How to Perform a Scream? is a workshop series exploring voice as a tool of resistance, memory, and collective disobedience. Through vocal exercises, text, spoken word, polyphony, and experimental choir practices, participants engage the voice as a site of personal and political histories. Led by Berlin-based interdisciplinary artist Nadja Kracunovic, the workshop draws on performance, crip theory, and critical pedagogy to challenge dominant narratives through sound and expression.

Paula Schopf is a Chilean-born, Berlin-based DJ, producer, sound artist, and researcher. Emerging from Berlin’s electronic music scene in the late 1990s as Chica Paula, she became part of the Chilean Connection alongside artists such as Ricardo Villalobos and Dinky. Today, her practice spans sound art, research, and education. Working with field recordings and synthetic sound, her installations and performances allow an engagement with aesthetic, social and political questions through listening.

Sofya’s pieces are often invitations to become something else: an image, a rhythm, an unknown being. Her work is a shapeshifting practice grounded in butoh and inspired by the paradox of human un-humanness. She approaches choreography as a means of entering into relationship with the more-than-human, cultivating forms that possess the individual, transforming them into else. Her improvisations unfold as a continuous practice of becoming and unbecoming—welcoming unknown presences into the body and opening a path to the sacred through a body that forgets itself in the song of the dance

Yasmeen Al-Qaisi ist Autorin für Sprache und Papier und tritt gelegentlich auch in anderen Rollen auf, etwa als „wandelnde Wissenschaftlerin“, als „schnelle musikalische Hilfe“ oder als einzige Vertreterin des „Büros für selbsternannte Selbstberechtigung“. Yasmeen hört zudem mit ihren Händen zu und sorgt mit Klängen auf freien, unabhängigen, temporären, mobilen Radiosendern und öffentlichen Radiosendern für Aufsehen.

SHOW ME THE BODY Agata Siniarska a.k.a TATARI body is not only what appears to be enclosed within the confines of the skin. The body is a conglomerate of different states, dynamics, textures and images. The body in its possibilities creates a multi-level landscape of movement and sound, it is a symphony of vibrational frequencies. SHOW ME THE BODY is a concert-performance in which the performer’s body travels through different intensities, rippling in all directions through movement and voice. Concept and performance: Agata Siniarska a.k.a TATARI in artistic collaboration with rat milk.

Building on Kerstin Decker’s narrative, the book traces the architectural, political, and social transformations of the site, shedding light on the changing uses of the monastery church over the centuries. Maps, photographs, and drawings reveal different historical layers and invite readers to experience the city’s history directly within the urban landscape.

Official unveiling of “The Mapquilt Tree” with Benjamin Fritz (Mitte District Councillor for Schools and Sport), Stephanie Imbeau (artist), Mathias Hörold (Headteacher of the Anna Lindh School), and pupils from the Anna Lindh School.

At this new school site, a work of architectural art is taking shape that faithfully recreates a section of Berlin’s street scene in the school garden – complete with paving, bollards, a street lamp and a park bench. What seems perfectly ordinary ‘out there’ becomes a ‘foreign object’ here. The event is an invitation to immerse yourself in the concept behind Ulf Neumann’s architectural artwork. The guided walk begins and ends in the school garden, where the public art installation is currently being created, and takes us through various designs of public space in the vicinity of the school.

The Berlin Monastery Ruins invite visitors to a public guided tour of the historic monument on every third Thursday of the month from May to September. Together with Alin Daghestani, Program Coordinator and Curatorial Assistant at the Monastery Ruins, participants will gain insights into the history of the former Franciscan monastery as well as the site-specific contemporary artworks currently on view. Following the tour, there will be an opportunity for discussion and exchange.

How does art shape our built environment – and how does the city shape art? This tour, covering around 4.6 km, invites you to take a closer look: at works of art on and inside buildings that are often overlooked, even though they quietly accompany us in our daily lives.

Art is currently being created on a large scale in Berlin, including as part of the city’s school-building initiative. What is being planned, produced and installed today will form part of the built environment tomorrow. But what ‘happens’ to these works once they have been unveiled and handed over to their users?

Together with editors, authors, and friends, we celebrate the launch of the Berlin Review Reader #7 at Klosterruine Berlin on July 3 — featuring readings and conversations in German and English, drinks, music, and mingling. Admission is free and everyone is welcome. Freshly printed copies of the Reader, including new texts and an image series featuring paintings by Pol Taburet, will be available on site. A detailed program will follow soon.

Die Welt sieht zurück describes a shift: it is not only us who are looking — our gaze is also being returned. Images, witnessing, bodies, and forms of individual and collective expression create modes of perception in which the world responds and answers back. The gaze itself becomes unstable rather than remaining fixed. The program presents short films spanning experimental film, dance film, documentary, and artistic moving-image practices.

The Berlin Monastery Ruins invite you to an artist talk with Nazanin Noori and Fabian Schöneich. In conversation, the artist and curator will offer insights into the site-specific installation BEHOLD GOD IN ALL THAT EXISTS IN HIS NAME and discuss the intersections of art, space, history, and societal power structures.

Further information about the exhibition is available on site at Tiergarten Town Hall, Mathilde-Jacob-Platz 1, 10551 Berlin, at the reception desk and at the Mitte Museum branch on the 2nd floor (Mon–Fri, 10 am–6 pm).
With photographs by Holger Herschel.

The solo exhibition by Nina Paszkowski, titled “Furore”, refers to the spectacle that has long shaped the Bärenzwinger: the principle of display and staging—whether through living animals, ideologically charged urban identity, or contemporary art. “Furore” describes a form of public attention that moves between fascination and unease. What attracts and excites can also turn into indignation or anger. Paszkowski approaches this anger through mythological figures whose name resonates in the exhibition title: the Furies. In Greek mythology, they appear as furious avengers who, through an act of mercy, undergo a process of becoming human and transform into the benevolent Eumenides.

As an inner-city district that unites former East and West Berlin boroughs, Mitte looks back on a turbulent history that is also reflected in the large number of street renamings. The regional historical focus of the “rename?!” exhibition is therefore on continuities, ruptures, and the possibilities for participation in renaming processes.

An Exhibition by Beatrice Moumdjian.
Moumdjian’s artistic practice combines autobiographical research with a critical perspective on history and its modes of transmission. Her work reveals how closely personal life stories are intertwined with political and historical processes, and how these entanglements can be examined, shifted, and rearticulated through artistic means.

is a site-specific installation by Nazanin Noori at the Klosterruine Berlin. It connects the historical space of the former religious building with questions of religious affiliation, power structures, public perception, and diverse conceptions of the divine. As a relic of a sacred site, the Klosterruine points to the political and social systems that have historically emerged from religious organisation. For centuries, the Berlin Franciscan monastery functioned as a space in which spiritual practices—both aesthetic and performative—were closely intertwined with urban order and political authority. At the same time, the ruin stands as a marker of repeated destruction and transformation.