THROUGH APR 11<\/p>\n
Yalda Afsah: PAN<\/p>\n
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Yalda Afsah,PAN, Exhibition views, CCA Berlin, 2026. Photos: DianaPfammatter\/CCA Berlin<\/p>\n
Located in the foyer building of the Kaiser Wilhelm Memorial Church in Charlottenburg, CCA Berlin is one of Berlin\u2019s newest non-profit institutions, founded by the curator Fabian Sch\u00f6neich. The current exhibition \u201cPAN\u201d is a solo presentation of the Berlin-based artist Yalda Afsah\u2019s latest film. Interested in folk traditions, specifically the rituals and choreographies thereof, Afsah\u2019s camera work leads the viewer into the Bulgarian spiritual practice of Paneurhythmy, allowing an up-close but physically removed insight.<\/p>\n
Through April 11, CCA Berlin, details<\/a><\/p>\n THROUGH APR 18<\/p>\n Jim Lambie: High Voltage<\/p>\n Image courtesy of the artist and Konrad Fischer Galerie, Photography: Roman M\u00e4rz<\/p>\n Technicoloured and glossy\u2013the Turner Prize winner Jim Lambie\u2019s site-specific installations activate the spaces they inhabit with meticulously laid-out patterns created with vinyl tape. On view at Konrad Fischer Galerie are both a new iteration of his \u201cZobop\u201d floor pieces as well as wall works that are inspired by layers of posters peeling from public walls, rendered purely in chrome and his signature bold colours. The rhythmic feel and psychedelic aesthetics of Lambie\u2019s works nod to his early years as a musician.<\/p>\n Through April 18, Konrad Fischer Galerie, details<\/a><\/p>\n THROUGH APR 19<\/p>\n Neuk\u00f6llner Kunstpreis 2026<\/p>\n The 10th Neuk\u00f6lln Art Prize was awarded to four Neuk\u00f6lln-based artists to celebrate the diverse and forward-thinking art scene the area has to offer. The first prize was awarded to Va-Bene Elikem Fiatsi, whose wall-mounted installation addresses both her deeply personal experience as well as the public discourse surrounding non-binary gender identities. Works by the prize winners and nominees that range from installation and painting to sculpture and video work, are on view at Galerie im Saalbau until mid-April.<\/p>\n Through April 19, Galerie im Saalbau, details<\/a><\/p>\n THROUGH MAY 3<\/p>\n Annika Kahrs: OFF SCORE<\/p>\n Makar Temev<\/p>\n The exhibition OFF SCORE is a solo presentation of the Berlin-based artist Annika Kahrs\u2019 works that bridge art and music through video, sound installations, and live performances. In Kahrs\u2019 works, music becomes a site of social engagement as well as artistic experimentation. As a communication tool, music is presented as a means of relating to each other, to animals, and to the world in which we live.<\/p>\n Through May 3, Hamburger Bahnhof, details<\/a><\/p>\n Giulia Andreani: Sabotage<\/p>\n Giulia Andreani and ADAGP, Paris 2026 ; courtesy the artist and Galerie Max Hetzler Berlin | Paris | London | Marfa, VG-Bildkunst, Bonn 2026 \/ photo: Lorenzo Palmieri<\/p>\n Painted in monochromatic blueish grey, Giulia Andreani\u2019s paintings on canvas depict scenes drawn from archival photographs, whereby the artist pieces together fragments of forgotten or omitted histories. These painted collages reveal stories that have been historically overlooked and allow for new associations to be made. The paintings are exhibited together with works from a number of state museums, such as, the Collection of Antiquities and the Museum of Decorative Arts to encourage further significance to be drawn from history in relation to the present day.\u00a0<\/p>\n Through May 3, Hamburger Bahnhof, details<\/a><\/p>\n Mark Leckey, Enter Thru Medieval Wounds<\/p>\n Mark Leckey\u2019s<\/a> extensive solo exhibition, \u2018Enter Thru Medieval Wounds\u2019 features works like the iconic Fiorucci Made Me Hardcore and his Turner Prize-winning Cinema-in-the-Round. Leckey examines how media shapes perception, memory and desire by tracing the intersections of pop culture and evolving technology.