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Mittwoch 14:00 - 19:00 Donnerstag 14:00 - 19:00 Freitag 14:00 - 19:00 Samstag 14:00 - 19:00 Sonntag 14:00 - 19:00

Künstlerhaus Bethanien

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Künstlerhaus Bethanien

Künstlerhaus Bethanien is a service enterprise whose goal is to further contemporary art and contemporary artists. The 2G regulation will no longer apply.
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As one of the world’s oldest and most established residency programs, Künstlerhaus Bethanien offers artists from all corners of the globe the opportunity to live, work, and showcase their projects in Berlin. It is responsible for the lodging and assistance of international guests; for offering advice in general questions concerning art and its practical issues; for the running of the workshops; fo

r the planning and realization of its residents' events; and the development and organization of artistic and cultural projects both in and outside of Berlin. The Künstlerhaus is a project workshop and a location for events, and its structure is comprised of many layers. In accordance with the SARS-CoV-2 Infection Protection Measures Ordinance of the State of Berlin, only the obligation to wear an FFP2 mask applies to indoor exhibition visits as of Friday, February 18.

02/06/2026

UPCOMING
Madeleine Kelly
The First Killing of a Butterfly

Madeleine Kelly’s exhibition “The First Killing of a Butterfly” engages with the colonial legacy of the naturalist Amalie Dietrich, who collected plants and animals in Australia between 1863 and 1873. Birds, plants, and other specimens that are now held in German museum collections are the foundation of the exhibition. The artist highlights the violence inherent in the act of collecting and questions the scientific systems of classification and ordering developed in the nineteenth century, which were closely intertwined with colonial power structures. Her paintings, sculptures, and installations combine meticulous research with a poetic visual language, addressing themes of appropriation, loss, and the transmission of knowledge. Through transformation, reconfiguration, and ambiguity, Madeleine Kelly releases these objects from their historical context and opens up new perspectives on history, nature, science, and the enduring consequences of colonial systems of knowledge.

The exhibition is funded by CREATE NSW.

01/06/2026

Ren Loren Britton
Deixis & Needs
Becoming B – Chapter 6
12.06.2026 – 09.08.2026

What if needs, rather than norms, shaped how we live together, form relationships and organize institutions? Centering on this question, “Deixis & Needs”, the first institutional solo exhibition by Ren Loren Britton, curated by Sylvia Sadzinski, is an expansive, multi-sensory installation that brings together sculptural objects, textiles and sound.

The linguistic concept of deixis refers to words such as “I”, “you”, “here”, or “now”, whose meaning changes depending on who is speaking and from what position. Drawing on discourses of disability justice as well as q***r, trans* and crip perspectives, “Deixis & Needs” shifts the focus from questions of inclusion and access towards needs – understood not as individual deficits or fixed categories, but as fluid, situational and relational: We all have needs that change depending on time, context and relationships.

In “Deixis & Needs”, bodies and their needs are therefore not only temporal but also political and sensorial. Balloons filled with helium, wrapped in textile covers and embroidered with bodily fragments form the starting point of the installation. Over the course of the exhibition, they gradually change their position and shape, inviting exhibition-goers to touch and interact with them. Their vibrations help to make sound a tactile experience.

An accompanying reader with contributions from theorists and artists will explore the exhibition’s central themes in greater depth. The programme is complemented by events that activate the exhibition, extend it into digital realm and push its temporal boundaries.

“Deixis & Needs” is the sixth chapter of the ongoing project “Becoming B” and is organized in collaboration with the feminist art space alpha nova & galerie futura.

29/05/2026

Artist in Residence
KAH BEE CHOW

Kah Bee Chow works primarily with installation and sculpture, developing a practice grounded in close attention to the particularities of space and site. Her process begins with careful observation of a location’s charge, tempo, and atmosphere, alongside its architectural proportions, material conditions, and spatial character. From this sustained engagement, Kah Bee Chow’s work may uncover layers of historical resonance embedded within a place, or alternatively impose a logic upon it—establishing imagined parameters that serve as points of departure rather than fixed constraints.

Architecture frequently appears in Kah Bee Chow’s work as a form of shelter: a structure associated with sanctuary, protection, and refuge. Simultaneously, it is implicated as an instrument of control, shaping and regulating both the body and the psyche. This duality is central to her practice. The works are driven by multiple kinds of flows—material, systemic, rhythmic, and asymmetric—entwining and pressing against one another. Within these entanglements, the tension between care and control remains constant and unresolved.

