 2006, oil on canvas, 25 x 20 cm. Photo: RMJ Peter Dreher was fascinated by Andy Warhol’s desire to be a machine. Although his American colleague was surrounded by something like a royal court or a bee colony around its queen, he himself remained strangely untouched and deeply detached from it all. Peter Dreher had a retreat […]

until 01.08. | #4971ARTatBerlin | Sprüth Magers Berlin shows from 2. May 2026  the exhibition utopisch by the artist Robert Elfgen. Robert Elfgen explores the relationship between humankind and nature through a distinctly mythical, poetic lens. His assemblages, collages, light objects, and floor- and wall pieces are often staged as room-filling installations that unfold like immersive paintings. On the occasion of Gallery Weekend Berlin, Sprüth Magers is pleased to present utopisch, a solo exhibition of new and recent works by the artist. Contrast serves as a foundational principle in Elfgen’s practice. His new sandblasted glass panes—set within wooden frames he built himself—range from filigree organic motifs to geometrical shapes that coalesce into industrial structures. These sculptural pieces divide the exhibition space while simultaneously connecting it through their transparency. In his paintings, materials shape the imagery: Elfgen layers pigments onto wooden supports, then sands them back to reveal grain patterns that become atmospheric elements like fog or overcast skies. Through controlled use of color and light, he imbues his unexpected subjects with a subtle romanticism, creating an artistic universe rooted in everyday observation yet attuned to mythic resonance. Oppening: Saturday, 2. May 2026, 6 – 9 pm  Exhibition dates: Saturday, 2. May […]

until 11.04. | #4968ARTatBerlin | Galerie alexander levy currently shows the exhibition Carries by the artists Mariechen Danz, Friedrich Einhoff and Xie Lei. What becomes visible when a body is represented, shaped, or fragmented? Bodies are not closed units. They are in constant relationship with their environment. They preserve experiences and memories in dreams, gestures, routines, and scars. They function as a threshold between inside and outside, between individual experience and social structure, between past and present. “Carriers” brings together three artistic positions that examine the body as a repository and projection surface for memory, power, and transformation. Mariechen Danz, Friedrich Einhoff, and Xie Lei analyze, in different ways, how experience is deposited in our bodies. Mariechen Danz, Friedrich Einhoff, Xie Lei,Carriers, installation view alexander levy, Berlin, photo: Marcus Schneider, courtesy of the artists, alexander levy, Berlin. Xie Lei’s painting operates in the liminal space between dream state and consciousness. His figures appear in states of suspension, without clearly definable locations or narrative fixation. They remain anonymous. What matters is not who they are, but their state of being. Xie Lei is interested in intense states of human sensation such as pain and pleasure, and the ambiguity of human relationships. […]

until 18.04. | #4966ARTatBerlin | Gallery oqbo shows from Saturday 14. March 2026 the exhibition »mit ohne alles« Poems, pictures, constellations since 1975 by the artist Michael Glasmeier. For the first time in over 40 years, the literary and artistic work of art historian Michael Glasmeier is once again the focus of an exhibition. It comprises an extensive collection of poetic texts that could be classified as concrete and visual poetry – mainly from the 1970s and 1980s. Typewriters, scissors, cameras (cassette recorders for acoustic experiments) were the economical media used in the search for new forms of expression inspired by avant-garde methods such as text-image montage, cut-up, readymade, montage, appropriation and reduction. Glasmeier, whose poetic work was first presented comprehensively in 1982 at the Berlin Merve Verlag publishing house, published his poetic works in literary magazines, on the occasion of exhibitions and in the context of international mail art. He published poetic cycles as self-published booklets. For several years now, photography and exhibitions have been the focus of his poetic exercises. The exhibition, conceived by artist Christian Schiebe, includes exemplary text-image cycles, publications, typewriter poetry, photography and readymade poetry. Opening: Saturday, 14. March 2026, 3 pm –7 pm Exhibition […]

until (to follow) | #4975ARTatBerlin | ARTES Berlin show from Tuesday, 3. March 2026, the exhibition Pop Shop. Pop is everywhere. In our media, in our advertising, in our consumer behavior. What millions see, share, and desire daily has been elevated to art in Pop Art. The Pop Art pioneers of the 1950s and 60s made mass appeal their subject matter: They isolated everyday images, product worlds, and icons from their original context and transformed them into powerful, recognizable visual symbols. The reproducible became unique. With our new exhibition concept, ARTES Pop-Shop, we embrace precisely this idea. Throughout the year, we present a rotating selection of significant Pop Art works—directly accessible, directly experienceable. What once began as artistic provocation is now itself part of global pop culture. Opening: Tuesday, 3. March 2026 Exhibition dates: Tuesday, 3. March 2026– (to follow)     Image caption: Roy Lichtenstein: Bild “Crying Girl (Mailer)” (1963) by cortesy of ARTES Berlin Exhibition Pop Shop – ARTES Berlin | Zeitgenössische Kunst Berlin – Contemporary Art | Exhibition Galleries Berlin | ART at Berlin

