Courtyard series

© Alessio Constantini

Courtyard series

© Alessio Constantini

Courtyard series

© Alessio Constantini

The Courtyard Series is an ongoing project and platform by interior designers and creatives Andrea Vasquez Medina and Iris Roth. For their first launch,  the duo draws on the columns and totems found throughout the classical Greek and Roman architecture, tying in tradition with modern-day function and aesthetics. Varying in height from 40-90 centimetres, the ceramic-based columns are designed, in close collaboration with local artisans, to serve as freestanding features or legs of tables, seating objects and displays. 


Schlossgut Schwante

Tobias Ziegler © Wolfgang Stahr

Schlossgut Schwante

Alexandra Hopf, spell around the corner

Schlossgut Schwante

Lyyn Chadwick © Wolfgang Stahr

Art enthusiasts are being drawn outside of the city and into nature where the sculpture park Schlossgut Schwante celebrates the addition of three new works in the exhibition “Sculpture & Nature III”. The largely site-specific works continue the theme of art and nature’s connectivity that constitutes the sculpture park’s outdoor ensemble. Coupled with a regional culinary offering and diverse program of guided tours, workshops and concerts, Schwante serves as a full-day excursion just outside Berlin.


Schnepp renou

© Schnepp Renou

“What Now? (Und Jetzt?)” is the question of the current architecture photography exhibition at Nidus Kosmos. Six non-local artists explore places in Düsseldorf, that have been the subject of debate around architecture and city planning for years – urban sites that are waiting for answers. “Und Jetzt?” offers a fresh perspective on the city’s ongoing challenges and aspires to create a platform for architectural discourse. With works of Schnepp Renou, Franziska Krieck, Thilo Rohländer, Sebastian Schels, Annika Feuss und Philip Heckhausen.


© Vitra Design Museum, Grafik: Judith Brugger

Terje Ekstrøm, Ekstrem, 1972 © Vitra Design Museum Foto: Jürgen Hans

Enzo Mari, Box Chair, 1971-1976 © Vitra Design Museum, Foto: Jürgen Hans

Sabine Marcelis, Candy Cube, 2014; Courtesy of Studio Sabine Marcelis

Dutch designer Sabine Marcelis has rearranged the near four hundred objects on display at the Vitra Schaudepot by colour. The annual installation offers a fresh perspective on the Vitra Design Museum collection, drawing cross-references between eras and styles. In one simple, sweeping gesture Marcelis has transformed the collection into a sea of colour, demonstrating why a careful choice of hues and shades is so central to home and furniture design. 


Luis Barragan

Luis Barragán, Los Clubes, Atizapán de Zaragoza (Grossraum Mexiko-Stadt), 1961–1966. Die Brunnenanlage “Fuente de los Amantes” fotografiert von Armando Salas Portugal. © Barragan Foundation / VG Bild-Kunst, Bonn 2022

Luis Barragan

Innenhof und Fensterfront des Ateliers von Luis Barragán an der Calle Francisco Ramírez 12 (Mexiko-Stadt, 1948), fotografiert von Armando Salas Portugal, ca. 1951. © Barragan Foundation / VG Bild-Kunst, Bonn 2022

Luis Barragan

Undatierter Publikationsplan von Barragáns Wohnhaus an der Calle Francisco Ramírez 14 (Mexiko-Stadt, 1948). © Barragan Foundation / VG Bild-Kunst, Bonn 2022

The Vitra Design Museum presents insights into the professional estate of Luis Barragán, one of the most influential Mexican architects of the twentieth century. The Barragán Gallery at Vitra Schaudepot presents drawings and photographs, together with biographical details and an illustrated chronology of modern architecture in Mexico.


