The Eroski Show | a performance by artist Gregor Hildebrandt 

ART 25 is pleased to present a special performance by artist Gregor Hildebrandt on Thursday, February 22, 2018 at 7 PM. This will be the artist's first ever performance in Berlin. Limited edition works available on the evening only.

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Berlin Art Week: ART 25's Top 5 Events

More than 110,000 guests attended the various contemporary art events during Berlin Art Week this year. The organizers announced that more than 1,000 artists participated. Read on to hear which events ART 25 is raving about!


September 1 – 24, 2017

Image Courtesy of Emma McKee.

Image Courtesy of Emma McKee.

Olympus committed itself to make photography come alive. Therefore, an essential element is the PLAYGROUND, which opened its doors for the first time in 2013. 15 other playgrounds followed as well as a photographic art path in Zingst. The playground invites visitors to explore the interactive artworks of internationally renowned artists, such as Thilo Frank, Xaver Hirsch, Poetic Kinetics and many more. Equipped with an OM-D or an Olympus PEN camera they photographically discovered a whole new world. All playgrounds share the unique possibility to photographically explore art in space. The concept has been extended to the entire range of Olympus’ optical products and is now named PERSPECTIVE PLAYGROUND.

If you missed this event during Berlin Art Week, be sure to attend one of the other playgrounds in France, the Netherlands, Austria, Switzerland, Spain and Denmark.

SCHINKEL PAVILLON, Geoffrey Farmer, The Care with Which the Rain is Wrong

September 17 – November 12, 2017

Courtesy of the Schinkel Pavillon

Courtesy of the Schinkel Pavillon

Geoffrey Farmer explores the art, cultural and political history of humankind by continuously investigating their image reservoirs and narratives. Farmer meticulously collects images, objects and sounds of different subjects over long periods of time in order to assemble extensive installations that remain in a continuous state of transformation. Through the media of photography, video, sculpture, drawing and text Farmer explores how each field influences our perception and in which way the pictorial becomes a requisite and actor in our interpretation.Inside the glass pavilion, on the first floor, the artist presents “Look in my face; my name is Might-have-been; I am also called No-more, Too-late, Farewell,” a computer generated digital slide show, composed of a reservoir of over 17,000 illustrations – an archive, which Farmer continuously refines and expands.

HAMBURGER BAHNHOF, Festival of Future Nows

The Nationalgalerie, Olafur Eliasson and Institut für Raumexperimente and works by over 100 international artists.

September 14 – 17, 2017

Courtesy of Hamburger Bahnhof

Courtesy of Hamburger Bahnhof

The second edition of the Festival of Future Nows took place during Berlin Art Week at Hamburger Bahnhof – Museum für Gegenwart – Berlin. Over the four-day period, a dense cloud of creative energy and spontaneity erupted like a Berlin punk-opera-weather-condition, passed by Hamburger Bahnhof. The festival program invited a young and diverse crowd to engage with the unpredictable nature of performance, action, music, interventions, dance, experiments, movement and perception exercises. Spontaneous choreographies, musical disruptions and overlooked encounters invited various forms of audience participation happening at flash-mob-like speed. Individual projects took place in parallel or overlap. The deliberate abundance forces visitors to take a nonlinear route through the festival.

HVW8 GALLERY BERLIN, Three the Hard Way

Featuring artists Alex Bartsch, Maxine Walters, Wilfred Limonious

September 8 – october 14, 2017

Courtesy of HVW8 Berlin.

Courtesy of HVW8 Berlin.

HVW8 Gallery is a hidden gem in Mitte, established in 2014 with a focus on supporting fine art and Avant-Garde graphic design. For Berlin Art Week 2017, they presented three artists documenting the transition of time from an ethnomusicological perspective into the history of reggae music in London. If you are looking for something different than a typical Berlin gallery – step into HVW8, also located in Los Angeles.

In Fine Style: The Dancehall Art of Wilfred Limonious, is the first solo exhibition of work by prolific Jamaican illustrator Wilfred Limonious (1949–99) in Germany, and includes reproductions of work from the early 1970s through the mid-1990s, spanning three key phases in his career: his comic strips for the Jamaican newspapers, his illustrations for the publications of JAMAL (the Jamaican Movement for the Advancement of Literacy). London-based photographer Alex Bartsch makes his debut at HVW8 Gallery Berlin with photographs from his book, Covers: Retracing Reggae Record Sleeves in London, forthcoming on One Love Books. Serious Things a Go Happen features various original signs and posters from the early 1980s through today, drawn from the collection of Jamaican film and television producer and director Maxine Walters. 