until 11.04. | #4962ARTatBerlin | janinebeangallery shows from Thursday, 12. March 2026 the exhibition Crowds by the artist Nick Zinner. With “Crowds,” the janinebeangallery Berlin presents a focused selection of photographic works by Nick Zinner. The exhibition shows exclusively photographs from 2003 and 2004, a formative phase both in Zinner’s artistic development and in the context of international music and club culture of the early 2000s. Nick Zinner is internationally known as the guitarist and songwriter of the New York band Yeah Yeah Yeahs. Since the band’s founding in 2000, he has significantly shaped its characteristic sound – with precise, often edgy guitar work that oscillates between post‑punk energy, noise elements, and melodic restraint. Together with singer Karen O and drummer Brian Chase, Zinner developed a musical language that played a decisive role in the band’s international breakthrough in the early 2000s. The Yeah Yeah Yeahs are among the central protagonists of New York’s indie‑rock scene of that era. With their debut album Fever to Tell (2003) and songs like Maps, the band became known worldwide. Their concerts were marked by intense physical presence, direct proximity to the audience, and an emotional immediacy that reflected the spirit of a generation. The […]

until 18.04. | #4959ARTatBerlin | KLEMM’S (Downstairs) shows from Friday 20. March 2026 the exhibition hyper-soft: double-down by the artists Maxime Chabal, Marcus Nelson and Sarah Neumann. hyper-soft: double-down brings together works that hover at the threshold between the bodily, the psychological, and the architectural. Spanning drawing, installation, and painting, hyper-soft: double-down unfolds as a field of tension. On one hand, the works mirror a social anxiety embodied through architectural containment and repression. On the other, they pry open these conditions, gesturing toward flight, shelter, and ambiguity, as industrial materials and formal vocabularies are appropriated and transformed into gestures of tenderness. Opening: Friday, 20. March 2026, 6 until 9pm Exhibitions dates: Friday, 20. March 2026 until Saturday, 18. April 2026     Title image caption: Marcus Nelson, Muzzle (III), 2025. Steel window grate and oil on canvas, 90 x 80 cm. Courtesy of the artist. Exhibition Hyper-soft: double-down– KLEMMS | Zeitgenössische Kunst in Berlin | Contemporary Art | Exhibitions Berlin Galleries | ART at Berlin

until 25.04. | #4956ARTatBerlin | BBA Gallery shows from Tuesday, 10. March 2026 (Opening: 07.03.) the exhibition Berlin, A Rough Cut by the artist duo Maria and Natalia Petschatnikov. In their exhibition “Berlin, A Rough Cut,” artist duo Maria and Natalia Petschatnikov transform BBA Gallery into a cinematic storyboard of urban life. The title refers to the filmmaking process: like a first edit, individual scenes and fragments of Berlin are juxtaposed to create a non-linear narrative. The twin sisters approach their practice as “anthropologists of the ordinary,” treating the city’s streets as an ongoing site of field research. Focusing on the neighborhood around Heinrich-Heine-Straße—shared by both their studio and the gallery—the artists explore the constant state of transformation that defines Berlin. With wit and poetic precision, they give meaning to the seemingly insignificant traces of daily existence. “Berlin, A Rough Cut” is a reflection on time and space, capturing the present as a fleeting film still held for a moment before it disappears, inviting us to see the city as a living, unfinished archive. Opening: Saturday, 07. March 2026, 6–9 pm Exhibition dates: Tuesday, 10. March – Saturday, 25. April 2026     Titel image caption: Maria & Natalia Petschatnikov […]

until 02.04. | #4952ARTatBerlin | ChertLüdde shows from 24. February 2026 (Opening: 22.02.) the exhibitions After Totality by the artist Monia Ben Hamouda and The Long Pond by the artist Rodrigo Hernández. In her upcoming exhibition at ChertLüdde, Monia Ben Hamouda presents “After Totality.” The title refers to her recent exhibition “Path of Totality,” which was on view at the Museo Casa Rusca in Locarno (September 20, 2025 – January 11, 2026). In astronomy, the term “path of totality” refers to the area of ​​the Earth from which a total solar eclipse is visible, when the moon completely obscures the sun and daylight briefly gives way to darkness. For Ben Hamouda, this phenomenon becomes a metaphor for the present, overshadowed by war, a worsening climate crisis, and the resurgence of fascist and racist ideologies. “After Totality” thus alludes to a fragile threshold: the uncertain, tentative possibility of a new beginning after the darkness. Rodrigo Hernández, Detail of I wonder how quickly you will forget about me in Paris (P+R), 2026, Bronze, 2 elements, Courtesy of the Artist and ChertLüdde, Berlin Rodrigo Hernández (born 1983 in Mexico City) works with drawing, painting, relief, sculpture, and installation, creating meticulously composed visual constellations […]

until 04.04. | #4949ARTatBerlin | neugerriemschneider (Linienstrasse) shows from 3. March 2026 (Opening: 28.02.) the exhibition Keep On by the artist Thilo Heinzmann. Following the publication of his latest monograph, Thilo Heinzmann presents selected sand paintings in Keep On, the artist’s fourth solo exhibition at neugerriemschneider. In these works, the latest results of his exploration of composition, texture and color, the white of the base of his pigment paintings is inverted into the complementary non-color black. Sand and pieces of glass, subtractive gestures and impasto application of black on black create a brilliant interplay of light and depth that always appears new and different depending on the point of view. After three decades of conceptual painterly investigation along the antagonisms and synergies of idea/process, chaos/precision and tradition/innovation, these new paintings build on the artist’s previous bodies of work. In their reduction and rigor, they concentrate Heinmann’s work, in which the individual elements continually relate to one another and question one another. Heinzmann’s painting practice is a continuous search for something new in a medium that is repeatedly presented as having been told. Using both traditional and unconventional techniques, the artist questions materials as diverse as Styrofoam, parchment, aluminum, pressboard or […]