\u00a0<\/p>\n Through May 3, Julia Stoschek Foundation, details<\/a><\/p>\n Possibilities of an Island \u2013 Thinking in Images from Gerstenberg to Scharf<\/p>\n In uncertain times, art can feel like an island. Possibilities of an Island explores the intensely personal world of the Scharf family collection, spanning Surrealism and fantastical art. From Goya to Hannah H\u00f6ch, the exhibition traces art as refuge, escape and quiet resistance \u2014 an archipelago of imagined worlds shaped by private passion rather than public rules.<\/p>\n Through May 3, Scharf-Gerstenberg Collection, details<\/a><\/p>\n THROUGH MAY 6<\/p>\n DISSOLUTIONS Sequence I: Johannes B\u00fcttner, Catherina Cramer<\/p>\n Johannes B\u00fcttner, How to get through, 1995_2025. Foto (c) Jannis Uffrecht<\/p>\n The join presentation of works from Johannes B\u00fcttner and Catherina Cramer marks the first iteration of the DISSOLUTIONS exhibition series curated by Natalie Keppler and Agnieszka Roguski. Catherina Cramer\u2019s installations consider the body as a site of ailment and injury, calling into question the demand for high performance in a capitalist system. Johannes B\u00fcttner\u2019s video installations are concerned with statehood in regard to belonging and exclusion, as well as the unravelling utopia of possible counterworlds.<\/p>\n Through May 6, Kunstraum Mitte, details<\/a><\/p>\n THROUGH MAY 10<\/p>\n Klara Lid\u00e9n: Kunstwerke<\/p>\n Klara Lid\u00e9n, Self Portrait with Keys to the City, 2005, Courtesy the artist<\/p>\n Marking the first institutional survey of Klara Lid\u00e9n\u2019s work in Berlin, where the Swedish artist has lived and worked for over 20 years, the exhibition titled Kunstwerke shows works spanning sculpture, installation, video works, slide projections, and more. By placing found objects, such as fences, bins or billboards, extracted from the city\u2019s architecture into the confines of the exhibition space, Lid\u00e9n interrogates the politics of public versus private space and property. Further, the exhibition shows a selection of video works that largely show the artist herself in performances that likewise explore the very intimate sphere of the home, as well as the social norms and boundaries of public space.<\/p>\n Through May 10, KW Institute for Contemporary Art, details <\/a><\/p>\n Ahu Dural: Malplaquetstra\u00dfe 33 \u2013 Jugend einer Monteurin<\/p>\n In her solo exhibition at Galerie Wedding, the Berlin-born and -based artist Ahu Dural presents sculptures made of common industrial materials such as wood and aluminium, that are placed in conversation with photographs and found objects from daily life. The exhibition draws from personal stories of female solidarity among migrant women employed in Berlin\u2019s electrical industry. Her works are charged with associations between art, design, and the politics of gender, migration, work, and appropriation.<\/p>\n Through May 10, Galerie Wedding, details<\/a><\/p>\n MAR 14-MAY 17<\/p>\n Memory Is a Strange Bell<\/p>\n Shaun Motsi, Untitled (White Mask), 2025, \u00a9 Photo: Shaun Motsi<\/p>\n The n.b.k and K\u00fcnstlerhaus Bethanien are presenting the works of the 14 artists who won Berlin Senate\u2019s 2025 visual arts working stipend. Taking place simultaneously, the exhibitions bring together a wide range of artists, with the sole requirement of the award being that they live and work in Berlin. Each receives around \u20ac12,000, offering much-needed financial breathing room to develop new work without the immediate pressure of sales. Mediums and formats of the works vary, as do the topics each artist tackles, but the exhibition promises to give a platform to many important players in Berlin\u2019s current art scene.<\/p>\n Mar 14- May 3: n.b.k.<\/p>\n Mar 20-May 17: K\u00fcnstlerhaus Bethanien, details<\/a><\/p>\n THROUGH MAY 24<\/p>\n Cornelia Parker \u2013 Stolen Thunder (A Storm Gathering)<\/p>\n A lightbulb at the centre of the otherwise bare exhibition space is initially the sole visual element in Cornelia Parker\u2019s \u2018Stolen Thunder (A Storm Gathering)\u2019 at Kindl\u2019s Kesselhaus. As the title suggests, the space is soon filled with a growing storm that reaches a crescendo of thunder and lightning. Parker pieced together the sound for this work using archival recordings of thunder, wind and rain covering a range of both time and geography.