Did you think Berlin art scene is slowing down in July? Think again! Here is are the highlights of this week's openings, workshops and the best shows on view. A new gallery moved in the Peres Project rooms on Karl Marx Allee. The end of an era. 

We will start working on our Berlin Art Week issue soon, you can submit your events until August 15th.

“Stimmen, die sich suchen” (Voices in Search of One Another) was first curated and funded by the Goethe-Institut Rome in 2019, in collaboration with Casa Onna. In 2021, a second version was presented at the Venice Architecture Biennale in the Italian Pavilion.

Haus am Lützowplatz (HaL) is now presenting the third expanded and final version of the exhibition. To mark the conclusion of the project, the book „Stimmen, die sich suchen“, designed by büro uebele, will be published by Edition Fotohof Salzburg.

Wed July 16, 16h @Satelitt Collective Audio-Visual Performance (approx. 60 minutes)
Grow connect mutate intertwine copy enlarge add mold store follow repeat transform cooperate communicate exchange network... Mushrooms and myzelia have many properties.
We have examined these properties and are looking into speculative uses of fungi and mycelium in the future. Based on artistic-design techniques, real-time microscopic structures and myzel objects, the students of the field of biotechnology have developed a collective audio-visual live performance. Among other things, the health effects of synthetic women's underwear were examined, possible everyday objects of the future were imagined and the potential role of mushroom intelligence in the design of new systems was discussed.

@pilz_kunst_labor_berlin of the COMPITIVE ART CENTER in cooperation with the
FAMM - Area of Applied and Molecular Microbiology at TU-Berlin

Radically regional! We'll be cooking stuffed vine leaves from the vine garden directly adjacent to our terrace. Starting in early summer, various Berliners come here and pick the fresh leaves, which they use for cooking. The garden is one of the few accessible vine gardens in the city. The focus of this year's workshop is a Crimean Tatar recipe, which we'll cook with Elenar. The garden also remains the focus. How have the new vines developed? What might a sign look like to commemorate the historic wine route in the Barnimkiez? PS: We're looking for dedicated locals to water and maintain the garden in August! The workshop is free of charge. Donations are welcome.

with Al-Block (Areej Ashhab & Sireen Alawi), Mahmoud Alhaj, Mahmoud Alshaer, Qusay Awad & Dhia Douss, Eloïse Bonneviot & Anne de Boer, Silvia Camporesi, Ghassen Chraifa, Dennis Dizon
Samia Henni, Gabriella Hirst, Aigerim Kapar, Artcom Platform, Souad Mani, Natural Contract Lab
Marina Resende Santos, Micol Roubini, Himali Singh Soin, Nasan Tur, Wujud, Haythem Zakaria

Curator: Dr. Marianna Liosi

Techno-Ecologies and Bodies of Memory: The Environment as Battleground is a multilayered exhibition that develops through satellite spaces and artistic interventions, extending across geographies and media. The project looks at the environment as a contended, contested, and torn arena, in which political, social, and economic forces and tensions converge and conflict. Amidst the global environmental crisis, wars, and ongoing genocides, the exhibition navigates the complexities of the bonds between all connected forms of matter on our planet. In particular, it explores more-than-humans as sites of memory. Within this framework, it examines critically the part played by digital technologies, and the ambivalent modes of shaping the set of relationships between organisms and their ecosystems, as well as the governance and preservation of data. Looking at the environment as a theatre of conflicts and, simultaneously, as a fighting subject, in what ways does it embody, transform, expose or, conversely, hide or erase wounds and scars?
 

a project of Kunstraum Kreuzberg/Bethanien curated by Marianna Liosi in partnership with eSseda.lab.

Presented by Dar Yusuf Nasri Jacir for Art and Research, Bethlehem.

Baha Hilo, Emily Jacir, Michael Rakowitz, Mohammad Saleh, Sari Khoury, Sebastián Jatz Rawicz, Shayma Hamad, Vivien Sansour  

Curated by Jonathan Turner and Antonia Alampi

The exhibition highlights how artistic practice becomes a form of persistence—engaging with land not only as a site of labour and sustenance but also as a space of cultural transmission, remembrance, and future-making. This iteration unfolds across three interwoven chapters. The first, Land, Memory, and the Rhythms of Survival, reflects on the endurance of place, exploring how artistic gestures—through movement, photography, and material archives—preserve histories, challenge erasures, and forge connections across generations. The second, Land, Nourishment, and the Politics of Care, focuses on agriculture, foraging, and food as acts of resistance, tracing how artists engage with seeds, soil, and shared rituals to sustain both community and identity. The final chapter, Absence, Sound, and the Politics of Visibility, considers what remains unseen—how sound, ephemeral traces, and overlooked details reveal the layers of restriction, adaptation, and presence in contested landscapes.

The audience is invited to listen and engage, to attune to the rhythms of work and care, to the gestures and voices that persist. To stand among these works is to stand within an ongoing conversation—one that grows, shifts, and carries forward, like roots threading through soil, even in the face of erasure.