until 18.04. | #4946ARTatBerlin | Galerie Dittmar shows from Saturday, 21. February 2026, an exhibition by the artist Nora Schattauer. Nora Schattauer, born in Duisburg in 1952, lives and works in Cologne. Exhibitions and participations include the Neues Museum Weserburg, Bremen, the Museum Kunstpalast, Düsseldorf, the Hamburger Kunsthalle, the Kunstbibliothek Staatliche Museen zu Berlin, and the Museum Ostwall, Dortmund. Since 2010, she has been the editor of monographic booklets on contemporary drawing. Numerous publications and workbooks. 2020 Fritz Winter Prize. 2021 Catalogue raisonné of artist’s books published by Walther König. Works in Berlin, Kupferstichkabinett; Kunstmuseum Bonn; Kupferstichkabinett Dresden; Museum Kunstpalast Düsseldorf; Hamburger Kunsthalle, among others. Nora Schattauer deals with questions of form and image processes that transcend conventional genre boundaries. She experiments with new methods, working with chemical solutions and mineral salts. The substances react with the paper, forming compounds; the result cannot be entirely controlled, but experience allows for some degree of control. Structured composition and colorful appearance are inextricably interwoven; the microscopic diversity of forms evokes associations with nature, the pulsation recalls memories of processual events. There is a slight movement, a vibration in the surface, an oscillation in the depth, an interplay of line and color, and […]

until 25.04. | #4942ARTatBerlin | Persons Projects shows from 21. March 2026 (Opening: 20.03.) the exhibition Phantasma by the artist Ritta Päiväläinen. The series, titled Phantasma, was created in the dramatic, isolated landscapes of Iceland and Lapland. Phantasma evokes the fleeting, ghostly presence of her textile installations, capturing ephemeral moments where memory, imagination, and nature converge. Since 1997, Päiväläinen has photographed and produced site-specific fabric installations within natural environments. She has developed a singular visual language, creating delicate, temporary interventions in remote, pristine places seemingly untouched by human activity. She selects her locations with care, choosing forests, valleys, or riverbanks as the stage for her work. Using second-hand clothing and found fabrics, she constructs temporary organic sculptures that engage with the landscape, forming fragile shelters and intimate spaces that evoke childhood memories and invite reflection on our relationship with nature. The installations are ephemeral, existing only briefly in the landscape before being carefully dismantled. Their memories are preserved through a single photograph that captures their delicate presence, with the artist patiently awaiting the perfect interplay of light, wind, and atmosphere. These images transform ephemeral gestures into enduring works of art, revealing a poetic tension between the familiar and the unfamiliar, […]

until 05.05. | #4650ARTatBerlin | Galerie Kremers shows from 13. February 2026 the exhibition ABSTRACT – North America – Germany – An Atlantic Bridge II – NOW? with works by the artists Christian Achenbach, Fiona Ackerman, Adochi, Claudia Chaseling, Jonni Cheatwood, Virginia Glasmacher, Gregor Hiltner,  Juan Logan, Natascha Mann, Robert Rauschenberg, Robert Szot, Howard Sherman, Ernst Weil and Taylor A. White. This is a continuation of the 2019 exhibition “The New Abstract – An Atlantic Bridge – USA – BERLIN”, featuring both established and emerging artists from both sides of the Atlantic. Given the deteriorating political relations, one might expect a breakdown rather than the rebuilding of bridges; yet this is not the case in the realm of art. Since the days of De Kooning and Kurt Schwitters, a dialogue has been taking place across the transatlantic bridge in the universal language of painting, through which the partners have mutually influenced and enriched one another. Social media and the globalisation of the market have further reinforced this trend. One could say that the artists are weaving a shared visual language through a rampant process of mutual appropriation. We have taken account of the fact that this dialogue also takes place […]

until 21.02. | #4943ARTatBerlin | BBA Gallery shows from Wednesday, 11. February 2026 the exhibition Selling Romance By The Pound by the artist Marco Di Coscio. The collection’s title is a reference to the Genesis album *Selling England by the Pound* from 1973. Di Coscio understands “romanticism” here as a commodity—an idealized, softened version of the self that his subjects present to the camera. Deeply rooted in his experience in film directing and method acting, Di Coscio’s work explores the “transaction” between subject and viewer: How much of our “authentic self” are we willing to give up in order to be seen? Inspired by the technical clarity of great masters like Mark Seliger and Albert Watson, Di Coscio’s real focus lies in the moment when the charade crumbles. His portraits capture the raw tension and fragility that remain when the “mask” falls, revealing the fine line between conscious self-presentation and the desperate defense of one’s inner self. The exhibition showcases a wide range of global subjects, including actors and athletes, sex workers, Nepalese monks, and people with disabilities. By portraying these diverse individuals with the same visual rigor, Di Coscio creates a democratic space of visibility. He compels the viewer […]

