{"id":28600,"date":"2024-07-24T11:48:50","date_gmt":"2024-07-24T09:48:50","guid":{"rendered":"https:\/\/kultur-mitte.de\/events\/"},"modified":"2026-04-13T09:28:03","modified_gmt":"2026-04-13T07:28:03","slug":"termine","status":"publish","type":"page","link":"https:\/\/kultur-mitte.de\/en\/termine\/","title":{"rendered":"Events"},"content":{"rendered":"\n
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Events<\/h2>\n <\/div>\n <\/div>\n <\/div>\n
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\n B\u00e4renzwinger |\n Performance\n <\/div>\n <\/div>\n <\/div>\n
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\n 17.10.26<\/span>, 19:30h – 20:30h<\/span>\n <\/div>\n <\/div>\n
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\n ACT III: Teddy Bear with Tess Voelker\n <\/div>\n <\/div>\n <\/div>\n\n
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\n \"ACT\n <\/div>\n <\/div>\n
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Teddy Bear explores the relationship between captive animals, gentrification, body politics, and the commodification of female artists. The piece exposes a culture that only loves wild femininity when it remains behind bars. On stage, this cage is gilded: Tess resists the objectifying gaze while simultaneously having to turn herself into an object in order to master her craft. By reclaiming what the world labels crazy, she transforms labels and judgments into strength, liberating her emotional body. As part of Act III, Nowhere Will World Be, But Within, of the artistic live programme at the B\u00e4renzwinger, the work marks a gentle return to her own wildness.<\/p> <\/div>\n

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\n B\u00e4renzwinger |\n Vortrag, Workshop\n <\/div>\n <\/div>\n <\/div>\n
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\n 18.10.26<\/span>, 15:00h – 18:00h<\/span>\n <\/div>\n <\/div>\n
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\n ACT III: The Secret Life of Ekphrasis (EN)\n <\/div>\n <\/div>\n <\/div>\n\n
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\n \"Foto:\n <\/div>\n <\/div>\n
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The workshop, held at the B\u00e4renzwinger, approaches ekphrasis \u2013 the written description of images \u2013 not as a literary genre, but as a method: a practice of translation between senses, media, and forms of attention. Taking Stevie Wonder\u2019s The Secret Life of Plants as its starting point \u2013 a soundtrack created from written descriptions of a documentary film that Wonder himself had never seen in its entirety \u2013 we ask: What happens when one sense passes its information on to another? And what is inevitably lost, transformed, or reinvented in this process?<\/p> <\/div>\n

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\n Mitte Museum |\n Talk\n <\/div>\n <\/div>\n <\/div>\n
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\n 22.10.26<\/span>, 18:00h – 21:00h<\/span>\n <\/div>\n <\/div>\n
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\n Queer and Jewish under the \u201cThird Reich\u201d and Beyond\n <\/div>\n <\/div>\n <\/div>\n\n
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\n \"Mitte\n <\/div>\n <\/div>\n
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In Holocaust research, persecuted queer people are generally considered non-Jewish, while Jewish victims are implicitly assumed to have been heterosexual. On 22 October 2026, four speakers will present the life stories of people who were both: queer and Jewish \u2014 from the Berlin-based painter Gertrude Sandmann, who survived the Holocaust in Berlin, to the lived experiences of gay and lesbian Jews in Sachsenhausen concentration camp.<\/p> <\/div>\n

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\n Kunst Raum Mitte |\n Performance\n <\/div>\n <\/div>\n <\/div>\n
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\n 22.10.26<\/span>, 19:00h<\/span>\n <\/div>\n <\/div>\n
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\n Performance: sketch for a conversation on pleasure and pain\n <\/div>\n <\/div>\n <\/div>\n\n
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\n \"Julius\n <\/div>\n <\/div>\n
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\n Zilleklub |\n Guided Tour\n <\/div>\n <\/div>\n <\/div>\n
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\n <\/span>, 11:00h – 14:00h<\/span>\n <\/div>\n <\/div>\n
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\n Art in Architecture in Moabit | Guided Tour\n <\/div>\n <\/div>\n <\/div>\n\n
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\n \"Grafik:\n <\/div>\n <\/div>\n
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Starting point:<\/strong> Zilleklub, Rathenower Stra\u00dfe 17, 10559 Berlin
End point:<\/strong> Regierungsviertel, 10557 Berlin<\/p> <\/div>\n

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Exhibitions<\/h2>\n <\/div>\n <\/div>\n <\/div>\n
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\n Kunst Raum Mitte |\n Exhibition\n <\/div>\n <\/div>\n <\/div>\n
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\n 17.10.26 \u2014 10.1.27<\/span> <\/div>\n <\/div>\n
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\n DISSOLUTIONS Julius Pristauz\n <\/div>\n <\/div>\n <\/div>\n\n
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The exhibition by Julius Pristauz combines physical and spatial experience with concrete social realities. It aims to encourage visitors to engage with the tangible and invisible dynamics and forces that surround them. In the exhibition, wind becomes a force that shapes, slows down movements, changes directions, challenges, drives progress or hinders it.<\/p> <\/div>\n

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\n Mitte Museum |\n Exhibition\n <\/div>\n <\/div>\n <\/div>\n
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\n Permanent Exhibition: Up from the Sand\n <\/div>\n <\/div>\n <\/div>\n\n
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\n \"Credit:\n <\/div>\n <\/div>\n
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The museum presents well-known and lesser known aspects about Berlin\u2019s Mitte district \u2013 from the historic past to the present day \u2013 in exhibition spaces organized according to different themes.<\/p> <\/div>\n