July 18 – September 14, 2025

Hermannstraße 86, 
12051 Berlin-Neukölln

For the first time, Panke Open Studios 2025 will bring together three important studio buildings in Berlin - Uferhallen, Gerichtshöfe and Chausseestraße 48 - for a joint event. With this first-time cooperation, Panke Open Studios is creating a new platform for exchange between artists and the public in the neighborhood. At the same time, other cultural venues nearby are opening their doors. The result is an inspiring cultural trail along the small river Panke - an invitation to experience art where it is created, to gain insights into current artistic processes and at the same time to follow the footsteps of the local urban and cultural history.
DOWNLOAD map and program

venues:
Gerichtshöfe, Gerichtstr. 12-13, 13347 Berlin-Wedding
Uferhallen, Uferstr. 8, 13357 Berlin-Wedding
Atelierhaus Chausseestr. 48, 10115 Berlin-Mitte
Die Wiesenburg, Wiesenstr. 55, 13357 Berlin
Panke Gallery, Gerichtstr. 23, Hof 5, 13347 Berlin
Mitte Museum, Pankstr. 47, 13357 Berlin

Doors 19:30h, screening from 20h

Xanadu is please to announce our first joint presentation with ULTRA DOGME. Sofia Theodore-Pierce will share a work-in-progress film loop, alongside readings by A.Monti, Tess Brown-Lavoie, and Erin Honeycutt, followed by a recent trilogy of shorts informed by epileptic experiences.

Sat July 19 18h @neun kelche Opening ‘SOFAR SYMPHONY’ by Aouefa Amoussouvi, Caitlin Berrigan, Memory Biwa & Robert Machiri, Tammy Langtry, Talya Lubinsky
The SOFAR (Sound Fixing And Ranging) channel is a layer of the deep ocean where sound waves travel vast distances with minimal loss of energy. In this singular environment, sound could, in theory, persist indefinitely. The vibrations, stretched and scattered, create a multilayer echo referred to as ‘SOFAR symphony’.
Opening hours: Fridays, 2 – 7 pm and by appointment
July 20 – August 31, 2025
Neun Kelche

Admission free/ Registration not required
On the lineup: music by DJ femdelic, Express Tours through the history of the Amerika Haus and C/O Berlin, and a Live Act by Sera Kalo’s eXante. In the evening, we will present two open-air films as part of the exhibition Julian Rosefeldt . Nothing is Original together with Mobile Kino: the award-winning film Manifesto (2016) and the accompanying documentary Making Manifesto (2018). Before the screening, you'll also have the chance to meet Julian Rosefeldt in person at the Book Signing of his newly released exhibition publication.
The exhibitions will stay open until midnight on this day. Cool drinks and delicious ice cream will be served by the Paradieschen Bar. And it's worth taking a closer look: whoever finds the special ice cream stick will win an annual ticket for C/O Berlin (first come, first serve). Good luck!

Fri, 25th July, 20h at Schinkell Pavillion YBDG x Caique Tizzi: a dinner-performance and sculptural installation made to be site-specific for the three architecturally distinct spaces of Schinkel Pavillon. 
The work is part of FOOD, the institution’s programme exploring the performative, sensory, and spatial dimensions of contemporary food practice. The project unfolds across the basement octagon, terrace, and upstairs octagon, each space shaped by the elements of water, fire and earth. At the center of this journey is an unorthodox dinner, where both the choreography and food is designed for the bodies. The guests are invited into the underbelly of lube-slick, flame licked textures, melting ice, smudged chocolate, pierced vegetables and most of all controlled chaos.
Dishes are served on sculptural tablescapes, edibles, obelisks and collapsing monuments that echo the food’s metaphors, temperatures and textures as well as decay and sweet collapse.
Each element is a choreography of deterioration, nothing is built to last.
Come hungry, leave sticky.
LIMITED TICKETS for 4-course dinner incl. welcome drinks and soft drinks are 45€ pP and available here

with David Edward Allen, Nándor Angstenberger, Jacqueline Saki Aslan, Michael Bause, Ina Bierstedt, Tina Born, Maxim Brandt, Susanne Britz, Frank Bubenzer, Birgit Cauer, Sandra Contreras, Liz Dawson, Thilo Droste, Marcel Eichner, Dana Engfer, Axel Geis, Nathalie Grenzhaeuser, Harriet Groß, Andrea Grote, Vemo Hang, Elisa Haug, Sylvia Henrich, Veronike Hinsberg, Susanne Jung, Yuki Jungesblut, Gunhild Kreuzer, Michael Kruscha, Gabriele Künne, Corinna Mayer, Ulrike Mohr, Matthias Moravek, Enrico Niemann, Ayumi Rahn, Josephine Riemann, Franz Rodvalt, Maja Rohwetter, Neda Saeedi, Kristine Schnappenburg, Bettina Schünemann, Hans-Peter Stark, Barbara Steppe, Lucy Teasdale,  Susa Templin, Evelin Turria, wicke+barišić, Walter Yu, Filip Zorzor                             

We are many. The Obiger Galaxis is a recurring exhibition format featuring artists from the Axel Obiger universe, with each participant installing their own work at the vernissage. The term “Welteninsel,” which can be traced back to Immanuel Kant, evokes both cosmopolitan connection and artistic autonomy. Immanuel Kant coined the term ‘world island’ in his work ‘General Natural History and Theory of the Heavens’ (1755). Kant took up the astronomical theories of the time, in particular Thomas Wright's hypothesis, and further developed them. Kant understood a ‘world island’ to be an independent star system consisting of a multitude of stars and planetary systems. Viewed from a great distance, these systems appear as circular or elliptical nebulous clouds - what we now call galaxies.