until 11.04. | #4936ARTatBerlin | Galerie Schindler shows from Thursday, 12 February 2026 the exhibition “Im Wasser” by the artist duo Parallelparadies. In “Im Wasser”, the artist duo Parallelparadies – consisting of painter Annette Beisenherz and sculptor Wilken Skurk – presents recent collaborative works developed through an ongoing artistic dialogue. Parallelparadies, Not Ready, 2024, Mischtechnik auf Holz, 90 × 87 cm. Founded in 2023, Parallelparadies brings together contrasting elements within a shared pictorial space. Abstract, fluid backgrounds created through poured paint encounter realistic figurative scenes. Chance and intention, the unconscious and the conscious, abstraction and figuration coexist in deliberate tension. Parallelparadies, Ohne Titel, 2025, Mischtechnik auf Holz, 125 × 110 cm. The works explore themes of human relationships, communication, dependency and balance. Motifs such as surfacing and submerging, confinement, doors, keyholes and keys point to transitional states – moments poised between fear and ecstasy, emergence and disappearance. Parallelparadies, Ringen, 2024, Mischtechnik auf Holz, 152 × 137 cm. Through their joint artistic process, Parallelparadies seeks to visualize the limits of communication and, at the same time, to overcome them on an image-based level. The resulting works form a shared visual territory in which differing perspectives remain distinct while entering into a […]

until 18.04. | #4934ARTatBerlin | Galerie kajetan Berlin shows from Saturday, 14. February 2026 (Opening: 13.02.) the exhibition proof of existence by the artist Izabel Angerer. Galerie kajetan is pleased to present proof of existence, the first solo exhibition of the Austrian artist Izabel Angerer (*1969) in its spaces. The exhibition gathers her most recent works on paper and aluminum, emerging from line, perforation, and a precise engagement with material. They occupy a space at the intersection of drawing, painting, and object. Angerer’s practice is based on a focused yet open working process. Her densely placed lines testify to precision while being carried by minimal deviations;  perforations accumulate progressively but never uniformly, shifting their rhythm and activating the support into a dynamic surface that can, at times, appear tactile. Izabel Angerer | proof of existence | Exhibition view 2026 | Courtesy the artist & Galerie kajetan | Photo: Gunter Lepkowski The artist’s individual marks are never conceived as isolated gestures but always as parts of a sequence. Meaning arises from the temporal dimension of artistic creation—the continuous repetition, deviation, and spontaneity that shape each of the exhibited works. Her theoretical point of reference is the thought of the pre-Socratic philosopher  […]

until 21.03. | #4930ARTatBerlin | Kristin Hjellegjerde Gallery Berlin shows from Saturday, 14. February 2026 (Opening: 13.02.) the exhibition Picked an Orange for a Renaissance Girl by the artist Anders Scrmn Meisner. A woman lying within a giant oyster shell within a blue garden. A ring lying on a blanket of grass. Kimono-wearing dancers swaying within a wall of leaves. Danish artist Anders Scrmn Meisner’s latest paintings draw on sense memories and the language of shared symbolism, inviting us into a cocoon of romance, beauty and connection. The exhibition’s title painting “Picked an Orange for a Renaissance Girl” captures the mood. It evokes the idea of stepping back to a simpler time, when we were perhaps more in touch with the natural world and our emotions, when the gift and receipt of an orange was enough to convey love, admiration or simply, mutual understanding. But as with all of Meisner’s works, the line as well as the composition itself – an orange stretched almost to the full parameters of the canvas – has a playful knowingness about it. Here, the artist is relishing in the luxury of painting a piece of fruit, of imbuing it with importance, while in full […]

until 04.04. | #4928ARTatBerlin | Galerie mutare shows from Saturday, 31. January 2026 the exhibition “Malerei, Grafik und Objekte” by the artist Erika Stürmer-Alex. Erika Stürmer-Alex (signature EST), born in Wriezen/Oderbruch in 1938, studied painting, graphic design and architectural art at the Berlin-Weißensee Art Academy from 1958 to 1963. She then moved to Woltersdorf near Erkner. She travelled to countries in the Eastern Bloc as well as Paris and Venice, and after the fall of the Berlin Wall, to Naxos, Brazil, London and New York. Since 1982, she has lived near Frankfurt/Oder, where she established the Kunsthof Lietzen. Here, EST continued the art courses she had been giving at the Kulturhaus Rüdersdorf since 1969. In 1991, she co-founded the artists’ association ‘Endmoräne’. In 1992, she received the Brandenburg State Sponsorship Award. In 1994, she was a guest of honour at Villa Massimo in Rome. In 2015, she was honoured with the Brandenburg Art Prize for her life’s work. Since 1990, her works have also been featured in international exhibitions. Works by Erika Stürmer-Alex can be found in the following collections, among others: Berlin State Museums/Prussian Cultural Heritage Foundation, Museum Barberini, Potsdam; Minsk, the Kunsthaus Potsdam; National Gallery; Brandenburg Art Collections […]

until 07.03. | #4924ARTatBerlin | Galerie Inga Kondeyne shows from Friday, 30 January 2026 the exhibition “Punktspiel” by the artist Johannes Regin. With Punktspiel, Johannes Regin unfolds a distinctive resonant space centred on the fleeting, the overlooked and the deliberately imperfect. His subtle point structures invite close looking and patient perception, revealing minute deviations, rhythmic shifts and traces of earlier marks beneath the surface. Regin works in close dialogue with his chosen materials. Whether drawn, painted, incised or embedded, each point follows an internal system that the artist increasingly disrupts through self-generated traces. Found materials act as counterparts whose cracks, breaks and histories are integrated through layered over-drawing, producing a fragile balance between control and openness. Stronger colours enter from the edges, expanding the grid into pulsating fields. Memory traces remain unfixed, forming a visual network that continues to evolve through perception. In parallel, Wichtendahl Galerie presents the exhibition backstage: REINHARD WÖLLMER | circles. Opening: Friday, 30 January 2026, 5:00–8:00 pm Exhibition dates: Friday, 30 January until Saturday, 7 March 2026     Image caption title: Johannes Regin, o. T., 2025, Marker und Lack auf Karton, 13,3 × 8,5 cm. Exhibition Johannes Regin – Galerie Inga Kondeyne | Zeitgenössische Kunst […]