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\n Mitte Museum |\n Exhibition\n <\/div>\n <\/div>\n <\/div>\n
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\n 11.10.26 \u2014 11.11.26<\/span> <\/div>\n <\/div>\n
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\n freihand. Writing, School, Community\n <\/div>\n <\/div>\n <\/div>\n\n
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The exhibition freihand. Writing, School, Community<\/em> presents work by students from Berlin\u2019s Mitte district, created almost one hundred years apart: calligraphies by students in an art course at Herbert Hoover School, and twenty handwritten booklets that children at the 308th Municipal School at Leopoldplatz wrote, drew and bound themselves between 1926 and 1928. In both cases, the students decided what appeared on the page.<\/p> <\/div>\n

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\n B\u00e4renzwinger |\n Exhibition\n <\/div>\n <\/div>\n <\/div>\n
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\n 15.10.26 \u2014 14.3.27<\/span> <\/div>\n <\/div>\n
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\n Artistic Research Project – Sediment\n <\/div>\n <\/div>\n <\/div>\n\n
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The artist Qusay Awad is invited to carry out an artistic research project to delve further into the annual theme Heimsuchungen\/Hauntings. In view of the upcoming anniversary year 2027, the research project will aim to examine and reflect on the 10-year exhibition history in relation to the architecture and history of the B\u00e4renzwinger. Throughout the year, interim updates of the research project will be presented and starting in October, the result of the project will be exhibited.<\/p> <\/div>\n

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\n Galerie Wedding |\n Ausstellung, Exhibition\n <\/div>\n <\/div>\n <\/div>\n
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\n 21.8.26 \u2014 1.11.26<\/span> <\/div>\n <\/div>\n
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\n \u00bb\ub9e4\ub09c\uad6d\uc8fd\u00a0Mae Nan Guk Juk: Diasporic Memories\u00a0Formed\u00a0in\u00a0Clay\u00ab – An exhibition by \u00a0Frank Jimin Hopp\n <\/div>\n <\/div>\n <\/div>\n\n
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\n \"Zwei\n <\/div>\n <\/div>\n
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With Mae Nan Guk Juk: Diasporic Memories Formed in Clay<\/em>, Korean-German artist Frank Jimin Hopp explores the memories of the first generation of South Korean labour migrants in Germany. Through interviews, video works and collaboratively created ceramic objects, the exhibition brings together stories of migration, care work, loss and new beginnings. It presents diasporic memory as a living archive, continuously shaped through storytelling, encounters and artistic practice. The title refers to the Four Gentlemen of East Asian art\u2014plum blossom, orchid, chrysanthemum and bamboo\u2014symbols of resilience, dignity and perseverance.<\/p> <\/div>\n

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\n 10.9.26 \u2014 21.2.27<\/span>, 10:00h – 18:00h<\/span>\n <\/div>\n <\/div>\n
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\n Lang ist es nicht her. Und jetzt ist es soweit. – Susanne Kerckhoff\n <\/div>\n <\/div>\n <\/div>\n\n
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\n \"Foto:\n <\/div>\n <\/div>\n
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The exhibition at the Mitte Museum is dedicated to the writer and journalist Susanne Kerckhoff (1918\u20131950), one of the defining voices of Germany’s early post-war period. Between 1948 and 1949, Kerckhoff published a series of fictional portraits in the Berliner Zeitung<\/em> that addressed pressing questions facing post-war society: guilt, denazification, antisemitism, and democracy. For the first time, the exhibition offers a comprehensive exploration of this body of work while asking what these texts can tell us about Germany today.<\/p> <\/div>\n

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\n B\u00e4renzwinger |\n Exhibition\n <\/div>\n <\/div>\n <\/div>\n
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\n 5.6.26 \u2014 14.3.27<\/span> <\/div>\n <\/div>\n
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\n \u00bbFurore\u00ab\n <\/div>\n <\/div>\n <\/div>\n\n
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The solo exhibition by Nina Paszkowski, titled “Furore”, refers to the spectacle that has long shaped the B\u00e4renzwinger: the principle of display and staging\u2014whether 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.<\/p> <\/div>\n

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\n Klosterruine |\n Exhibition\n <\/div>\n <\/div>\n <\/div>\n
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\n 14.5.26 \u2014 25.4.27<\/span> <\/div>\n <\/div>\n
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\n BEHOLD GOD IN ALL THAT EXISTS IN HIS NAME\n <\/div>\n <\/div>\n <\/div>\n\n
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\n \"BEHOLD\n <\/div>\n <\/div>\n
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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\u2014both aesthetic and performative\u2014were closely intertwined with urban order and political authority. At the same time, the ruin stands as a marker of repeated destruction and transformation.<\/p> <\/div>\n

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Newsletter<\/p>\n\n <\/div>\n <\/div>\n

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Im Kultur Mitte Newsletter informieren wir\u00a0regelm\u00e4\u00dfig \u00fcber die kulturellen Highlights, Veranstaltungen, Ausschreibungen und F\u00f6rderungsm\u00f6glichkeiten in Berlin Mitte.\u00a0<\/span><\/p>\n\n <\/div>\n <\/div>\n\n

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Tragen Sie hier ihre E-Mail Adresse ein:<\/p>\n<\/div>\n

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