with works by Verdiana Albano, Sandra Buschow, Eva Grillhösl, Paulina Hildesheim, Jana Islinger, Telke Jungjohann, Rainer Christian Kurzeder, Ramon Lehmann, Michelle Maicher, Claudia Neuhaus, Lukas Ratius, Eva von Schirach, Helen Stevens, Tara Wolff, Antine Karla Yzer

The master class at the Ostkreuz School of Photography presents its latest work from the past two years. Under the direction of Prof. Linn Schröder and Ingo Taubhorn, the exhibition focuses on cracks in systems, on the no longer and the not yet, and on the in-between. The series tell stories of ruptures, tensions, and transitions, as well as violence, flight, and border experiences. Family biographies are reflected upon in terms of their contemporary and individual contexts, the relationship between humans and nature is questioned, and gender assignment and role models are examined.

Artist and filmmaker Sabrina Labis (born 1990 in Zurich, Switzerland) explores concepts and processes of digital images and the power structures behind them. In this exhibition, she addresses historically conditioned sexism in science and technology and its manifestation in the transfer of knowledge. At the centre of the exhibition is a newly produced video work in which a performer translates O B A F G K M into body movements. The letters stand for a classification scheme for stars. To this day, the sexist mnemonic ‘Oh, be a fine girl! Kiss Me!’ is used to remember the sequence. In an interplay of body, architecture and language, Labis experiments with alternative mnemonics that reverse power relations and create new associative connections.

In her work, artist and photographer Cihan Çakmak (born 1993) explores various aspects of origin and identity, particularly in the context of her own German-Kurdisch biography, which navigates a critical tension between tradition and self-discovery. With performative photographic self-portraits, gestural representations of female protagonists, a video installation, drawings and texts, Çakmak explores moments of distance and closeness, emancipation and external control. Her works refer to individual spheres of action and reflect the emotional traces of family traumas and collective memories – always caught between belonging and separation.

This exhibition presents the work of photographer Christa Mayer from more than four decades. The photographs and video works on display present mostly portraits and landscapes. Christa Mayer is known for her poignant portraits of patients in long-term psychiatric care.

As one of very few women, she honed her artistic style from 1980 onwards at the legendary Werkstatt für Photographie (Workshop for Photography) in Berlin. In 1987, she received the P.S.1 work scholarship in New York. Soon after, she expanded her area of interest to include healers from various cultural backgrounds. Artists and children serve as important points of inspiration, as do symbolically charged landscapes. During her stays in Italy or Istanbul, Mayer captured everyday impressions of the urban landscape.

Christa Mayer’s work is an expression of a deeply subjective experience and an empathetic engagement with people and places. With her distinctive visual language, she has made sealed-off areas of our lives visible and comprehensible. What is more, she has given expression to the unconscious aspect of our inner worlds as well as the landscapes that surround us.

In “Haut und Holz” (Skin and Wood), Loredana Nemes explores the themes of nature, love, and rootedness. On display are four groups of works created since 2019. In “Sicilia,” the artist focuses on the bond between humans and nature by portraying Sicilians and her favorite tree, as named by the islanders, during her travels. With the series “Immergrün” (Evergreen), she explores how photography can visualize decades of love. The cycles “Graubaum und Himmelmeer” (Gray Tree and Sky Sea) and “White” are an ode to the tree and its beauty throughout all seasons.

Berlin-based artist Wataru Murakami, born in Japan and raised in Canada and the United States, photographs vacant spaces, barely noticed details, and traces of movement. In the exhibition Dispersion, Murakami explores the perception of self and the notion of belonging. Through visual interventions such as overpainting and fragmentation, he develops a distinct visual language in which the visible simultaneously alludes to the hidden – an alternative reality that reveals itself beneath the surface.

When the world begins to falter, art becomes a source of strength. Through more than 20 video interviews with female artists from different generations and disciplines, Friederike von Rauch and Stefanie Schweiger interweave their own works and texts into a multifaceted portrayal of artistic reality – situated between precarity, invisibility, and creative power. DISRUPTIVE REALITIES reveals what often remains hidden: everyday struggles, resilience, and the political dimension of artistic practice. A call for greater justice – and for art as a medium of hope in times of crisis.

Mineriada is a sarcastic term that combines the Romanian word “miner” (miner) with the suffix “-iada,” as in “olimpiada” (a suffix used to form nouns). Anton Roland Laub examines the division of Romanian society that led the country to a decade of isolation. The artist explores the sites and trauma of physical violence incurred when enraged miners loyal to the regime were brought to Bucharest by train in order to strike down the pro-European opposition. He thus points attention to recurring conflicts in a polarized world.