until 14.03. | #4922ARTatBerlin | WENTRUP shows from Friday, 30. January the exhibition hey, I’m still here by the artist Jeehye Song. Wentrup is pleased to present Jeehye Song’s first solo exhibition with the gallery: hey, I’m still here. The exhibition opening will take place on Friday, January 30, from 6 to 8 p.m. and will run until March 14, 2026. In Stephen Hawking’s black holes, the world curves inward. Mass accumulates, time loses its direction, and everything visible is pushed to a boundary beyond which meaning does not disappear but becomes more concentrated. Black holes are not emptiness, but superabundance. Jeehye Song’s paintings have a similar effect. Her paintings show bodies and faces that dissolve and shift, their contours unstable. Identity seems to disintegrate at the moment of viewing. The bodies flow, skin becomes color, color becomes movement. The fluidity creates both closeness and unease. One recognizes bodies, but cannot hold on to them. Like water, they are in flux, and therein lies their courage: not to freeze. Hawking’s event horizon is a boundary of knowledge. In Song’s paintings, it is the boundary of the self. One does not see the whole, but traces, like light reaching the edge […]

until 28.02. | #4919ARTatBerlin | Meyer Riegger Berlin shows from Friday, 23 January 2026 the exhibition “ALLEMANN” by the artist Paulo Nazareth. With ALLEMANN, Meyer Riegger in Berlin presents a new exhibition by Paulo Nazareth, whose practice operates at the intersection of painting, language, performativity and cultural attribution. Nazareth explores questions of identity, belonging and cultural coding, situating them within broader social and political contexts. The exhibition title points to linguistic shifts and ambiguities and exemplifies Nazareth’s approach, in which meanings remain deliberately open rather than fixed. His works engage with signs, colours and references that both reveal and challenge cultural narratives. In the paintings presented in Berlin, these concerns are condensed into a precise and reduced visual language. Formal clarity meets conceptual depth, opening up a space in which cultural identity emerges as a dynamic and negotiable process. Opening: Friday, 23 January 2026, 6:00–9:00 pm Exhibition dates: Friday, 23 January until Saturday, 28 February 2026     Caption image title: Paulo Nazareth, Sem título [Camisa 10], AlemaN’o / Série Amarelo-Laranja, 2025, Acryl auf Leinwand, 40 × 30 cm. Exhibition Paulo Nazareth – Meyer Riegger | Contemporary Art – Zeitgenössische Kunst in Berlin – Ausstellungen Berlin Galerien – ART at […]

until 18.03. | #4918ARTatBerlin | Semjon Contemporary shows from Friday, 30. January 2026 (Opening: 29.01.) the exhibition Ode from Japan – Japan in Berlin by the artists Takayuki Daikoku, Renate Hampke, Mayako Kubo, Taijoh Mori, Teppei Miyaki, Cornelia Nagel, Kazuki Nakahara, Ursula Sax, Ken‘ichiro Taniguchi, Hitomi Uchikura and Tomoyuki Ueno. The reunification of Germany and the parallel phase of intense globalization sustainably accelerated international exchange. In this context, Berlin developed into a central site for the production of contemporary art and attracted a growing community of Japanese artists. This development is rooted in a long tradition of cultural exchange between Japan and Europe. European modernism is closely linked to the reception of non-European art. In particular, the Japanese woodblock print influenced French Impressionists as well as German Expressionists, including artist groups such as Der Blaue Reiter and Die Brücke. As early as the late 19th century, Japanese woodblock prints were widely circulated in Europe; artists such as Franz Marc owned and studied these works. Especially influential were the works of Katsushika Hokusai, whose Great Wave is today among the most widely recognized prints worldwide. As early as 1931, a comprehensive exhibition of contemporary Japanese art was realized in Berlin. Against […]

until 08.03. | #4914ARTatBerlin | Luisa Catucci Gallery shows from Thursday, 29. January 2026, the group exhibition Nature’s Signature by the artists Zak van Biljon, Tom Kretschmer and Samanta Malavasi. Nature’s Signatures unfolds a sensitive dialogue between art and nature, bringing together three solo exhibitions in which the artists each explore the subtle inscriptions of nature. On the upper floor, Zak van Biljon uses near-infrared light to open up new perspectives on landscapes by revealing areas of color that are normally hidden from the human eye, thus enabling an expanded perception of reality. On the ground floor, Tom Kretschmer follows the movements of water and time in video works and analog installations that tell of rivers, sediment, and memory. In the immediate vicinity, Samanta Malavasi’s monochrome canvases invite viewers to engage in introspective contemplation, in which natural forms resonate with mental states and hint at subtle connections between the outer world and inner landscapes. Together, these three positions form a kind of cartography of nature’s signs—an invitation to pause, observe, listen, and re-perceive a world that communicates incessantly: through visible and invisible gestures, legible to those who take the time to follow them attentively. Modernizing Nature by Zak van Biljon […]

