“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.

On the occasion of the 65th anniversary of the founding of the Fördererkreis Kulturzentrum Berlin e.V., the Haus am Lützowplatz (HaL) is hosting a large-scale exhibition featuring 28 Berlin-based female artists and commemorating its eventful history in an extensive publication.

One unifying element of the sculptures in the „How we Live“ exhibition is the theme of social housing, i.e. state-subsidized construction projects and the associated social issues. For the „Haus am Lützowplatz“ art association, the „How we Live“ project is directly related to a socially linked construction project on the site of the former parking lot, which will be realized from autumn 2024 after a planning phase lasting several years. 

Players in art can be both Joker and Homo ludens, players with a serious duty and an important mirror of society. Their spaces of game are abyss and dreamland.

Curated by Sarah Letzel & Asja Wolf

Berlin wants to build. However, how to create as much affordable housing as possible in the shortest amount of time is controversial. Jim Avignon is concerned about Berlin's housing policy and comments on it with the high-rise character created for the HaL courtyard sculpture. Like Jonathan Borowsky's "Hammering Man" tirelessly swinging the hammer, Jim Avignon's sculpture "Workout-City" tirelessly lifts weights. Creating living space and finding living space seems to demand equally tireless effort.

With the exhibition "A Home for Something Unknown," the n.b.k. (Neuer Berliner Kunstverein) and the Haus am Lützowplatz present works by 26 international artists living in Berlin who were awarded the Visual Arts Fellowship by the Berlin Senate in 2023. For the first time spread across two exhibition venues, the group show brings together a diversity of individual engagements with societal phenomena and provides insight into the current art scene in Berlin.

Berlin-based artist Philip Topolovac was invited by guest curator Max Dax to create HaL-Hofskulptur #8. Referring to the shape of the T reinforced concrete fountain in the Berghain beer garden in Berlin, Philip Topolovac's sculpture "Fountain" constructs a fountain that functions as a signpost or memorial.

The works by ZIERVOGEL in the exhibition Wir sollen wie Hunde sein! (We should be like dogs!) peculiarly place the production of art and the process of its viewing in a multi-layered contemporary field. The common vanishing point of all the works shown is the human body in its physical and genetic makeup and as a site of sensory and mental experience.

For the exhibition Back to the Future II, just like teenager Marty McFly and Dr. Emmett L. "Doc" Brown in the legendary fiction film trilogy of the same name, "Back to the Future," the collective’s members embark on a journey through time that takes them to both the past and the future.

Two- and three-dimensional, the group exhibition "Possibility and Reality" ventures into unsecured terrain. The works of the selected artists raise questions about the reality of fragile landscapes and surfaces: is what we see of artificial or natural origin, do we see a beginning or an end, dystopian or merely transitory states? Where are we in the midst of these images and forms, and can we still rely on our perception?

The international artists allow us an insight, as the fight for a free Ukraine and the future of Europe continues. Their works reveal personal, social, and political phenomena and question the role of art in this conflict. The artists take different perspectives on this.

At the HaL Studiogalerie, the media of sound, painting, object, installation and drawing meet and ignite dialogical structures, gentle and radical, incoherent and structurally related.

The exhibition „SurVival: Questions about the Future“ is conceptually based on the film „Soylent Green“ (1973), which takes place in the year 2022 and almost fifty years ago created a gloomy vision of the future, that of extreme overpopulation and the ecological problems it caused. Against the background of this almost 50-year-old look into a future that has now become the present, the exhibition opens up a polyphonic space for reflection with twelve artistic positions.

Against the backdrop of the fear of alienation as well as exclusion and its consequences, the exhibition negotiates the ambivalent concept of homeland in a "volatile modernity" (Zygmunt Bauman) with its experiences of globalization and fluid power structures. The appropriation of the emotionally connoted narrative of homeland by right-wing voices in the sense of a folk ideology is countered by the romanticization of homeland fantasies in commercial folklore.

On the occasion of the Long Night of Museums, the Haus am Lützowplatz in cooperation with Party Arty celebrates for the first time the: HaL Hof Fest. 

