How can dissolving boundaries – between the self and the other, the human and the non-human, the interior and the exterior – change our understanding of coexistence and vulnerability? In So flows the tide of things, the sculptor Yaşam Şaşmazer investigates various notions of what it means to be human that shed anthropocentric thinking habits, focusing on processes of transformation, openness, and becoming. In her exhibition either/or (Zilberman | Istanbul, 2021), Şaşmazer had already begun to peel away from her sculptures the shell of human form. Now, they have become yet more fluid towards the Other; increasingly distancing themselves from the shape of the human body, opening to ambiguity and the potentialities of the open-ended.

Platform 82 powered by Zilberman is a new art space that aims to bring together artists, curators and institutions from different corners of the world, generating dialogue through conversations, presentations, publications, and exchange programs.

Platform 82 | Zilberman | Berlin is a new art space at Goethestr. 82 in Berlin. The platform aspires to bring together creative minds from around the globe, to generate dialogue through conversations, presentations, publications, and exchange programs. The Platform will start its activities in october 2023, bringing together 8 video works by 8 artists, accompanied by a series of interactions between artists, curators and institutions.

For her exhibition Sûr, Fatoş İrwen chose the soil, the earth of her homeland, Diyarbakır, as a theme. As the largest Kurdish-majority city in Turkey, with its geography, past and current political histories, its people, its casualties, the land is saturated with meaning. 

The Last Question

The Last Question is an exhibition centred on a single, ongoing performance. It borrows from the tradition of planetariums as sites for the theatrical visualisation of phenomena at the edge of comprehension. Unlike planetariums however, The Last Question does not present a visual spectacle of the universe, but a concert of immediacies, an intimate encounter of bodies, a setting-of-stage, a demonstration.



 

The Last Question is an exhibition centred on a single, ongoing performance inspired by Isaac Asimov’s eponymous science fiction story. The exhibition welcomes visitors to enter an intimate space for experiencing a live music performance on an instrument built by the artist.

The Last Question is an exhibition centred on a single, ongoing performance inspired by Isaac Asimov’s eponymous science fiction story. The exhibition welcomes visitors to enter an intimate space for experiencing a live music performance on an instrument built by the artist.

Simon Wachsmuth’s work revolves around the handling of historical narratives, often linked to the history of the Middle and East Asia. In his third solo show at Zilberman, Simon Wachsmuth chooses to investigate particular histories that set out from his current home and workplace in Berlin. By addressing the theme of war entangled with history, both public and private, Wachsmuth shows how power structures shape our conception of history and our environment.

Guido Casaretto has examined making materials visible as a result of formation processes. For him, it is about imitating these processes in order to enable himself and the viewer to understand something that has come into being over time. The exhibition  comprises sculptural works and the video Crossing Carnevale (2019) in which the artist deals with different appropriation processes and allows them to become a setting for confrontation themselves. 

Guido Casaretto has examined making materials visible as a result of formation processes. For him, it is about imitating these processes in order to enable himself and the viewer to understand something that has come into being over time. The exhibition  comprises sculptural works and the video Crossing Carnevale (2019) in which the artist deals with different appropriation processes and allows them to become a setting for confrontation themselves. 

Guido Casaretto has examined making materials visible as a result of formation processes. For him, it is about imitating these processes in order to enable himself and the viewer to understand something that has come into being over time. The exhibition  comprises sculptural works and the video Crossing Carnevale (2019) in which the artist deals with different appropriation processes and allows them to become a setting for confrontation themselves. 

Chi Yin’s exhibition One Day We’ll Understand questions the colonial and postcolonial histories and historiographies of the 12-year guerrilla war in British Malaya, which the British colonial power euphemistically termed the ‘Malayan Emergency’ (1948–1960). Communists, who had led the resistance against Japan in World War II, now spearheaded the anti-colonial struggle.

Recurrence 2 looks at changes in how history is viewed as well as ruptures and transitions. It is about ambiguity rather than binarity, while our tendency is always to simplify reality, so that we can get a grip on it, but at the same time this is exactly the starting point for conflicts and polarisations of the kind that are again heating up the world’s political climate.