The exhibition invites participants to inhabit discontinuity, to consider history as landscape, and to trace how machine vision, linguistic decay, sonic saturation, glitch cinema open alternate modes of knowing, or not knowing.

Featuring performances by:
Pat Nininger constructs harmonic (and non) sound ecologies that operate through rupture, noise- saturation, and discontinuity. The practice dismantles linear listening protocols, foregrounding fragmentation and destabilization as compositional systems.

Taylor Quilty is an artist working across painting, writing, and computation, whose work examines what registers and what is permitted to appear when our tools or attention shift.
For EMBODIED TIME, he presents an interactive experiment in trackerless motion capture. A 2D image of peat is transformed into a speculative 3D form using Gaussian splatting, an algorithm that guesses depth by scattering pixels through space. Run iteratively with shifting parameters, the process arrives at a form. This digital body is then rigged to a skeleton and animated live by a pose-estimation system. As viewers move into frame, the machine attempts to recognize and map human posture onto the form. Trained to track a single body, the system may flicker: at times, a figure snaps into coherence; at others, it abandons individuation altogether, registering the space as undifferentiated motion. In these misfires, the limits of its recognition surface.
tquilty.xyz

Aly Willamina Cutler-Gear is a researcher, writer, composer, performer, and artist based in Glasgow. she builds locally hosted NLP and probabilistic computational systems for scheduling intermedial relationships within homemade datasets, writes texts, sings songs, tells stories, improvises, and makes noise, automatons, objects, interfaces, and spaces. her research focuses on Shetland before 1886, authoritative &or directive inscription in Europe from 789-1752, and certain bodily contexts deemed aberrant by certain empirical regimes.
she applies humanistic techniques to software engineering to build machines for storying against epistemic flattening and empirically-led harm. with these machines she marionettes intermedial datum-objects using metadata as score and NLP as armature to stage intersemiotic counternarrative events. these are living systems that she often performs in, with, or from. she also makes things that have nothing to do with computers.
she has a masters from The Glasgow School of Art and completed her undergraduate studies at Bennington College+Goddard College (Vermont, USA). her earliest memory is eating custard in da croft kitchen box window while her mother fed Emily, Moonie, and three other sheep down off the hill carrots out of the fridge.
awcg.online

Anja Fiedler serves up an edible peatland landscape made from eight-thousand-year-old moor: as they eat, visitors embark on a time travel journey. Fiedler creates sustainable food art that addresses current social issues, presented in forms you can literally bite into. In her participatory, multisensory performances, she offers culinary experiences that blend sensory pleasure with factual insight, becoming both seductive and thought-provoking, and inviting the audience to ponder, reflect, and imagine together. @anja_sustainable_food_artist

Elena Botts is a multimedia artist and researcher (Essex University, prior: Bard College, Goddard College) presenting multimedia glitch sound poetries of other worlds: for this evening, a film on dark ecologies and animism in ecosystems in collaborations. Elena also organises the unknown sound collective, an experimental multimedia international arts collective and radio programme on WGXC Wavefarm.
youtube.com/@un-known-sound-collective

Rebecca Schrader
Rebecca Schrader is an abstract cellist and painter. She composes electro-acoustic soundscapes, using overtone frequencies contrasting with long silences to activate the default mode network, the part of the brain that houses our imagination. https://rebeccaschrader.bandcamp.com/

Lucille Brownrigg
Lucille Brownrigg is a human–animal based in the Department of Visual Cultures at Goldsmiths, University of London. Combining writing and experimental voice work, their research is a mixing orb exploring the tensions between nature, medicine and the reproduction of the soul.

A temporary habitat for an archive in transit

What happens when an archive is understood not as a place of preservation, but as one temporary condition within the continuous metabolism of matter?

Paries brings together fifty-four numbered fragments collected from Teufelsberg. Guided by the ecological logic of Parietaria, the wall pellitory, a plant that thrives where architecture slowly returns to geology, the project understands rubble not as the end of a building's life, but as the beginning of new relationships.

Neither exhibition nor archive in the conventional sense, Paries is a temporary habitat where fragments, bodies, attention and sound enter into new relationships before continuing their journeys elsewhere.

This residency is supported by the Mondriaan Funds.