until 21.03. | #4911ARTatBerlin | Robert Morat Galerie shows from Saturday, 17. January 2026 (Opening: 16.01.) the exhibition Tres Viajes by the artist Jörg Brüggemann. The three-part series Tres Viajes by German photographer Jörg Brüggemann is dedicated to exploring Chile—its landscapes, its people, and the complex relationships that unfold between individuals. Mi Madre Tiene Novio (2018) is a deeply personal examination of grief. Ten years after his mother’s death, Brüggemann embarks on a search for her. Starting in Chile, he crosses the South American continent and returns to the place where he once received the news of her death—a journey through South America marked by memory and loss. Jörg Brüggemann, Mi Madre Tiene Novio No.7, 2018 A year later, he created the series El Derecho De Vivir En Paz (2019). Upon his return to Chile, Brüggemann encountered a country in a state of social upheaval. The population rose up against political injustice, and the streets became the scene of protest and violence. As a witness to this historic moment, his work allows viewers to immerse themselves directly in the dynamics of the uprising. The concluding series, Aguas Que No Has De Beber (2022), takes the form of a poetic essay. […]

until 25.01. | #4908ARTatBerlin | Galerie oqbo shows from Friday, 9 January 2026 the group exhibition “GRANULAR” with works by Achim Kobe, Maike Schröder, Anna Schuster, Renate Wolff and Julia Ziegler. The group exhibition “GRANULAR” brings together artistic positions that examine spatial perception, movement and the tension between continuity and fragmentation. Departing from the idea of a granular space-time, the exhibition considers perception and orientation not as continuous flows, but as sequences of discrete steps. This theoretical notion is translated into visual, material and spatial configurations. Achim Kobe presents paper works from 2018 based on linear abstract structures. Within a self-imposed system, serial deviations emerge that make the relationship between order and disturbance visible. Using resin-bound pigments on handmade paper, Kobe creates transparent layers of colour, built either wet-on-wet or in carefully structured strata. The works aim at formal complexity while maintaining a reduced haptic presence. Maike Schröder, Night Lines, 2024, transparenter Fotoabzug über Licht/Holografiecollage, 180 × 120 cm. Maike Schröder’s work “Night Lines” extends painting beyond the canvas into space. Light, shadow, reflection and photographic elements enter into dialogue, expanding the image into the architectural environment. Her practice addresses space not only as a physical condition but also as […]

until 07.02. | #4904ARTatBerlin | Haverkampf Leistenschneider presents from Wednesday, 7. January 2026 a solo-exhibition by the artist Heidrun Rathgeb. Galerie Haverkampf Leistenschneider presents a body of small-scaled works by Heidrun Rathgeb in their Gallery Cabinet. Living and working near Lake Constance in southwestern Germany, the surrounding light and landscape deeply informs her intimate egg tempera paintings, luminous and patiently layered. Working from plein air sketches that she calls her “daily epiphanies,” she translates lived moments (never photographs) into layers of color and light that evoke both connection and devotion. Heidrun Rathgeb, Füße in San Mamete (Feet in San Mamete), 2025, egg tempera on gesso on panel, 14 x 9 cm Influenced by early Sienese painters as well as modern artists like Winifred Nicholson and Paula Modersohn-Becker, Rathgeb approaches painting as an act of attention and care, drawing inspiration from her family, home, and long hikes through the Alps, Norway, and Scotland. Heidrun Rathgeb, Zeichnen bei Nacht (Drawing at Night), 2025, egg tempera on gesso on panel, 8 x 12 cm Heidrun Rathgeb (b. 1967) received her MFA in London at the Slade School of Fine Art, after attending the Byam Shaw School of Art. She has held recent solo exhibitions at Sea View, […]

until 10.01. | #4901ARTatBerlin | Galerie SCHMALFUSS BERLIN currently shows the group exhibition In the Mood. With artworks by Ariane Boss, Martin Wehmer, Andreas Amrhein, Roland Stratmann, Johannes Schramm, Hans Scheib, Bernd Schwarting, Susanne Auslender, Elvira Bach, Martina Ziegler, Jürgen Paas, Christiane Grimm, Florian Pelka, Georg-Friedrich Wolf, Jürgen Jansen, Carola Schapals, Sonja Weber Exhibition dates: Saturday, 29. November 2025 until Saturday, 10. January 2026     Image caption title: Martina Ziegler, Nature under construction No 04, right, 2025, Lacquer on pigment, Alu-Dibond, 448 x 448 cm Exhibition In the Mood – Galerie SCHMALFUSS BERLIN – Zeitgenössische Kunst – Exhibitions Berlin Galleries – ART at Berlin

until 07.02. | #4896ARTatBerlin | Laura Mars Gallery is currently showing the exhibition Seasonal Detox by the artists Martin Eberle, Ernstina Eitner, Robert Gfader, Thomas Rentmeister, Vincent Tavenne, Ina Weber, Marcus Weber and Reinhard Wilhelmi. Exhibition dates: Saturday, 13. December 2025 – Saturday, 07. February 2026 Winter break: Saturday, 20. December 2025 until Wednesday, 14. January 2026     Title image: Marcus Weber, Ente, 2020, Öl auf Leinwand, 60 x 90 cm Group Exhibition Seasonal Detox – Laura Mars Gallery | Zeitgenössische Kunst Berlin | Contemporary Art | Exhibitions Berlin Galleries | ART at Berlin