From 6 p.m. to 0 a.m.: bars, DJs, live acts (Yaneq & Kohle, Jim Avignon's one-man band Neoangin) 

Fee: 5,- Euro

Relic: remnant from a past time, or remnant from a previous of a former state, indicates being left behind, abandoned (Latin: rēlinquere). The curated works show traces of something greater or something that has disappeared. In doing so, the art production imitates, on the one hand, traces of past epochs. On the material plays an essential role. As a medium used are used: quotes, collage, installation, sculpture, drawing, film, textile works.

Author and journalist Jörg-Uwe Albig will discuss the theses of his new book with Mladen Gladic on Wednesday, July 6, 2022, at 7 p.m.

In current debates about climate policy, refugees to Corona, a horror image is regularly conjured up: the specter of moralism. We encounter morality in everyday life, in politics, in society. But morality is often just ranted about. In his new book, Jörg-Uwe Albig counters this in a biting, rousing and cleverly argued way. 

Deborah Poynton’s sometimes monumental canvases are painted in a virtuoso realistic technique that reveals the smallest details. These are works that offer a reflective visual experience that forces one to pause and resists the fleeting flood of images in digital media. The overwhelming visual richness of her pictorial worlds, in which the gaze can wander almost endlessly, shows a constructed reality, combined from different set pieces. 

The group exhibition „never mind the burnout“ explores how life on the edge of exhaustion is reflected in the art production of the past few years.

Czurated by Katharina Schilling and Jim Avignon

Haus am Lützowplatz presents the painter Goetz Valien (* 1960 in Kitzbühel) with an exhibition that relates several of his series of pictures to one another. The work of the artist, who has lived in Berlin since 1985, is characterized by a virtuoso objectivity which he calls „virtual realism“ and which is fed by a tightly woven network of references into popular culture and the history of painting.

Haus am Lützowplatz presents a solo exhibition by Clemens Krauss under the title Massen / Masses. His works examine issues of the human individual as a psychophysical entity in social, political and cultural contexts and have been shown internationally in institutional solo and group exhibitions.

The group exhibition at the Studio Gallery presents works by:

AFFF Collective, A Z I Z A, Ekaterina Burlyga, Apollinaria Broche, Sonya & Varya Cheltsovii, Olga Chernycheva, Alina Glazoun, Katya Isaeva, Anna Kuznetsova, Maria Kolosova, Victoria Kosheleva, Nadezhda Likhogrud, Anna Nezhnaya, Ulyana Podkorytova, Susanna Smailova, Margo Trushina, Ustina Yakovleva

Curated by Yulia Belousova

For Rotation Rebound, Lorenz and Wendland transform the exhibition space of IG Metall into a stage situation. The street becomes an auditorium. In a course of movement, architectural interventions meet with balance objects from the world of fitness, rehab and agility.

Rotation Rebound opens up a set of possible actions that are visible day and night.

The project presents a series of scenarios of future life on Earth that oscillate between imagination and documentation. The selected works, which are mainly site-specific installations, are imaginary investigations of post-apocalyptic rural and urban landscapes as a result of human influence on nature and architecture. Specifically, the exhibition aims to generate a conversation around the global issues.

In the garden of the Haus am Lützowplatz, remodeled in the late 1980s, on a square field in the center of the courtyard lies a capsule composed of trampolines. The jumping sheets of the one-person sports equipment are directed inside, an arrangement in which no one can jump. Impact and rebound as endless rotation?

Simultaneous to the collaborative work HaL-Hofskulptur #6 at HaL, Lorenz and Wendland show their exhibition Rotation Rebound at the Haus der IG Metall.

The exhibition presents the works of the VR KUNSTPREIS scholarship holders, who create sculptures and paintings far removed from the laws of physics. The works reflect social dynamics and social changes caused by new technologies. VR art expert and artistic director Tina Sauerländer embeds the VR artworks in site-specific installations: virtual reality enters into dialogue with physical space.

The exhibition "Margret Eicher. Lob der Malkunst" is a cooperation with the Museum Villa Stuck in Munich and the continuation of the project in the adopted hometown of the artist (born 1955 in

Viersen).

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„It is inevitable that, in addition to joy and success, we will also feel sadness and loss, hurt others and be hurt in our lives. Our bodies can bear scars, as can our hearts. How can we rethink our lives and continue to love with these scars? How do we create art and record annual rings of our life with these scars?" (Huang Mei)