Exhibition period 28.02 13-04. 2026

Curated by Pawel Jankiewicz

A hacked didactic panel is a wall-mounted object occupying the position of institutional explanation while bypassing protocols of sterilizing meaning.It uses the authority of placement instead of the authority of appointment. It’s not the style, then, were it rests, the hack. But in the couple: architecture | expectation.

The museum says: object → label → understanding

The hacked panel, then, produces: object → label → object, altered ontologically

The spectator returns to the work, but now without the protection of a vetted knowledge, explanation.

Curatorial script

It does almost nothing.
It neither frames nor accompanies in the strong sense.
It simply exists next to the exhibition, the way a sentence can exist next to a scene.

A curatorial script is a textual object placed beside an exhibition that articulates a position without organizing the works. Far from curating the show, it stands alongside it – like a panel, a book, a quote, a motto. Or a curator herself.
The works remain autonomous. Outside from reflection, they are concerned with production. The exhibition does not derive from the text either. But also, the text does not derive from the works.
Instead, they share a situation. Indeed, the script offers a way of thinking that can be taken up or ignored (unless something compelling gets uttered – by a force of creation). Explanation is out, then, and so is validation too. The work legitimizes itself by the power of its own exception – only that (and it’s not a trifle) curatorial script introduces a parallel line of attention.
If the hacked didactic panel occupies the place of explanation and suspends it, the curatorial script occupies the place of the curator and suspends the supervision. Nothing is coordinated, although surely something is articulated.

The exhibition, granted, happens. And the script is free to speak – nearby.

Exhibition period 25.09 30-09. 2025

Curated by Tim van den Oudenhoven

“Beyond the Horizon” is a visionary exploration of existence beyond the human and natural world. The exhibition brings together artists presenting futuristic visions, balancing the abstract and the figurative, imagining life after human extinction. At its core, the theme of UNDER THE VOLCANO depicts a world marked by destruction but regenerated through transformation and rebirth.

The artworks evoke awe and reflection on the resilience of life, inviting viewers to leave behind the “old world” and embrace new possibilities. Metamorphosis and renewal guide the exhibition, emphasizing the interconnectedness of living and non-living entities. The Berlin-based artists involved, often shaped by experiences of change, embody the idea of “creation through destruction.”

The exhibition moves beyond an anthropocentric perspective, proposing a harmonious coexistence between the organic and the abstract, celebrating the life force capable of rebirth beyond humanity.

Exhibition period 18-01 01-02. 2025

Fabio La Fauci, Sabatino Cersosimo

Exhibition period 26-12 04-01. 2025

Amy Yagi, Charis Judith, Julia Oram, Katalin Kortmann- Járay, Kevin Driscoll, Marco Meneghetti, Maria Lunetto, Ray.

Curated by Julia Oram

JUST Just will be an exhibition about collective exploration of minimalism inspired by the Japanese traditional aesthetic concept of wabi-sabi (侘び寂び). The latter will then be expressed through various art forms. Wabi-sabi celebrates the beauty of imperfection, impermanence, and the quiet simplicity of nature. It allows us to accept and appreciate things the way they are. As such, it has been seen as the Eastern equivalent -and counterpart- of the Western ideals of beauty and perfection originally carried on since the times of Ancient Greece. In this sense, we want artists to leave their comfort zone and take a different approach: beauty lies in the imperfect and the indefinite. The exhibition will showcase how artists from diverse backgrounds, provenance, and media interpret these core principles and translate them into contemporary art. The title of the exhibition, Just, reflects the triple meaning behind the word: that beauty lies on the essential; that everything is impermanent and has a unique appearance related to the very moment it comes to life; and that there is something righteous and fair in accepting things the way they are.

Exhibition period 26-10 02-11. 2024

Kasmir Weichert

Curated by Ena Kamenkovic & Charlotte Detig

Kurvenlage provides an insight into the culture of soccer fans. A look at and from the curve as the center of fan culture – but also beyond that, as a symbolic place that stands for a special passion. It is no longer just a question of sport, but of origin and affiliation, connection, letting go, security – losing oneself in the crowd and finding a place within. A sense of togetherness that can create identity. But also a feeling that gives rise to borderline behavior: Soccer and its fan culture also implies hostility, toxic masculinity, problematic mass movement, territorial behavior and violence.ma. Will you brave the stage, or will you watch from the safety of the sidelines?