<\/p>\n Through May 24, KINDL \u2013 Centre for Contemporary Art, details<\/a><\/p>\n THROUGH MAY 25<\/p>\n Gianna Surangkanjanajai & Rey Akdogan<\/p>\n Pared-down and conceptual, Gianna Surangkanjanajai\u2019s sculptures in the exhibition \u201cOpen\u201d hold the potential of motion within them. While a wall installed in the exhibition space can be literally moved by visitors along a ceiling track, the sculpture series titled \u201cPush\u201d consists of plexiglass cubes containing paint that show evidence of having been pushed into the exhibition space by residual paint streaking their walls.\u00a0<\/p>\n Simultaneously on view at Haus am Waldsee is Rey Akdogan\u2019s exhibition \u201cCarousels\u201d, displaying the eponymous works series, made up of slide carousels. Instead of photographic images, Akdogan\u2019s slides contain miniature assemblages composed of industrial and scenographic materials projected onto the walls of the exhibition space. Further installations by Akdogan, such as a low hanging light fixture as well as a shimmering copper curtain, engage directly with the space, drawing the visitors\u2019 attention to the material realities of the house itself.\u00a0<\/p>\n Through May 25, Haus am Waldsee, details<\/a><\/p>\n THROUGH MAY 31<\/p>\n An Opera Out of Time<\/p>\n Petrit Halilaj presents his first major Berlin solo exhibition at Hamburger Bahnhof. Spanning sculpture, video, and large-scale installations, it centres on the artist\u2019s first opera, created with the Kosovo Philharmonic. Rooted in collective dreaming and the ancient site of Syrigana, the exhibition unfolds as a site-specific installation in the reopened Rieckhallen.<\/p>\n Through May 31, Hamburger Bahnhof, details<\/a><\/p>\n Gallery Looks: Fashion Staging at the Gem\u00e4ldegalerie<\/p>\n Beginning during Berlin fashion week at the end of January, the Gem\u00e4ldegalerie hosts the exhibition \u2018Gallery Looks\u2019 dedicated to the symbiotic relationship between art and fashion. Comprising film, photographs and garments by selected designers, the exhibition is staged amidst the collection of the national painting gallery to allow for new connections to be made between fashion and art, fabric and canvas, history and the present.\u00a0<\/p>\n Through May 31, Gem\u00e4ldegalerie, details<\/a><\/p>\n MAR 19-JUN 26<\/p>\n Peter Hujar \/ Liz Deschenes: Persistence of Vision<\/p>\n \u00a9 The Peter Hujar Archive \/ VG Bild-Kunst, Bonn 2026<\/p>\n Featuring the works of Peter Hujar and Liz Deschenes, this exhibition at Gropius Bau puts intergenerational artists in dialogue with one another. The photographer Peter Hujar never became widely known in his lifetime, cut short by complications from HIV, though he never seemed especially troubled by this lack of recognition. He primarily captured important moments in 1908s New York with poignant black-and-white photographs. Deschenes and Hujar never knew one another, but despite being separated by generations and approaches, they share an understanding of photography as a tactile process. Deschenes\u2019 sculptural and non-representational photographic works call attention to the process of photography and the mechanics of the medium itself. Taken together, the works of Hujar and Deschenes interrogate and stretch the conception of what photography can and should be.<\/p>\n Mar 19-Jun 26, Gropius Bau, details<\/a><\/p>\n THROUGH JUN 28<\/p>\n Queere Kunst in der DDR? Biografien zwischen Underground und Propaganda<\/p>\n What did queer art mean in the GDR? Through the biographies of nine artists, including J\u00fcrgen Wittdorf and Rita \u201cTommy\u201d Thomas, this exhibition presents paintings, sculptures, ceramics and photographs that reveal the many ways artists sidestepped, defied or quietly endured the political and social pressures of their time.