We warmly invite you to the exhibition opening Solid Black Moves Better

In his lecture-performance, Cinema in the Round, the artist Mark Leckey describes a kind of image that is alive: "...things that appear as images or pictures but that somehow impose...a sense of their actual weight, density and volume, a sense of their actual being in the world."

In this exhibition, four artists––Anya Jasbar, Jessina Leonard, Olivia Noss, and Sara Perovic––present still images that possess a kind of density or presence, images transformed through sound, multiplicity, or projection. Can a still image become a living picture, take on breath and weight ?

Image; Olivia Noss, Sugar from Star, 2023, 11x14, tirage argentique aux tons chauds

Humor in Photography

Opening: Thursday, June 25, 6–10 PM

Through 10 or so contemporary positions, the exhibition Humor in Photography explores the role of humor in photographic works. Far from standing in opposition to the seriousness of the pieces, humor serves as one of many vehicles—each work engaging with distinct thematic fields—to delve into deeper layers of perception. The comic, in all its facets—from wit and slapstick to irony—shifts the gaze beyond the factual into the ambiguous, establishing itself as a possible antipode to documentary photography. It adds something ephemeral and free to what we actually see in the images.

The contributions span a broad spectrum of the photographic medium and appear in various representational and presentational forms as part of the exhibition: as books, posters, sculptures, or images on the wall.

Participating Artists:

Susanne Bürner Natalie Czech Daniela Comani Ingo Gerken Sylvia Henrich Lisa Herfeld Claudia Kugler Luise Marchand Johannes Raimann Marie Rief Michael Schmid Stefanie Seufert.

We warmly invite you to the exhibition opening “Half-Life: 40 Years After Charnobyl — The Belarusian Fallout” opens. The project of contemporary art brings together artists from Belarus who were born after the Charnobyl disaster and whose lives and artistic experiences have been shaped by its long-term consequences.

The curatorial concept draws on the notion of “half-life” as a metaphor for the prolonged impact of the catastrophe on memory, bodies, and identity. Through installations, video works, and artistic objects, the project explores how Charnobyl continues to exist in personal stories, collective memory, and the cultural imagination.

The exhibition creates a space for critical reflection on the disaster and highlights the Belarusian perspective within the contemporary geopolitical context.

Artists:
Uladzimir Hramovich
Daria Sazanovich
Yuliya Tsviatkova
Kristina Satsina
Lesia Pcholka

Parallel program:
Julia Cimafiejeva
Oxana Gurinovitch

Opening 24th April 18:00
daily open from 12:00 - 18:00

Uq-Bar-A-Ba
Schwedenstr. 16
13357 Berlin

We invite you to the first presentation of "Akten,” a single-channel video installation by visual artists Marissa Lee Benedict and David Rueter. The video documents the artists’ performance of a score in the ABA Salon — an artist-run space housed in a temporary construction trailer that will disappear at the end of 2026. The work manifests as a feedback loop hovering at a threshold, as the two artists work with files and filing cabinets to find space amidst a world coming loose, evaporating, and falling into new arrangements that mirror centuries-long rituals of management.

Opening: April 12th 16:00-19:00

Further visits by appointment only April 13th-18th

We warmly invite you to the exhibition opening of our current resident Elisabeth Prehn on 26th of March at 19:00. Presented will be works developed during her residency at ABA.

Moving images today are produced and consumed at enormous speed and in large quantities. As observers, we are constantly adapting to read and process the content and power relationships within them. Whether information given by a body is seen as true or false depends on many factors, one of them being the rhetorics used. What effects does a ‘neutral’ performance create within different contexts? Elisabeth’s moving image research investigates how artistic performance and political testimony share gestural strategies of affect and restraint.

Opening: March 26th 19:00-22:00
Finissage: April 3rd 19:00-22:00

Further visits by appointment only

A series of prints on transparencies with the potential to be projected as 35 mm slides. The prints are made from scaled down and inverted graphite drawings on A4 paper, made during a residency in a studio that stands in the same location as a former observatory in Kreuzberg, once on the periphery of Berlin.

The drawings are gestural markings that relate to language marks and the conditions in which they are made. The prints are made with an inkjet printer on a surface that stays wet, allowing shifts and streaks of the mechanical printing process to become visible. Along with this, studio dust—attracted to the transparencies that became static as they rubbed against each during transport—mixes with the ink, and the ink is repelled by oil left from skin where the sheets were handled.

