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Venues: KW Institute for Contemporary Art, daadgalerie, Gropius Bau, 11th Berlin Biennale c/o ExRotaprint
Born 1979 in Sigmaringen, DE – lives and works in Berlin, DE
The architecture office, Meyer-Grohbruegge, was founded in 2015
The exhibition design for the 11th Berlin Biennale sets specific atmospheres for each venue related to the overall curatorial concept. It transforms the spaces to create environments in which the works perform.
KW Institute for Contemporary Art with its column-structured spaces is converted into a church quoting typical elements such as additional rows of columns, ornamental windows, as well as particular cloth and wooden structures, giving a spatial character to the works which address related subjects.
daadgalerie, opening up to a busy street with a big glass front, is turned into a shop, bright and loud, where shiny walls covered with aluminum foil reflect the movements of visitors and cars passing by, turning the space into a dynamic, vibrant showcase for the artworks.
Gropius Bau is the representative museum of the German colonial era. Diagonals interrupt the classical order of enfilade, forcing the visitor to walk in different ways, ensuring a deeper involvement with each work. The semi-transparent fabric walls let the rooms still appear as before only to be used differently. They separate and connect artworks simultaneously, implementing a soft layer to the museum’s existing self-assured identity.
11th Berlin Biennale c/o ExRotaprint, as the living archive, picks up on the former exhibition’s characteristic element, a blue line on the wall, and transforms this line into a table presenting the Biennale’s curatorial notebook.
For all venues, it was particularly important to include the afterlife of the installation in the concept, using recyclable or reusable materials and mechanical connections as much as possible.
Umbilical Cord Amulet
McCord Museum
Object
Hatred Among Us
Lisette Lagnado
Essay
New Look
Flávio de Carvalho
Performance
Freiheit für Chile!
Anonymous
Photo album
II: La Solidaridad va Más Allá de un Concepto. Entre las Curadoras de la XI Berlin Biennale
Lisette Lagnado, Agustín Pérez Rubio
Conversation
St Sara Kali George
Delaine Le Bas
Soundscape
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Venues: KW Institute for Contemporary Art, daadgalerie, Gropius Bau, 11th Berlin Biennale c/o ExRotaprint
Born 1979 in Sigmaringen, DE – lives and works in Berlin, DE
The architecture office, Meyer-Grohbruegge, was founded in 2015
The exhibition design for the 11th Berlin Biennale sets specific atmospheres for each venue related to the overall curatorial concept. It transforms the spaces to create environments in which the works perform.
KW Institute for Contemporary Art with its column-structured spaces is converted into a church quoting typical elements such as additional rows of columns, ornamental windows, as well as particular cloth and wooden structures, giving a spatial character to the works which address related subjects.
daadgalerie, opening up to a busy street with a big glass front, is turned into a shop, bright and loud, where shiny walls covered with aluminum foil reflect the movements of visitors and cars passing by, turning the space into a dynamic, vibrant showcase for the artworks.
Gropius Bau is the representative museum of the German colonial era. Diagonals interrupt the classical order of enfilade, forcing the visitor to walk in different ways, ensuring a deeper involvement with each work. The semi-transparent fabric walls let the rooms still appear as before only to be used differently. They separate and connect artworks simultaneously, implementing a soft layer to the museum’s existing self-assured identity.
11th Berlin Biennale c/o ExRotaprint, as the living archive, picks up on the former exhibition’s characteristic element, a blue line on the wall, and transforms this line into a table presenting the Biennale’s curatorial notebook.
For all venues, it was particularly important to include the afterlife of the installation in the concept, using recyclable or reusable materials and mechanical connections as much as possible.
Weaving Solidarity
Renata Cervetto and Duygu Örs
Q&A
Freiheit für Chile!
Anonymous
Photo album
Memorial to the Sinti and Roma Victims of National Socialism
Dani Karavan
Memorial
Umbilical Cord Amulet
McCord Museum
Object
I: Junto a las curadoras de la XI Berlin Biennale for Contemporary Art
Renata Cervetto, Lisette Lagnado
Conversation
El primer nueva corónica y buen gobierno
Felipe Guamán Poma de Ayala
Chronicle
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venues: KW Institute for Contemporary Art, daadgalerie, Gropius Bau, 11th Berlin Biennale c/o ExRotaprint
Born 1979 in Sigmaringen, DE – lives and works in Berlin, DE
The architecture office, Meyer-Grohbruegge, was founded in 2015
The exhibition design for the 11th Berlin Biennale sets specific atmospheres for each venue related to the overall curatorial concept. It transforms the spaces to create environments in which the works perform.
