The Fondation Beyeler presents the first posthumous retrospective of Wayne Thiebaud (1920–2021) in the German-speaking world. Virtually unknown in Europe until now, with this exhibition, the museum continues to offer insight into leading proponents of American figurative art, such as Edward Hopper and Georgia O’Keeffe. Most will recognise Thiebaud for his celebrated still lifes, drawn from everyday motifs in post-war America: pastry displays, sweet treats, stuffed toys, or gumball machines. Yet only a few know that within his 70-year career, he consistently worked on figure paintings and large-scale landscapes too. Common to all are his sophisticated use of colour and a distinctive visual idiom straddling the lines between irony, humour, nostalgia and melancholy.
dóttir returns to its 2015 location, now newly renovated and integrated into the ground floor of the new Château Royal, as a female-led, vegetable-focused establishment. Here culinary director Victoria Eliasdóttir and chef de cuisine Elena Müller serve creative contemporary cuisine set in deep rounded flavours from mindfully sourced produce. The dishes, as individual as the hotel’s interior, combine classic flavours with forward thinking in à la carte and prix fixe menus, complete with a wine list of over 250 positions.
The publication “Berlin. Urban Architecture and Daily Life Since 2009” by Edition Detail documents the continual urban upheaval that has defined the City of Berlin since the opening of the Neues Museum in 2009. In examining 30 separate projects featuring complementary essays and interviews, the book illustrates how architectural icons, unknown discoveries, urban spaces and locales shape everyday life in the city.
The exhibition “Roads Not Taken” at Deutsches Historisches Museum presents an unusual look at the past. Conceived by historian Dan Diner, it explores 14 tipping points in German history that could easily have taken a different turn. To spatially implement the abstract mind game of “Roads not Taken”, scenographers chezweitz created a congenial exhibition design: Using the architectural tools of perspective and trompe l’oeuil, they designed powerful “possibility spaces” that distort or dissolve—depending on the viewpoint: the mind game turns into a visual game.
In “energy/power”, the inaugural exhibition of Max Goelitz’ new gallery space in Berlin, artist Haroon Mirza focuses on the harvesting and distribution of electricity to address socio-political issues deriving from technology, nature and humans. Central to the multisensory presentation is the large-scale octagonal sculpture Dyson Sphere (2021/2022), which combines radiating halogen lamps with solar panels. Simultaneously powering an ecosystem of sound-generating objects and psychoactive plants.
By combining traditional wisdom with current scientific insights, My Inner Health Club gives guidance on various aspects of health and well-being: from coping with stress, restlessness, and anxiety, to sleeping problems or poor nutrition. The streaming service founded by Ann-Kathrin Grebner and Yasmin Poloczek hosts online classes by leading experts and practitioners from across the globe, reviving ancient knowledge overlooked by the modern health system.
Standing, sitting and strolling among 100 of the Beyeler Collection’s most iconic works are not only visitors but thirteen hyper-realistic sculptures by US artist Duane Hanson. Neither beautiful nor ugly, just ordinary at heart. The figures, embodying marginalised collectives of the 70s-80s American society, populate the rooms and enter a dialogue with both the artworks and the architecture. Yet only a special occasion could have attracted such guests, namely the Fondation Beyeler’s 25 Year Anniversary.
Little is known, that even before the outbreak of First World War, the rapidly growing city of Berlin attracted a great number of Hungarian artists. In search of a platform to engage with international audiences and encouraged by the failed revolution in their homeland in 1919, the German capital offered them a place to explore creative freedom. With “Magyar Modern” (Hungarian Modernists) Berlinische Galerie renders tribute to the versatile contribution of Hungarian artists to modern art. Among the artists presented are well-known figures such as László Moholy-Nagy or Marcel Breuer and exciting rediscoveries like Lajos Tihanyi.
With the survey “Ya Estamos Aquí” Ludwig Forum Aachen ties on the long-existing relationship of the museum with Belkis Ayón, a master of print-making and one of the most influential Cuban artists until this day. In her rich collagraphies she combined catholic iconography with depictions of Abakuá rituals, a secret Afro-Cuban cult which she studied extensively. It was by means of these patriarchial motifs that she reflected on her own social, political and emotional struggles—ultimately shaping new mythologies.
Right in the historic centre of Berlin, the former site of Karl-Friedrich Schinkel’s famous Bauakademie will be home to the Federal Bauakademie Foundation. After an intense participation process with experts and citizens on the appearance and the use of the future building, one thing is certain: The Bauakademie is to be a demonstration project of what innovative, future-oriented and sustainable architecture means today and tomorrow—radiating the visionary spirit of Schinkel.
Intended as a place of encounter and grief, the walk-through installation by Colombian artist Doris Salcedo “Palimpsest” will be on display for one year at the Fondation Beyeler. The work records the names of refugees who drowned in the Mediterranean and Atlantic over the past 20 years, either embedded in stone slabs or forming as drops of water and seeping away in a constant cycle of inscription and erasure. It bears a timeless and universal experience by questioning how we collectively mourn, how societies remember and how personal suffering and public space are related.