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.

It’s okay now is an autobiographical work that, through the practice of remembering, questions, analyzes, and compares the origins and identities of the two protagonists. Remembering serves not only as a means of reflection but also as a form of dreaming and processing the past. Fictional scenes and archival material intertwine to create a narrative that merges personal and collective memories.

Don't go there alone. Supervised corner for beginners and advanced players. Excursions into the surrounding area without sturdy shoes, seeing and being seen in good weather. Changing programme, activities and discussions about the neighborhood and what art has to do with it.

We are happy to welcome the artist Carsten Lisecki at our project space until the end of May. After just having published his book Der Arbeitsaufenthalt als Beitrag zur Erholungsforschung, Lisecki engaged with the space and developed new work.

I doubt, I am no longer sure: Did I see that or did I dream it? What did I see? Is there still a referent or is it just a sampling of ‘dusted’ images?

New technologies are rapidly changing the images of our world. We have to constantly relearn how to read and decipher them and come to terms with how power relations are constantly shifting. Bound to their fluid materiality, digital images can be intercepted, copied or modified at lightning speed at any time. Even the ‘original’ code of an image is not a static entity. Similar to a musical score, it is constantly reinterpreted by various technical devices and temporarily performed on their surfaces.

In the continuation of Sylvia Henrich's exhibition for EMOP Berlin 2023, an array of images and their production methods once again enter into dialogue —subjectivity meets autocorrection.

Just as Sabine Weier writes, through a ‘umstürzlerischen Umgang mit technischen Verfahren' ( subversive approach to technical processes ), the artist creates collisions that reveal underlying structures and open up new spaces of imagination.