BERLINISCHE GALERIE, Monica Bonvicini, 3612,54 M³ VS 0,05 M³

September 16, 2017 – February 26, 2018

Courtesy of Berlinische Galerie and Monica Bonvicini.

Courtesy of Berlinische Galerie and Monica Bonvicini.

Monica Bonvicini’s latest intervention at the Berlinische Galerie – produced parallel to her contribution to the 15th Istanbul Biennial – investigates the architecture of the museum building, its potential uses and the way it is perceived. Bonvicini's diverse oeuvre of sculptures, installations, drawings, photographs and videos works is permeated by explorations of space, power, gender and sexuality.



A conversation about outer space and contemporary art practices with artist and musician Nahum



JULY 13, 2017

"These works synthesize research, poetical and critical ideas through the act of experiencing art. It's abstract and concrete at the same time. That is the beauty of art."

What is your approach for making art in the realm of outer space and where did your initial interest in this type of work come from? 

I was fascinated by the thought of going to outer space. I was working in London in Shunt, an underground venue where I established my art-science community. I heard of artists working in outer space and met people from space agencies. I thought that after working underground I should work overground. It sounded like an amazing world to discover, so I started working for the space federation. 

Space activities are not only about space, they are about every field of humanity, but from an incredible perspective that allows you to see things in a different optic. It inspires challenges that require new solutions that can also apply to earth's issues. I am an Earth centrist person. My work is about and for the present and future of Earth and its life. Space is cool and mysterious, but our experience is here and we have to make the most of this journey.

Science and art are seen as opposite fields. Can you explain your experience with the two? 

I see space technology as another medium for creating work, but not the work itself, in the same fashion as brushes or marble need to be used in order to produce paintings and sculptures. However, space technology cannot be used in the same way. Access to this realm is restricted to power structures and to expertise. In order to gain access, you have to work within the space community, learn, prepare and absorb the theories. I have astronautic training and am a so called space leader because I wanted to make work using space technology. And of course, because I believe in the importance of democratizing the field that is shaping the future of humanity. It's about each and every one of us, not just about astronauts and scientists. 

Contemporary arts practices are so much based on research led processes. Scientists, unlike artists have to prove something, or disprove it.  I believe our job as artists is to present work. This work is a synthesis of research and poetical or critical ideas through the act of experiencing art. It is abstract and concrete at the same time. That is the beauty of art. We are experiential creatures and experience it's a way of engaging in discourses and ideas.

Nahum, Evocation 2, 2015, Lithograph

Nahum, Evocation 2, 2015, Lithograph


Could you please expand on the ethical issues brought up in your type of practice?

This is specific to my hypnosis performance. Many curators have challenged me about the ethics of implanting memories and/or experiences into people's minds. I do not have an answer as I am not an ethics committee, but, I believe that part of the artwork is triggering conversations. Again, art does not necessarily have to be about proofs or about moral answers, but is about presenting something that generates a discussion.

Could you please explain what you see as the benefits of the hypnosis practice?

I think hypnosis as art questions the standards of artworks which normally are material and external. In this performance the artwork is internal and immaterial. There is a lot going on in virtual reality works or digital experiences. Maybe the ultimate virtual and immaterial art form is hypnosis. 




COSMIC CULTURE SESSION II: Voyage: A session for remembering 

JUNE 27, 2017

ART 25 was pleased to present Voyage: A session for remembering with international artist-musician, Nahum for Cosmic Culture Session II. As a continuation of the series, we invited the audience to experience impossible memories through a participatory performance.

By combining sound composition and installation elements reflective of his multidisciplinary background, Nahum performed hypnosis. Guests were invited to take part in a transient journey.

Nahum's artistic practice highlights the importance of including culture in the dialogue about space, time, gravity and exploration. Through performance, installation, video, and drawings, his work explores the possibilities of generating wonder and enchantment in the everyday. 

The Berlin-based artist serves as the Chair of the Committee for the Cultural Utilisation of Space (ITACCUS), a branch of the International Astronautical Federation (IAF) in Paris. In 2014, he was awarded the title of Young Space Leader for his extraordinary cultural contributions to astronautics. In addition, Nahum is the Founding Director of KOSMICA, a series of international festivals that engage those interested in sharing cultural and critical ideas related to space exploration activities. 