Klara Hosnedlova

Klára Hosnedlová, Untitled (from the series nest), 2020, Photo: Boros Collection, Berlin © NOSHE

He Xiangyu,

He Xiangyu, Asian Boy, 2019-2020, Photo: Boros Collection, Berlin © NOSHE

Anna Uddenberg

Anna Uddenberg, FOCUS # 2 (pussy padding), 2018, Photo: Boros Collection, Berlin © NOSHE

With 20 contemporary positions by artists like Anne Imhof, Klára Hosnedlová and He Xiangyu, the Boros Collection presents their next semi-permanent exhibition #4. Inside the monumental bunker, all works reflect on the physical body in one way or another, drawing attention to its fragility, to its (com)modification and objectification through technology—and ultimately questioning our own relationship to our bodies.


Egor Kraft

Egor Kraft, Semi-truth is the Perfect Lie, 2022, generative computational installation, Courtesy alexander levy

Meret Oppenheim

Meret Oppenheim, Poster Pelztasse (fond rouge), 1971, Offset (nach Foto von Man Ray), 53 x 76 cm, Foto: Henning Rogge, Courtesy: LEVY Galerie, © ProLitteris, Schweiz.

Alexander Levy will join forces with his father’s gallery, at least geographically. Both will re-open at the same address in Berlin-Moabit, but their programmes remain separate. While alexander levy focuses on contemporary positions and will inaugurate a space dedicated to video works, LEVY features artists from Surrealism, Nouveau Réalisme, and Pop Art. Their first double-opening during Gallery Weekend Berlin will feature Russian-Austrian artist Egor Kraft who is working at the frontier between art, technology, and activism and a group show with Daniel Spoerri, Meret Oppenheim and Man Ray. 


Bruce Nauman

Bruce Nauman, Practice, Installation view, 2021, © Bruce Nauman/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Courtesy Konrad Fischer Galerie

Bruce Nauman

Bruce Nauman, Untitled (Two Men Shaking Hands), 1994, © Bruce Nauman/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Courtesy Konrad Fischer Galerie

Bruce Nauman, Six Sounds Problems, 1968, © Bruce Nauman/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, Courtesy Konrad Fischer Galerie

In 1968, Bruce Nauman presented his very first European solo exhibition “Six Sound Problems for Konrad Fischer” in Düsseldorf, marking the beginning of what came to be a long-lasting collaboration with the Konrad Fischer Galerie. Now 54 years and 18 solo exhibitions later, Nauman presents the video installation “Practice” at the gallery, a new piece in which he continues to make his body, particularly his hands, the main subject of his work. Framing this installation, the gallery will also show a selection of prints by the artist, which he started during his studies back in the 1960s.


© Philipp Mainzer

John M. Armelder

John M. Armleder, Solid Coated, Installation view, 2022, Courtesy the artist and Mehdi Chouakri Berlin, Photo: Patxi Bergé

© Philipp Mainzer

Sol LeWitt

Serielle Formationen, Installation view, 2022, Courtesy the artist and Mehdi Chouakri Berlin, Photo: Patxi Bergé

© Philipp Mainzer

Gallery Mehdi Chouakri takes on a new location in a former foundry at Wilhelm Hallen, a listed industrial site in the district of Berlin-Reinickendorf. The new space features an exhibition room and accessible archive, the Charlotte Posenenske Cabinet, as well as a study, office and viewable depot. Philipp Mainzer, Office for Architecture and Design, has redesigned the 1,000 square meters of the saw-tooth roof construction. Functionality and an emphasis on the existing structure were at the forefront of the installations and conversions. 


Armenian Pavilion

Andrius Arutiunian, You Do Not Remember Yourself, 2022, Photo: Gabrielė Mišeikytė

For the 59th International Venice Biennale the Armenian Pavilion is renamed after the notion of “gharīb”, a word of almost-cryptogenic origins that has long been associated with clandestine activities of music making, illegal social clubs and the underground. Sound artist and composer Andrius Arutiunian, experiments with the “gharīb” as a dissonance to the prevailing understanding of time, rhythm and attunement with a series of installations and a central large-scale instrument playing with natural resonances and diaphony. 