until 17.01. | #4893ARTatBerlin | Kuckei + Kuckei shows from Wednesday, 17. December 2025 the exhibition Solo by the artist Jörn Vanhöfen. „The idea was exhilarating, but as is so often the case, putting passion into practice proved to be arduous. In this case, I wanted to hike 681 kilometres across Germany from west to east, from my hometown of Dinslaken on the edge of the Ruhr region to Berlin.“ (Jörn Vanhöfen) A hike as a farewell to childhood and the time that followed. Farewell to the surroundings that shaped you. Farewell to memories. Moving away, on foot. Slowly, the roofs of childhood disappear on the horizon. New horizons open up. A hike with two aspects. The personal separation from a place. Mentally and physically. At the same time, an encounter with Germany. On a march from west to east. Encountering places that leave their mark on the hiker. Alternating between horror and beauty. Everyday life in Germany, in other words. Jörn Vanhöfen’s photographic mosaic pieces describe the journey without the cynical pathos of arrogance. It is what it is. We have to come to terms with that. Denis Brudna Opening and Talk: Wednesday, 17. December 2025, 6 pm Exhibition […]

until 31.01. | #4890AARTatBerlin | Galerie kajetan Berlin shows from Saturday, 13 December 2025 (Opening: 12.12.) the exhibition “Sidetracked” by the artist Marc Nagtzaam. Galerie kajetan is pleased to present Sidetracked, a solo exhibition by Dutch artist Marc Nagtzaam (*1968). The exhibition brings together recent graphite drawings and new Riso prints in which Nagtzaam expands his characteristic, geometrically inflected visual language through the use of color for the first time. Since the late 1990s, Nagtzaam has developed a drawing practice sustained by the tension between order and deviation. His works emerge slowly, layer by layer, as successive condensations of surfaces and rhythms. Drawing itself becomes the subject of the work — a process that records time, constructs visual space, and directs attention to the fundamental element of any image: the line.  Marc Nagtzaam, Sidetracked, Exhibition view, Courtesy the artist & Galerie kajetan, Photo: Gunter Lepkowski In A Collection of Pages (2025), Nagtzaam creates a system of rectangular fields that seem to follow the logic of a grid, though their continuity is deliberately broken by intentional gaps. The open passages, revealing the support — the paper — and early drawing layers, testify to the linear buildup of the composition and make […]

until 19.12. | #4887ARTatBerlin | Galerie alexander levy currently shows the exhibition Frank by the artist Fabian Knecht. Frank (2025) fills the exhibition space with a crackling and popping sound that is difficult to locate. The source of the sound—hidden behind a wall—comes from bubbles bursting in joint fluid. The work reveals a functional connection that is relevant to all of the exhibits: the physically demanding activity of art handling, which is a prerequisite for art to be receivable at all. For this work, Fabian Knecht regularly visits his chiropractor Frank, who also provides the sound basis for the work. Fabian Knecht, “Lachen ist verdächtig (Ist Fabian sich sicher, dass die Stoffe bunt sind?)”, 2025, Transport trolley, textile, 158 x 132,5 x 100 cm, courtesy of the artist and alexander levy, Berlin. Photo Fabian Knecht Two other works— Laughter is Suspicious (Is Fabian Sure the Fabrics Are Colorful?)) (2025) and Siegfried (2025)—were created by other artists and brought to the art space by Knecht. He has been supporting civil resistance in Ukraine in this way since 2022. The shapeless masses of textiles are camouflage nets that were knitted by the civilian population at the beginning of the war. Their significance […]

until 20.12. | #4879ARTatBerlin | Loock Galerie shows from Friday, 21 November 2025 the exhibition “Das Denkmal” by the artist Sibylle Bergemann. LOOCK presents “Das Denkmal” (1975–1986), one of the most significant bodies of work by German photographer Sibylle Bergemann (1941–2010). Across this long-term documentary series, Bergemann followed the creation of the Karl Marx and Friedrich Engels monument in East Berlin, commissioned by the GDR government and inaugurated in 1986. Her images capture the process with a precise and subtly ironic documentary approach, marked by ambiguity, distance and a keen observational lens. The exhibition runs in parallel with the presentation Le Monument at the Fondation Henri Cartier-Bresson in Paris. A selection from the series was also shown at Paris Photo 2025, positioning the work within a broader international discourse. A publication accompanying the exhibition has been released by Kerber Verlag (eds. Frieda von Wild, Lily von Wild & Sonia Voss). It includes both iconic and previously unpublished photographs, as well as an extensive historical and critical reception of the work from the 1980s to today. Essays expand on historical, sociopolitical and photographic theory perspectives, reframing “Das Denkmal” as a landmark project at the intersection of art, ideology and collective memory. […]