<\/p>\n Mar 28-Jun 28, 19:00, KVOST, details<\/a><\/p>\n MAR 14-AUG 9<\/p>\n Collective Osmosis<\/p>\n Contemporary artist Oscar Murillo explores interaction and exchange between his paintings, installation works and the work of Claude Monet. Using the concept as a metaphor, the exhibition presents new abstract works from the artist\u2019s \u2018Surge, Scarred Spirits and Disrupted Frequencies\u2019 series, while also inviting visitors to take part in creating collaborative artwork throughout the summer months.<\/p>\n MAR 27-JAN 3<\/p>\n Shilpa Gupta\u2019s What Still Holds<\/p>\n Shilpa Gupta, TRUTH, 2022\u20132025, \u00a9 Courtesy Shilpa Gupta und Galleria Continua, Photo: Ela Bialkowska, OKNOstudio<\/p>\n Mumbai-based artist Shilpa Gupta interrogates the conditions under which speech is permitted, constrained or silenced. Working across sculpture, drawing, installation, video, public interventions and books, she addresses political persecution, border violence, religious nationalism and the lived consequences of military occupation. Language in Gupta\u2019s work is never neutral or abstract; it appears as something embodied, fractured and precarious, shaped by power rather than freely available to all. In her new exhibition What Still Holds at the Hamburger Bahnhof, selected works are placed in dialogue with those of Joseph Beuys, whose ideas of voice, participation and social responsibility are reframed through Gupta\u2019s uncompromising attention to censorship and the material risks of speaking in the present.<\/p>\n Mar 27-Jan 3, Hamburger Bahnhof, details<\/a><\/p>\n ONGOING<\/p>\n Museum in Motion<\/p>\n Hamburger Bahnhof re-opens its Rieckhallen with \u2018Museum in Motion\u2019, a dynamic showcase of contemporary art reflecting the evolving role of museums. Featuring large-scale installations by renowned artists like Cevdet Erek and Elmgreen & Dragset, the exhibition explores how museums must adapt to a rapidly changing world. Alongside \u2018Nationalgalerie: A Collection for the 21st Century\u2019, the exhibition offers a fresh perspective on Hamburger Bahnhof\u2019s extensive holdings.<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/germany\/wp-content\/uploads\/2026\/03\/JL-48-scaled.jpg\")
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Julia Stoschek, Mark Leckey, courtesy of the artist, Gladstone Gallery, BrusselsNew York and Galerie Buchholz, Berlin-Cologne-New York<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/germany\/wp-content\/uploads\/2026\/03\/MBITI_Moeglichkeiten_einer_Insel_2007-scaled.jpg\")
Kavata Mbiti \/ Foto: Sammlung Scharf-Gerstenberg\/Simon Vogel<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/germany\/wp-content\/uploads\/2026\/03\/Johannes-Buttner-How-to-get-through-1995_2025.-Foto-c-Jannis-Uffrecht-01-scaled.jpg\")
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Jens Ziehe<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/germany\/wp-content\/uploads\/2026\/03\/HBF_PETRITHALILAJ_LaForgia_JPG_HIGHRES_0026-scaled.jpg\")
Petrit Halilaj, Berlin<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/germany\/wp-content\/uploads\/2026\/03\/ACHTUNG_Berliner_Salon_Look_32_Franziska_Bauer-scaled.jpg\")
Ralph Mecke<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/germany\/wp-content\/uploads\/2026\/03\/gb26_hujar_beauregard_under_plastic-scaled.png\")
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\u00a9 Oscar Murillo. Photo: Reinis Lismanis | \u2018Not All Travellers Walk Roads \u2013 Of Humanity as Practice\u2019, S\u00e3o Paulo Biennial, S\u00e3o Paulo, 2025<\/p>\n![\"\"](\"https:\/\/www.europesays.com\/germany\/wp-content\/uploads\/2026\/03\/03-DSC07766-HDRphotoElaBialkowskaOKNOstudio-1-scaled.jpg\")
<\/p>\n![\"Jeremy](\"https:\/\/www.europesays.com\/germany\/wp-content\/uploads\/2026\/03\/Jeremy-Shaw-Phase-Shifting-Index_2020_xl.jpg\")
Jeremy Shaw, Phase Shifting Index, 2020, Installation view: Centre Pompidou, Paris. Photo credit: Timo Ohler<\/p>\n
![\"Joseph](\"https:\/\/www.europesays.com\/germany\/wp-content\/uploads\/2026\/03\/Screenshot-2024-06-05-11.29.43.png\")