In her artistic photographs, Kathrin Linkersdorff (b. 1966) illuminates the complex interplay of growth and decay in nature. Operating at the point of tension between art and science, she uses experimental approaches and processual methods from the field of microbiology to create works that record specific points in time during the organic process of the decay of plants.

Inka and Niclas Lindergård focus on contemporary processes of perception of nature in photography and the associated stylisation of landscape. The luminous utopian landscapes in their works speak to the viewer's experience and show the beauty and visual culture associated with them. In the photographic image we experience nature and confirm our own existence.

Anneke Kleimann explores transience in her art. The fleeting shadow play of a treetop on a sunny day, the various manifestations of Saturn's rings, the visualisation of sound or light - she transfers phenomena of our natural world into a new, poetic form using wood, glass or cyanotype. Anneke Kleimann's artworks are, as it were, condensed reflections on the changeability of things and our perception of them.

Each year, the municipal galleries of Tempelhof-Schöneberg award the Haus am Kleistpark Art Prize, endowed with 5,000 euros. The overall theme this year is "Be here now". It refers to the perception of and reaction to the immediate subjective present. What moves us? What are the relevant contemporary themes to focus on right now? What art-theoretical discourses are on the agenda? Works from all areas of the visual arts will be on display. This year's jury is chaired by art historian Christoph Tannert.

In this exhibition of photography and sound, Alexander Rosenkranz and Florian Merdes explore Tempelhofer Feld as a unique example of a city. In the rhythmic composition of the photographs and the use of various media, the artists capture the space in its particularity. Broad, dancing, tilting horizons and surfaces alternate with objects that are suddenly close and present. The outstretched space of Tempelhofer Feld allows us to expand our gaze and experience being thrown back on ourselves.

"Changing States: Ireland in the 21st Century" is the first major group exhibition to use the medium of photography to highlight and make visible the changes in Irish life. It focuses on the first decades of the 21st century, which marks the 100th anniversary of the founding of the state. The exhibition presents 34 contemporary artists in the large exhibition hall and the project room of Haus am Kleistpark, providing an overview of the development of contemporary photography in Ireland for the first time.

In her current photographic work, Miji Ih explores the traces of a Korean woman who lived from 1914 to 1991 and was forced to work as a so-called "comfort woman" for the Japanese military in Okinawa during the Second World War. Miji Ih combines her own photographs with historical images in an attempt to let history speak for itself.

Photographic artist Bob Jones explores the meanings and diverse contexts of identity, role models and physicality. The exhibition "Beyond me" shows photographs from series of works from 2015 to the present day, which on the one hand go back to the artist's preoccupation with her own self and on the other hand reflect on the influence of social conventions. Traditional (female) representations are deconstructed in her work or subjected to an ironic gaze, opening up new perspectives on the question of one's own position in the social fabric.

In the fascinating interplay between depiction of reality and enigmatic abstraction, Jessica Backhaus focuses on objects and situations of everyday life. In search of new means of expression, the artist views the world through her camera from unusual perspectives. Free play with materials gives rise to staged still lifes, collages, and minimalist experiments with color and light.

In the exhibition installation »Noontide«, Mirjana Vrbaški shows portraits, nature photographs and videos as a visual sequence. Strangely familiar portraits of women, which captivate the viewer with their clarity and formal austerity, are combined with archetypal forest scenes and open a space for a dissonant experience of the world. Surreal-seeming video shots and stills take us into dimensions between transcendence and mundanity, fullness and emptiness, energy and lethargy, thus suggesting an ambiguous moment of transformation.

In this cross-media exhibition, the artists of the Interspace Collective explore their own experiences as PoC (People of Colour) in a white society. The term "Minor Feelings" goes back to the author Cathy Park Hong and describes dysphoric feelings that are rejected by a white majority society. The artists want to make these feelings visible in the space in order to turn "minor" into "major feelings".

Water, too much of it and too little, is the focus of the new work by Nora Bibel, who has photographed the consequences of climate change in Indonesia, Namibia and Germany. In photographs of almost abstract-looking landscapes, people in their surroundings and objects connected to water management, the photographer impressively shows that water in the spectrum between flooding and drought is a globally connected and mutually influencing system.

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"In Kurz's work, loneliness is conveyed as an existential feeling of being a of being a stranger in the world. Based on conversations about experiences of loneliness, the artist transfers emotional and physical sensations into pictures and self-made objects, which she objects, which she photographs in a distanced studio manner." (Cora Waschke)

The exhibition Arno Fischer: Eine Reise will offer insight into Arno Fischer’s photographic practice and the various roles he played—photographer, mediator, and teacher—during his career. With over one hundred black and white and colour photographs taken between the early 1950s and late 2000s, some of which are shown for the first time, the exhibition will highlight the important place Fischer holds in the history of German photography.