A double sided A4 sheet contains a series of texts written during the residency at Air Berlin Alexanderplatz between September and December, 2025. The texts first appeared as blog posts on the ABA website, and is printed on the occasion of the exhibition.

Ich gehe durch den U-Bahnhof Wedding, vorbei an diskutierenden Gruppen, Wind kommt auf, eine einfahrende Bahn übertönt jedes Wort. Die hintere Treppe nach oben laufend sehe ich die roten Buchstaben "S P D" an einer Hausfassade und gegenüber das Jobcenter Berlin Mitte.

Weiter geht's, vorbei am geschlossenen Karstadt, in dem sich Lidl befindet. Am Rathausplatz das Jobcenter im Hochhaus. Wo ist die Oper?

Under the working title Oper Wedding, Katja Stoye-Cetin is working on an installation consisting of large-format screen printed posters and a programme booklet printed with linocuts. The screen prints, which formally tie in with her previous photographic work, consist of overlays of shapes and letters. They reproduce reworked symbols from public spaces.

For Oper Wedding, Katja is also constructing cardboard models of the above-mentioned buildings, such as a new office building with the Edeka supermarket at the Wedding S-Bahn station. The work reflects the urban space that surrounds her and hallucinates the desire for a utopian space.

You are warmly invited to join us for coffee and Talk & Build your Supermarket paper-sessions during the exhibition opening times:

13:00–18:00
On Saturday, 23 Nov & Sunday, 29 Nov

Can we feel time? How to reimagine urgency, responsibility and call to action through art-science collaborations?
This event offers an opportunity to engage deeply with leading voices in the field of art-science, focusing on the theme of temporal perception and ecological responsibility. Hosted by I-opener e.V., a Berlin-based collective working at the intersection of art, psychology, and sustainability sciences, the workshop and panel talk explore how interdisciplinary approaches can open new pathways for ecological awareness and public engagement.

The afternoon program consists of:
Workshop on Ecological Consciousness (15:30–16:30)
Led by members of the I-opener collective, this interactive session links psychological insights with sustainability science, inviting participants to reflect on the cognitive and emotional dimensions of environmental behaviour. This workshop format has been presented previously in the Annual Conference of the Social Studies of Science in the Hawaii Convention Center in 2023.

Break (16:30 - 17:00)

Panel Discussion & Participatory Installation (17:00–19:00)
In response to Berlin Science Week’s theme Beyond Now, the roundtable explores the following guiding question: How can art-science collaborations reshape perceptions of time and responsibility?

Drinks (19:00 - 21:00)

The session includes short contributions from each speaker followed by a moderated discussion led by curator Zuleykha Ibad, concluding with an open dialogue with the audience. The event closes with a participatory screening of “A Call for Empathy in Times of Ecological Collapse”, a participative video installation directed by I-opener's founder and director Oliver Juan.

Registration required – please register here.

Please arrive either before 15:30 or during the break session (16:30-17:00) to avoid disturbances.

Under the title A Hidden Well, Neuer Berliner Kunstverein (n.b.k.) presents an exhibition and event project in cooperation with Uferhallen e.V., transforming the immediate neighborhood of the Uferhallen and Uferstudios – a key hub of Berlin’s art and cultural production – into a setting for site-specific interventions. Invited artists bring diverse perspectives as they respond to and question the stories, architecture, and imagery that continue to shape the Gesundbrunnen district today.

The name “Gesundbrunnen” (“health spring”) dates to the 18th-century discovery of a mineral healing spring in what is now Badstrasse. Once a spa and bathing attraction, the area later became an industrial and working-class neighborhood and has since evolved into an urban center for a variety of communities and cultural practitioners. The exhibition A Hidden Well invites visitors to explore these layered histories, focusing on places and spaces that, like the studio and workshop complex on the Uferhallen site, form part of Berlin’s cultural heritage.

Artistic contributions unfold across public spaces as well as local sociocultural institutions and artistic initiatives – including ABA Projectspace / Uqbar, the Berlin Artistic Research Programme, the Bibliothek am Luisenbad, and the Mitte Museum – offering multiple approaches to themes of change and coexistence in the neighborhood. In addition to the decentralized exhibition, the artists working at Uferhallen will open their studios to the public. On September 13 and 14, the Uferhallen artists open their doors to the public inviting visitors to explore their workspaces and engage in dialogue.