KW Institute for Contemporary Art with its column-structured spaces is converted into a church quoting typical elements such as additional rows of columns, ornamental windows, as well as particular cloth and wooden structures, giving a spatial character to the works which address related subjects.
daadgalerie, opening up to a busy street with a big glass front, is turned into a shop, bright and loud, where shiny walls covered with aluminum foil reflect the movements of visitors and cars passing by, turning the space into a dynamic, vibrant showcase for the artworks.
Gropius Bau is the representative museum of the German colonial era. Diagonals interrupt the classical order of enfilade, forcing the visitor to walk in different ways, ensuring a deeper involvement with each work. The semi-transparent fabric walls let the rooms still appear as before only to be used differently. They separate and connect artworks simultaneously, implementing a soft layer to the museum’s existing self-assured identity.
11th Berlin Biennale c/o ExRotaprint, as the living archive, picks up on the former exhibition’s characteristic element, a blue line on the wall, and transforms this line into a table presenting the Biennale’s curatorial notebook.
For all venues, it was particularly important to include the afterlife of the installation in the concept, using recyclable or reusable materials and mechanical connections as much as possible.
I: Junto a las curadoras de la XI Berlin Biennale for Contemporary Art
Renata Cervetto, Lisette Lagnado
Conversation
New Look
Flávio de Carvalho
Performance
Teatro da Vertigem
Monograph
Solidarity and Storytelling. Rumors against Enclosure
María Berríos
Essay
Queer Ancient Ways: A Decolonial Exploration
Zairong Xiang
Monograph
BLM KOREA ARTS
#BlackLivesMatter #BLMKoreaArts
Young-jun Tak
Statement
By using this website you agree to the use of cookies in accordance with our data privacy policy.
Venues: KW Institute for Contemporary Art, daadgalerie, Gropius Bau, 11th Berlin Biennale c/o ExRotaprint
Born 1979 in Sigmaringen, DE – lives and works in Berlin, DE
The architecture office, Meyer-Grohbruegge, was founded in 2015
The exhibition design for the 11th Berlin Biennale sets specific atmospheres for each venue related to the overall curatorial concept. It transforms the spaces to create environments in which the works perform.
KW Institute for Contemporary Art with its column-structured spaces is converted into a church quoting typical elements such as additional rows of columns, ornamental windows, as well as particular cloth and wooden structures, giving a spatial character to the works which address related subjects.
daadgalerie, opening up to a busy street with a big glass front, is turned into a shop, bright and loud, where shiny walls covered with aluminum foil reflect the movements of visitors and cars passing by, turning the space into a dynamic, vibrant showcase for the artworks.
Gropius Bau is the representative museum of the German colonial era. Diagonals interrupt the classical order of enfilade, forcing the visitor to walk in different ways, ensuring a deeper involvement with each work. The semi-transparent fabric walls let the rooms still appear as before only to be used differently. They separate and connect artworks simultaneously, implementing a soft layer to the museum’s existing self-assured identity.
11th Berlin Biennale c/o ExRotaprint, as the living archive, picks up on the former exhibition’s characteristic element, a blue line on the wall, and transforms this line into a table presenting the Biennale’s curatorial notebook.
For all venues, it was particularly important to include the afterlife of the installation in the concept, using recyclable or reusable materials and mechanical connections as much as possible.
II: La Solidaridad va Más Allá de un Concepto. Entre las Curadoras de la XI Berlin Biennale
Lisette Lagnado, Agustín Pérez Rubio
Conversation
St Sara Kali George
Delaine Le Bas
Soundscape
Struggle as Culture: The Museum of Solidarity, 1971–73
María Berríos
Essay
A World Without Bones
Agustín Pérez Rubio
Feminist Health Care Research Group
Web archive
Invitation to the Species: Cecilia Vicuña
Tamaas / Cecilia Vicuña
Podcast
By using this website you agree to the use of cookies in accordance with our data privacy policy.
By using this website you agree to the use of cookies in accordance with our data privacy policy.