Myriam El Haïk explores the topos of landscape in this exhibition. The artist approaches the subject through the sensations that a landscape evokes in her. The emotional space designed in this way in drawings and paintings is also reminiscent of the patterns of carpets, which the artist perceives as landscapes that are experienced physically as well as tangible. Her painterly works are supported by musical compositions in the exhibition.

Myriam El Haïk explores the topos of landscape in this exhibition. The artist approaches the subject through the sensations that a landscape evokes in her. The emotional space designed in this way in drawings and paintings is also reminiscent of the patterns of carpets, which the artist perceives as landscapes that are experienced physically as well as tangible. Her painterly works are supported by musical compositions in the exhibition.

Part of EMOP. In an installation comprising photography and text, the photographer Ingo van Aaren and the writer David Wagner engage with the concept of the flâneur. The idea of someone who strolls through the city was once taken to extremes by Parisian bohemians who took their pet turtles for a walk. Ingo van Aaren's photographs follow David Wagner and a tortoise as they wander through Berlin at night.

Part of EMOP. Manfred Paul's photography deals with the existential questions of the human condition. These images become parables and serve to understand the passing of all things in life. In this exhibition, Manfred Paul shows photographs taken during stays abroad in Romania (1978), Paris (1988) and India (1989). This is the first time that these works are on view in Berlin.  Manfred Paul is considered one of the most renowned East German photographers.

The image worlds of a leisure and media culture are so omnipresent that they can no longer be seen separately from real life. Contemporary people find themselves in a play time in which the boundaries between fiction and reality are blurred. With his photographs, Wolfgang Zurborn takes the viewer into a very idiosyncratic, whimsical world of images in which scenes and objects of everyday life seem to be out of kilter.

The project follows on from the first two themes "Between Worlds - Farewell, Arrival and Arrival" (2016) and "Second Life - You know my name, but not my story" (2019) and aims to show new, open future perspectives for all refugees. It is an attempt to mediate between the arrival of refugees some six years ago and their lives today. Project management: Prof. Peter Fischer-Piel

In her photographic projects, Anne Schönharting deals with contemporary, socially and systemically relevant conditions and processes.

socially and systemically relevant conditions and processes. In this exhibition, the artist presents portraits in private homes over a period of ten years in the milieu of artists and art collectors in Berlin-Charlottenburg.

of Berlin-Charlottenburg. The flat depicted in each case becomes a stage, a place of self-portrayal and social positioning.

As part of the promotion of artists, the Haus am Kleistpark offers an annual art award endowed with 5000 euros. Under the title HaK Lab, the large exhibition hall opens as a space for artistic experimentation or artistic experience. On display are works from all areas of the visual arts, the contemporary relevant themes.

 

In August 2020, the two artist friends begin a photographic dialogue with images from their archives. In doing so, they proceed intuitively. The guiding idea is a search for images that immediately touch for different reasons. These finds from the past experience a new context in the exhibition, which opens up spaces for spontaneous associations, contradictory feelings and previously untold stories.

The exhibition is accompanied by a catalog with a text by Holger Tegtmeyer.

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Der Berliner Fotograf Andreas Rost reiste auf Einladung des Goethe-Instituts und des ifa – Institut für Auslandsbeziehungen 2007 zum ersten Mal nach Kabul. Während seiner insgesamt drei Aufenthalte in Afghanistan entstanden unter schwierigsten Bedingungen Fotografien, in denen sich Andreas Rost intuitiv der Situation vor Ort angenähert hat. 

In her new artistic project, Nadja Bournonvilles deals in many ways with the life, biodiversity, legacy, representation and extinction of animals. The artist photographed objects and specimens in the Natural History Museum Vienna. The result is a visual aesthetic cosmos, deeply rooted in being between beauty and deformation. At the same time, the photographs refer to the heterotopia inherent in the museum. 

In her painterly series "Nicht-Orte", Annabell Häfner deals with transit spaces of the modern world and the sensations that unfold there. Waiting rooms, airport halls and hotel rooms, for example, are characterised above all by their emptiness and lack of traces. In this anonymity, the self is thrown back on itself, one's own feelings are perceived more intensely.

Die Malerinnen Bettina Carl, Ina Bierstedt, Silke Leverkühne und die Fotografin Marie Kratochvílová, reflektieren jeweils präzise das Verhältnis zwischen Vorbild und Bild, Natur und Kunst, Mimesis und Schöpfung. Die Arbeiten der Künstlerinnen reflektieren die faszinierenden Vorgänge des Übergangs und kristallisieren die Verwandlungsenergien der Natur.