Christiane peschek

Christiane Peschek, ohne Titel, 2022, Courtesy Christiane Peschek

Alwin Lay

Alwin Lay, Klammer (made in…), 2022, © Alwin Lay, VG Bild-Kunst, Bonn 2022

Marta Zgierska

Marta Zgierska, Afterbeauty IV, 2018, © Marta Zgierska, Courtesy Marta Zgierska

Christiane Erhard

© Christine Erhard

Hito Steyerl

Hito Steyerl, November, 2004, Courtesy of the artist, Andrew Kreps Gallery, New York and Esther Schipper, Berlin

All eyes on sonic and visual media, the biennale düsseldorf photo+ challenges the boundaries of photography as a medium. Institutions, galleries and independent participants collaborate for an entire month, activating the city’s synergies of artistic production and theoretical discourse throughout the festival. The main exhibition at Düsseldorf’s Akademie Galerie “Think We Must” presents works by a diverse set of international artists and questions our perception of images, their context and representation.



Petrit Halilaj & Alvaro Urbano with Annette Frick, Die Blüten von Berlin, Installation view at ChertLüdde, 2022, Photo by Andrea Rossetti, Courtesy of the artists and ChertLüdde

Charlotte Posenenske

Charlotte Posenenske, Series B Reliefs, 1967-2021, Courtesy Mehdi Chouakri

Joan Jonas, Draw on the wind, 2018, Courtesy Heidi Gallery

Bruce Naumann

Bruce Nauman, “Cockeye Lips from Infrared Outtakes”, 2006, Courtesy the artist and Konrad Fischer Galerie

The 2022 edition of Gallery Weekend Berlin shifts the focus back to the physical space. Visitors and local audiences can experience Berlin’s gallery landscape from a different angle and are invited to expand their typical routes with new spaces, for example, at ChertLüdde, Mehdi Chouakri and alexander levy, Annette Kicken, Max Hetzler or Michael Werner. Emerging positions can be found just around the corner from established artists like Bruce Naumann and Hague Yang.


Soeder Store

© Soeder


© Soeder

The skincare products of Zurich-based company Soeder are manufactured locally, contain only natural ingredients and can be refilled throughout Switzerland. Be it soaps, creams, disinfectants, deodorants or lubricants, the team behind founders Hanna and Johann is constantly on the lookout for the latest aromas, often in collaboration with chef friends and other creatives, or even their favourite nightclub.  While the first soaps were conceived in their home kitchen, Soeder now runs its own factory just outside of town and is expanding its refill system across Europe. So be sure to keep your bottle.


Architekturwoche Basel

The first Basel Pavilion, presented on the Dreispitz site. Rendering © isla

How do globalisation, digitalisation, migration, climate change and the pandemic affect the built and unbuilt spaces of our urban environment? The inaugural edition of Architekturwoche Basel will address these questions under the title “Reale Räume” with a focus on three current development sites in Basel and the opening of the first Basel Pavilion. Various formats including tours, moderated talks and roundtables encourage an open dialogue between experts and local protagonists.


Rosemary Mayer

Rosemary Mayer, Untitled (08.26.71), 1971, Estate of Rosemary Mayer, Photo: Estate of Rosemary Mayer

Rosemary Mayer

Rosemary Mayer, Balancing, 1972, Estate of Rosemary Mayer, Photo: Trevor Lloyd and Andrea Rossetti / Chert Lüdde

Rosemary Mayer

Rosemary Mayer, Self Portrait, ca. 1979,   Estate of Rosemary Mayer, Photo: Rosemary Mayer

“Rosemary Mayer: Ways of Attaching” is the first institutional retrospective devoted to the 1943 New York-born artist. The exhibition in the Ludwig Forum Aachen shows an extensive overview of her many drawings, the complete collection of her large-scale fabric sculptures and documentation of her performances. Mayer was one of the founding members of the renowned all-women cooperative gallery A.I.R., weaving feminist activism with a subtle and poetic approach, into her artistic practice.