In autumn 2024, Haus am Waldsee, in cooperation with the Georg Kolbe Museum and Sophiensæle, will present the artistic work of the Austrian-French artist, choreographer and director Gisèle Vienne (*1976) in Berlin for the first time. Over the past 25 years, Gisèle Vienne has created a complex and wilful oeuvre that questions our patterns of perception and invents artistic languages to pave the way for structural social change.

In May, Haus am Waldsee presents a comprehensive solo exhibition by Josephine Pryde. Throughout her working life, the currently Berlin-based British artist has explored and questioned the creation and consumption of images, with a particular focus on photography and its associated modes of production.

Zooms and Streams – Gallery Weekend Guided Tour

Combined guided tour from Fluentum Live Stream to the Haus am Waldsee Jenna Bliss & Carol Rhodes

2 pm, 1st part Guided Tour, Fluentum, Clayallee 174, 14195 Berlin
3.30 pm, 2nd part Guided Tour, Haus am Waldsee, Argentinische Allee 30, 14163 Berlin

Max. 20 people. Participation free of charge. The guided tours are held in German.
Registration at: info@fluentum.org

In February 2024, Haus am Waldsee presents two parallel exhibitions by the American artist Jenna Bliss (*1984 New York) and the Scottish painter Carol Rhodes (*1959 Edinburgh; † 2018 Glasgow). The use of temporally or spatially distanced perspectives to reveal new angles on established narratives are characteristic of the work of both artists. Through these critical perspectives, geographic, social and historical contexts come into view.

In February 2024, Haus am Waldsee presents two parallel exhibitions by the American artist Jenna Bliss (*1984 New York) and the Scottish painter Carol Rhodes (*1959 Edinburgh; † 2018 Glasgow). The use of temporally or spatially distanced perspectives to reveal new angles on established narratives are characteristic of the work of both artists. Through these critical perspectives, geographic, social and historical contexts come into view.

The Haus is pleased to present the first institutional exhibition of French artist Bruno Pélassy (b. 1966 in Vientiane, Laos, d. 2002 in Nice, France) in Germany. Through formal and playful material excesses in sculpture, couture and jewelry, drawing, and film, the exhibition explores his practice as both a personal and political contention of the conventions of desire, nature, gender, value and health, and a suit for the dissolution of fixed binaries.

On September 16 and 17, from 11 am till 7 pm each day, Haus am Waldsee will showcase the performance All Fours: Life Guardians at its lakeside, featuring five majestic marble lions draped with home textiles such as bath mats, towels, rags, and blankets. Standing in a close formation, the lions are framed by a group of performers who bring the inanimate sculptures to life through a carefully choreographed sequence of slow, synchronized equestrian movements.

Artist Tolia Astakhishvili will transform the Haus in the course of an expansive solo presentation. Astakhishvili’s multimedia practice is concerned with questions of space: how it is constituted, and how it reflects lived realities. Her works follow the structures and narratives of existing buildings, conjuring up real and imaginary stories through temporary installations and alterations. Curated by Beatrice Hilke.

The Home as Everyday Stage

Combined guided tour from Fluentum "Loretta Fahrenholz - Trash The Musical" to Haus am Waldsee "Margaret Raspé - Automatik".

2 pm, 1st part guided tour, Fluentum, Clayallee 174, 14195 Berlin

3.30 pm, 2nd part guided tour, Haus am Waldsee, Argentinische Allee 30, 14163 Berlin

Please register at: info@fluentum.org

Max. 20 persons

In the spring of 2023, the Haus am Waldsee presents the first comprehensive retrospective of Berlin-based artist Margaret Raspé (b. 1933 in Breslau), who created a significant body of artistic work in the immediate vicinity of the Haus am Waldsee over the past five decades. In her practice, Raspé developed an ideosyncratic artistic language that considers life and art and their everyday conditions in unison.

The exhibition Female Remedy by Leila Hekmat (b. 1981 in Los Angeles, lives and works in Berlin) transforms the Haus am Waldsee into a religious sanatorium for women, an infirmary of sorts, complete with hospital beds, a surgery room, a chapel and an assortment of specialised rooms for treatment. In tandem with a live performance, the exhibition takes the shape of a satiric, sensory installation that unfolds across the house and the garden.

Thomas Florschuetz, born in Zwickau in 1957, is considered to be one of the most important German representatives of contemporary photography. The fascination of photography lies in the complexity of the medium for the artist – which extends beyond the purely illustrative, documentary function. Florschuetz argues that the surrounding reality must be questioned in order to arrive at a more complex image. 

For the exhibition, industrial designer Konstantin Grcic creates environments in which his design objects interact with materials and everyday objects of our present. These so-called "New Normals" refer to a future in which other constellations of living and working together are tested and confront the viewers with their own ideas of utopian and dystopian futures.

For the exhibition, industrial designer Konstantin Grcic creates environments in which his design objects interact with materials and everyday objects of our present. These so-called "New Normals" refer to a future in which other constellations of living and working together are tested and confront the viewers with their own ideas of utopian and dystopian futures.

For the exhibition, industrial designer Konstantin Grcic creates environments in which his design objects interact with materials and everyday objects of our present. These so-called "New Normals" refer to a future in which other constellations of living and working together are tested and confront the viewers with their own ideas of utopian and dystopian futures.

Unprecedented in contemporary sculpture, Christiane Löhr (*1965) uses exclusively renewable material for her sculptural works. Her delicate spatial sculptures of various forms are built from materials like horsehair, grasses, blossoms, or seed clusters. She is particularly interested in the transformation process of her unusual source materials into delicate and therefore all the more daring spatial events. 

“Into Space” addresses humanity’s longing for outer space, zero gravity, faraway galaxies and a faith in energies outside our current powers of comprehension and perception. In the show, three sculptors reflect on the intersections of art, science and philosophy across a century and from a Berlin point of view.