Unter dem neuen Namen Sunday Art Makers (SAM) Family Tours startet eine neue Vermittlungsreihe in den kommunalen Galerien Mitte. Entdeckt jeden dritten Sonntag im Monat gemeinsam mit eurer Familie die Geschichte des mittelalterlichen Berlins auf spielerische Weise. Die Archäologin Claudia M. Melisch nimmt mit auf eine Zeitreise in den alten Stadtkern.

Unter dem neuen Namen Sunday Art Makers (SAM) Family Tours startet eine neue Vermittlungsreihe in den kommunalen Galerien Mitte. Entdeckt jeden dritten Sonntag im Monat gemeinsam mit eurer Familie die Geschichte des mittelalterlichen Berlins auf spielerische Weise. Die Archäologin Claudia M. Melisch nimmt mit auf eine Zeitreise in den alten Stadtkern.

Walls, niches, fences—they all make sounds if you listen closely. In this workshop, we’ll listen to the spaces and their surroundings, capturing rustles, echoes, claps, and whispers. The sounds we discover will be sketched, shared, amplified, and imitated. This creates a collective sound play that connects architecture, the body, and the imagination. Using simple means, homemade instruments, and voices, we transform walls into resonating bodies, explore rhythms, and reveal hidden sounds—an auditory exploration of space and time within the monastery ruins.

Every room starts with a door. And every door asks the question: Who is allowed in, wo stays outside, who has got the key – and who sits in it?

The performative-installation exhibition with artistic contributions by NURFUERESSEN (Tin Wang, Lu Yu) and Hang Su conceives the foot as a culturally charged interface between body, space, and perception. Its starting point is the foot’s ambivalent symbolism: in the Christian-influenced European tradition, it is regarded as the “lowest” part of the body, associated with dust, labor, and humility. In Buddhist contexts, it signifies the spiritual path; in Chinese medicine, it forms an energetic center connecting humans and the earth. Between devaluation, respect, and care, a field of tension emerges,which the exhibition explores artistically.

The exhibition and extensive accompanying events programme shed light on artists’ positions in East Germany and encourage a new reading of art from the GDR. The exhibition draws on the checkered life stories of nine artists and their works, ranging from painting, sculpture, and ceramics to photography. On that basis it shows how differently the nine addressed the political and social conditions of their day. To what extent did sexual orientation influence their artistic practice and their careers?

In spring 2026, Galerie Wedding will present Malplaquetstraße 33 – Jugend einer Monteurin (Malplaquetstraße 33 – Youth of a Female Assembly Worker), a solo exhibition by Ahu Dural. Taking an apartment as a starting point, the exhibition explores family history, migration, work, female solidarity and appropriation artistically.

The exhibition is the second part of “Louder, Taller, Uglier, Weirder – Learning from Weeds / Von Unkraut lernen”, a curatorial project consisting of four exhibitions and a series of events we call sprouts, which appear as we grow and move forward.

Duo exhibition by Catherina Cramer and Johannes Büttner, whose expansive worlds move between the real abysmal nature of neoliberal exploitation—which is currently particularly noticeable due to cultural policy austerity measures—and the imaginations of possible counterworlds.

During the winter months of 2025/26, the monastery ruins, in cooperation with the nGbK, will present the text-based event and exhibition format RUINEigentum (RUINProperty) by acid collège Berlin. On 18 November 2025, 15 January 2026 and 19 February 2026, open workshops with invited guests will take place at 6 p.m. each day, dealing with questions of ownership and possession. The textual results of these events will then be processed at random and made visible to the public outside on the displays of the monastery ruins.

For the 2025/26 programme year, artist Neda Saeedi has been selected by a jury to create a site-specific work. Neda Saeedi’s sound installation, created specifically for the Klosterruine, explores how historical sites are remembered. “Who is remembered, who is excluded, and how do we deal with violent histories or missing monuments? Are we dealing with the past in a way that allows us to shape the future?

Mitte Museum keeps documents and books from the estate of Paul Gurk (1880-1953) and his life partner Erna Schallok (1886-1943) as well as artworks by the artist. The exhibition presents a selection of the material and provides authentic insight into the artist’s life.