In a society where we sign contracts like they’re birthday cards, hoping each one will secure our place on solid ground —whether for a new job, a mortgage, or that dubious subscription service—you might wonder: how thin is the ice we’re skating on? The artist and curator Mariia Bokovnia will transform the Ka project space into a stage-like installation where each artwork becomes an actor in a farcical play of late capitalism. The participating artists– Jacopo Dal Bello, Seo Kim, and Jonas Mosbacher —will navigate the slippery dynamics of social interaction, set against a backdrop of our collective drama. Will you brave the stage, or will you watch from the safety of the sidelines?

The dual exhibition of Paolo Angelucci and Lennart Brede, titled „THE ALGORITHM TOLD ME SO,“ curated by Daniele Sigalot, opens on September 6th at KA32 Gallery in Berlin. The title references the way social media algorithms often bombard us with images that share only one common thread—ourselves and our multifaceted interests. In this case, the only link between these two artists, who have vastly different practices, is the curator himself, Daniele Sigalot, a mutual friend of both, and technically not even a curator. Will this be enough to create a cohesive exhibition, or will the stark contrast between their artistic approaches lead to a visual short circuit (an unintended electrical connection between two carrying parts, as the dictionary punctually states).

In this exhibition, Lennart Brede presents a striking mix of metaphor and modernity with his female knight, dressed in a competition bikini adorned with fake gemstones. The work plays on themes of strength, resilience, and the absurdity of contemporary expectations, blending humor with a critique of gender norms. On the other hand, Paolo Angelucci’s work delves into the emotional and intangible aspects of nature. His piece “Mamma Maiella,” which cleverly combines photography, sculpture, and installation, reflects his deep connection to the landscapes of his roots and his unique approach to the photographic medium. Together, these works explore vastly different territories—Brede’s pop-culture-infused commentary and Angelucci’s introspective journey through nature—posing an intriguing question about how these disparate voices might interact in the gallery space.

Curated by Veronika Hykova

The concept behind the exhibition, titled Memory Loss, is inspired by Michel Foucault’s books Discipline and Punish and The Archeology of Knowledge. In the first book, Foucault views power not as a privilege but as a series of strategic moves exercised by a dominant class or group. This idea feeds into the power-knowledge relationship, where those in power provide only a specific kind of comfortable knowledge to the masses. This knowledge, accessible through our educational system, is based on subjective memories transformed into official monuments, which we are not encouraged to be critically questioned or objectively researched.
In the second book, Foucault introduces several terms such as positivity and a priori with a particular focus on the a priori of
history.

DELLE 2 is the second time Sebastian Haaf and Clemens Tschurtschenthaler are presenting new works in a duo show setting. Based on their exhibition DELLE, which took place earlier this year at WAF nextdoor in Vienna, the two artists continue to reflect on a certain idea of narrative sculpture. The word “dent” (Delle) is understood as the verbalization of a transformational moment – a mark in time – that opens up a dialogue between past and present. A dent is data on a surface – a trace on material that insulates the inside from the outside – revealing the threshold between private and public, both physically and psychologically.

OBUSCURA

INSTALLATION EXHIBITION

Advertising is a blend of seduction, promise, hope, ideal, and aspiration.
It significantly impacts our lives by offering promises that manipulate
our desires—not our needs—thereby becoming a constant part
of our existence and shaping our attitudes.
However, advertising mirrors society by reflecting our values and cultural norms. It captures and amplifies attitudes within society,serving as both a reflection of and an influence on our behavior.

The artists collectively embody the concept of “multitudes of being,” portraying the diverse facets of the human condition through their unique artistic lenses.

The title “Polyes” is derived from the Greek word for “many,” symbolizing the diverse and multifaceted nature of the human experience as explored in this exhibition.

Each artist brings their distinct perspective, creating a rich tapestry that illustrates the complexity and interconnectedness of our existence. “Polyes” encapsulates the essence of this thematic journey, emphasizing the myriad ways in which we navigate the balance between vulnerability and strength, the conscious and unconscious, and the instinctual and intellectual.

The show is a dialogue between international glass artists and artists residing in Berlin that come from other disciplines, who have been invited to experiment with glass, specifically for this event.

The common thread is research, the need to look beneath the surface shaping narrative devices able to provide critical point of views.