For the first time in Berlin, the work of Mexican artist, researcher, and theatre set designer Carmen Mariscal is being presented. Her interdisciplinary practice explores memories embedded in spaces – from the human body to clothing, architecture, and the city itself. Her current project investigates the layered histories of the site now occupied by the Mexican Embassy in Berlin. Through photography, film, and installation, Mariscal explores the layered histories of the embassy’s current site, uncovering traces of memory, transformation, and diplomacy throughout the 20th century. Her work brings to light forgotten stories that connect Mexico, Germany, the United Kingdom, and others, tracing its transformations throughout the 20th century. In addition the exhibition includes two films from previous site-specific projects in Mexico. 

On view at Kunstverein am Rosa–Luxemburg–Platz Signe Mähler & William Cody Maher: Pandora's Box - An alternate dramaturgy of the past and the present or for a dystopian world

The Kunstverein is pleased to present the works of German photographer Signe Mähler and American poet William Cody Maher. Their joint exhibition, Pandora's Box - An alternate dramaturgy of the past and the present or for a dystopian world brings together images and sceneries, poems and life narratives, introducing a world in which the personal and the universal intersect and mirror one another. 

Traces Remain brings together the work of Alistair Gow, Birgit Klerch, and Esther Schnerr — three artists whose practices examine the subtle and lasting imprints of human presence. Though distinct in medium and approach, their works circle shared questions: How do we inhabit the world? What lingers once we have passed through?

Alistair Gow’s - winner of the BBA Art Award at Woolwich Contemporary Print Fair London 2024, elusive compositions capture fragile moments of encounter and dissolution. These are not portraits, but presences — suspended in quiet tension, caught between intimacy and estrangement.

Birgit Klerch, shortlisted Artist for BBA Artist Prize 2025, turns inward to the emotional atmospheres of rooms and horizons. Her paintings emerge from lived environments, shaped by time and memory. 

Esther Schnerr, also shortlisted, reaches deep into natural history, exploring evolution, extinction, and the Anthropocene. Together, their works form a shared ground — one that is layered, fragile, and marked by what has come before. In Traces Remain, we are invited to witness not only what is seen, but what is felt, remembered, and inevitably changed.

Navot Miller presents a new series of paintings ranging from large-scale to intimate works alongside a colorful architectural intervention. 

The exhibition unfolds through portraits, urban scenes, and intimate exchanges. Echoes of Edward Hopper’s quiet tension run throughout the series. The conceptual center of Paradise consists of two fresh anecdotes in Miller’s life—a recent romantic relationship with a person and a departure from a place he considers home: Berlin. Miller’s approach to both Eliezer and Berlin is filled with warmth, humor, and eventual heartbreak. Their story infuses the paintings. Here, longing is not failure, but a sign of being alive—a theme also touched on in Olivia Laing’s The Lonely City.

Clay is at the heart of Mahdad Alizadeh's art, which encompasses sculpture, installation, conceptual and performative elements, and most recently drawings. His small to medium-sized, fired and sometimes glazed clay sculptures are organically shaped and, although not figurative, tend to resemble plant or animal creatures and fragments. On a closer look, viewers recognise traces of the working process, such as hollows created by the ten fingers of his hands, cracks, and bruises. His drawings are linear and colourful and, like the sculptures, oscillate between associative representationalism and organic abstraction. Whether on paper or in clay, Alizadeh works intuitively; he does not start with an idea or imagination, but with his hands as a forming tool. While the artist's physical proximity to the material, the intuitive and ritualised touching, feeling, and shaping are formativehere, he takes a step back from his works when it comes to their installation in the space. His interest in architecture certainly influences the plinths and environments he creates for his sculptures. He uses wood, chipboard, and adhesive tape to contrast the fired or glazed clay figures. What they have in common is an aesthetic of the unfinished that emphasises the material and its texture. Alizadeh also incorporates the viewer's perspective on his works and deals with the discrepancy of physical presence and digital presentation in his more conceptual projects. His work merges between physicality and materiality, presentation and perception. In this way, he manages to question the very essence of art in our complex present. (Text by Hannah Jacobi)

Chinese-Finnish artist Canal Cheong Jagerroos 張彤茹 integrates time-honored techniques from traditional Chinese art, symbols, and language into her mixed-media abstract paintings and immersive installation exhibitions. A process of deconstruction and reconstruction forms the basis of her multi-layered works, beginning with large rice paper ink drawings that she tears into pieces. These fragments are reformed into new compositions with paint and diverse materials, creating a distinctive visual language.