until 31.01. | #4881ARTatBerlin | Kuckei + Kuckei shows from Friday, 28. November 2025 the exhibition The minimal input by the artist Ingo Gerken. Ingo Gerken’s series of works entitled ‘Bibliosculptures’ engages in visual dialogue with international book publications on contemporary art history. Temporary object interventions are created in public art libraries, taking place directly in the books and thus establishing contact with the works printed there. This results in a coexistence of object and image, a fusion of perspectives, an associative exchange or a formal-aesthetic leap. At the interface between everyday artistic life and art-historical research, selected books become an expanded space for play and reception: trivial objects encounter significant works of art, shifting the boundaries between discourse and banal reality. Art and art books become accessible from new perspectives. In his photographs, Ingo Gerken creates fleeting sculptural constellations in the field of tension between representation, reference and resistance, which also question the relationship between authorship and artistic appropriation. He always understands the depicted works of art in the context of their journalistic reproduction and sees the open book as a mentally open terrain for poetic expansion or system-critical commentary. The works are sculptural assertions and contextual links between […]

until 17.01. | #4877ARTatBerlin | Galerie mutare shows from thursday, 27. November 2025, the exhibition “Innige Landschaften” the exhibition Shuji Hijiya. Shuji Hijiya (1942–2018) was a Japanese painter who spent most of his life in Germany. After his first exhibitions in the 1970s, he withdrew from the art world to continue working in complete seclusion. Many of his works remained unseen until his death – paintings that are only now coming to light, decades after they were created. Born in Japanese-occupied China in 1942, the painter first studied sociology in Tokyo before moving to Vienna and later to Germany. Over the course of decades, he developed his own unique, Western-influenced visual language in Ostholstein and Berlin. At the same time, his painting remained imbued with a Far Eastern sense of emptiness, time and transience. The exhibition “Intimate Landscapes” invites visitors to discover this work. In his paintings, Hijiya develops a form of still life of the soul: not a naturalistic representation, but a condensation of perception and memory. Opening: Saturday, 29. November 2025, 2 pm. Exhibition dates: Thursday, 27. November 2025 until Saturday, 17. January 2026     Title image caption: Shuji Hijiya, o.T. (confidence) I (Ausschnitt) I Öl/Lw | […]

until 18.04. | #4874ARTatBerlin | GALERIE STEFAN RASCHE shows from 21. November 2025 the exhibition Metropolis! People! Technology! Danger!. From 21. November 2025 to 18. April 2026, the gallery will present a group exhibition that, for the first time, brings together works of Modernism from 1920 to 1970 with positions in contemporary art. Under the alarming title “Metropolis! People! Technology! Danger!”—borrowed from a 1966 crime film—the exhibition focuses on urban spaces and architectures, on construction sites, industry, and transportation. This thematic focus has long played a central role in the gallery’s program. The selection of modern works follows this line as well and is displayed in dense arrangement on a large, colorfully designed wall. Paintings, drawings, and graphic works present a wide range of 20th-century depictions of cities and architecture. Pieces from Classical Modernism, Expressionism, and New Objectivity transition into various forms of representational-realistic postwar art. Different viewpoints and moods emerge—from the bustling activity of the metropolis to melancholic scenes of deserted streets and squares. Berlin motifs appear frequently, as many of the featured artists studied, lived, and worked in the city. Means of transportation—cars, airplanes, trains—also become subjects of artistic exploration. Although the collection includes well-known names, a key focus […]

until 18.01. | #4872ARTatBerlin | Galerie Judin (Tankstelle) shows from 15. November 2025 (Opening: 14.11.) the exhibition “Cloud Fever“ by the artist Adrian Ghenie. In this new body of works, Ghenie examines a society increasingly absorbed by social media and digital routines. Starting from the familiar image of a person eating breakfast while staring at a smartphone, the works address the consequences of excessive screen time: shrinking attention spans, weakened judgment, emotional amplification through algorithms, and the erosion of real-world interaction. The concept of “brain rot,” Oxford’s Word of the Year in 2024, serves as a point of departure for Ghenie’s artistic response. Ghenie himself has never engaged with social media, a position that grants him distance — though not without a certain envy for the effortless digital fluency of younger generations. As in his earlier series, he approaches the subject with quasi-scientific detachment, this time less as a historian and more as an anthropologist observing a new human type: the Homo digitalis. This species commands unprecedented access to information yet retreats into algorithmically curated digital worlds. For Ghenie, digitalization resembles a new ideology — one that simplifies complex realities while simultaneously producing fragmentation and echo chambers. The figures in […]

until 20.12. | #4869ARTatBerlin | Contemporary Fine Arts presents from Saturday, 15. November 2025 (Vernissage: 14.11.), the exhibition “Sons” by the artist Archie Rand. Contemporary Fine Arts presents, in cooperation with Max Werner, “Sons” by American artist Archie Rand — his first solo exhibition in Germany. Born in Brooklyn, New York, in 1949, Rand is one of the most important voices in contemporary painting at the intersection of text, religion, and pop culture. For over five decades, he has been exploring the relationship between word and image in monumental series of works — often inspired by Jewish scripture and commentary, but always beyond classical illustration. His visual language is expressive, loud, and full of narrative energy: bright colors, grotesque figures, visual overlays. In his new series Sons (2018–2024), Rand references Francisco de Zurbarán’s Baroque paintings Jacob and His Twelve Sons, which he radically reinterprets. Instead of depicting the biblical patriarchs themselves, Rand paints their dreams – surreal scenes full of knights, dinosaurs, cowgirls, and urban heroes that seem to come from the visual worlds of postwar American comics. These works are both mythological and deeply autobiographical: fragments of a visual memory fed by childhood, religion, and art history. Rand’s painting oscillates between seriousness and playfulness, between religious […]