COSMIC CULTURE SESSION I: Concepts of Continuity: Art, Architecture, and Space

JUNE 24, 2017

Cosmic Culture Session I: Concepts of continuity, a conversation which explored a kaleidoscope of themes ranging from the discovery of new planets and radical utopian visions to our intuitive interaction with the universe and spaceship Earth. 

Artists Kerim Seiler and Björn Dahlem together with Niklas Maak had a dynamic panel discussion on the multiple influences space has on creative practices.


Kerim Seiler has developed a complex, philosophic sculptural approach to working with space. From colorful and inflatable molecule sculptures to permanent neon light installations or architectural performative artworks, Seiler’s visual language merges complex theories of positivism and metaphysics. Sensible interaction and ambivalent relation between materiality and spirituality are expressed in Seiler’s innovative sculptural concepts of social and urban space. 


Björn Dahlem uses simple, commonly found materials to refer to complex scientific theories or models used in cosmology, astronomy, and physics. Dahlem has been interested in the inherent contradictions posed by models and diagrams of abstract concepts and knowledge. He turns these concerns into large-scale, sometimes immersive installations with flea market finds, wooden planks, and commercial light tubes. He chooses these materials because his aim is, as he describes, “to stay as close to the idea [as possible] and the immaterial image of the imagination.” Dahlem’s intricate visualizations of scientific phenomena attempt to draw out the existential questions present within these models and theories: of failed utopias, spirituality, and human existence. 


Niklas Maak, born in 1972 in Hamburg, is the arts editor of Frankfurter Allgemeine Zeitung, and an architecture theoretician working in Berlin. Since 2002, he has pursued parallel careers as a writer, educator, newspaper editor, architect, and visiting professor. Maak studied art history, philosophy and architecture in Hamburg and Paris. He completed a maîtrise in 1996, studying with Jacques Derrida, on the question of the threshold, and his PhD on the work of Le Corbusier and Paul Valéry in 1998, with Martin Warnke at Hamburg University. He was a visiting professor for the history and theory of architecture at Städel Schule, Frankfurt, and has taught and lectured at the Universities of Basel, Berlin and Buenos Aires. In 2013, he co-designed and programmed, together with A77 and Pedro Gadanho of New York’s MoMA, an experimental, temporary, minimal collective dwelling structure, the Colony at MoMA PS1, in Queens. In 2014, he worked with Rem Koolhaas’ Biennial team as a consultant and contributor. For his essays, Maak has been awarded the George F. Kennan Prize (2009), the prestigious Henri Nannen Prize in Germany (2012) and the COR Prize for architectural critique (2014). His most recent publications include Le Corbusier: the Architect on the Beach; Wohnkomplex, an investigation of the effects of fundamental technological, demographic and societal changes on housing; and The Living Complex, which researches concepts for a post-familial collective architecture.



ART 25: A New Cultural Initiative in Berlin

A creative platform to incite bold discourses in the fields of art, design and architecture


A R T Communication + Brand Consultancy (A R T) is pleased to announce ART 25, a new cultural initiative based in Berlin. Its curatorial practice shapes a culture of bold new discourse in the form of conversations, performances, and exhibitions, inviting local and international communities to an open inclusive exchange of ideas.  

With the mission to diversify conversations in the spheres of art, design and architecture, ART 25 will curate projects and events that bridge these fields with philosophical, scientific, or social concepts and theories. Within this context, ART 25 extends upon the consultancy’s philosophy of facilitating cross-industry collaborations.

“The purpose of ART 25 is to create an intimate space that harbors unabridged thought exchanges,” said Anna Rosa Thomae, founder of A R T and ART 25 . “We want to examine diverse topics of interest that spur creative invention, as opposed to selective repetition of content.” 

Close to Nollendorfplatz in the heart of Schöneberg, ART 25 is located in one of Berlin’s growing cultural centers. The area has seen a creative renaissance in the recent years and is now home to several leading galleries, collections, and arts organizations.

In celebration of its launch, ART 25  presents its first content-based series titled “Cosmic Culture Sessions,” curated by Anna Rosa Thomae. In May 2017, the inaugural talk “Concepts of Continuity: Art, Architecture, and Space,” explored how theories of consciousness and space discoveries influence visual culture. With artists Kerim Seiler and Björn Dahlem, alongside arts editor Niklas Maak leading the discussion on a kaleidoscope of topics, the talk was followed by an open group discourse on several themes ranging from utopian visions to personal perceptions of the universe.