Kah Bee Chow’s approach to making is deliberately varied and non-linear. It moves between the calculated and the intuitive, the mathematical and the bodily, the precise and the improvised. Failure, dissonance, and instability are not treated as errors but as generative forces. Through gestures of fracture, chasm, and void—alongside moments of poetry, play, and insistence—her practice explores how meaning emerges through vulnerability, resistance, and sustained attention.

Kah Bee Chow's residency is funded by IASPIS – International Programme for Visual and Applied Arts.

28/05/2026

UPCOMING:
Noé Duboutay
It Started with a Pear
12.06.2026 – 09.08.2026

With “It Started with a Pear”, Noé Duboutay develops an exhibition about desire, memory, and gender. The exhibition is based on the 13th-century novel “Le Roman de Silence”, in which a girl is raised as a boy in order to survive within patriarchal social structures. Questions of the body, language, identity, and social attribution are translated into a spatial installation composed of sculpture, painting, drawing, and sound.
Throughout the exhibition, visitors encounter wooden constructions reminiscent of rocking horses, evoking childhood, social conditioning, and transition. Oil paintings of paired pears reference symbols of love, physicality, and desire. These works are complemented by pastel drawings featuring typographic lettering, as well as a sound piece incorporating elements of dungeon synth and heavy metal. A performance by Noé Duboutay and Caroline Beach further expands the exhibition through body, voice, and movement.

Noé Duboutay’s residency and exhibition are funded by Kultur | lx – Arts Council Luxembourg.

27/05/2026

DE

Mit dem Curatorial Fellow Program etabliert das Künstlerhaus Bethanien 2026 erstmals ein einjähriges kuratorisches Begleitformat innerhalb seines Internationalen Atelierprogramms. Das Programm lädt ausgewählte unabhängige Kurator*innen, Wissenschaftler*innen und Künstler*innen ein, die künstlerischen Arbeiten der Residents über einen Zeitraum von zwölf Monaten kontinuierlich zu begleiten und in einen vertieften Austausch zu treten.

Im Zentrum stehen regelmäßige Atelierbesuche, in denen die Fellows Einblick in Arbeitsprozesse, konzeptuelle Ansätze und aktuelle Projekte der Künstler*innen erhalten und diese gemeinsam reflektieren. Ergänzend dazu nehmen sie an öffentlichen und internen Veranstaltungen, Präsentationen, Open Studios und weiteren Formaten des Hauses teil.

Durch diese kontinuierliche Einbindung entsteht ein prozesshaftes Arbeitsformat, das kuratorische, künstlerische und institutionelle Perspektiven miteinander verbindet und über den Zeitraum eines Jahres hinweg kontinuierlich weiterentwickelt wird. Der Austausch ist dabei nicht punktuell, sondern auf Dauer und Entwicklung angelegt.

Das Programm stärkt gezielt die Verbindung zwischen internationaler Residency-Arbeit und der freien Szene Berlins. Durch die Einbindung unabhängiger Kurator*innen entstehen entstehen langfristige Arbeitsbeziehungen sowie nachhaltige Formen des Austauschs zwischen künstlerischer Produktion und institutionellen Kontexten. Das Curatorial Fellow Program versteht sich damit als Teil der Profilschärfung des Künstlerhauses Bethanien hin zu einer stärker prozess-, diskurs- und communityorientierten Institution. Es fördert langfristige Formen des Austauschs, kollektive Wissensproduktion und nachhaltige Netzwerke innerhalb der internationalen und Berliner Kunstszene.

EN

With the Curatorial Fellow format, the Künstlerhaus Bethanien introduces a year-long curatorial accompaniment within its International Studio Program in 2026 for the first time. The format invites selected independent curators, researchers, and artists to follow the artistic practices of the residents over a period of twelve months and to engage in sustained exchange with them.

At its core are regular studio visits, during which the Curatorial Fellows gain insight into the artists’ working processes, conceptual approaches, and ongoing projects, and reflect on them in dialogue. They also participate in public and internal events, presentations, open studios, and other institutional formats.

Through this continuous involvement, a process-based structure emerges that brings together curatorial, artistic, and institutional perspectives. This structure develops over the course of the year and is designed for continuity rather than isolated encounters.
The format strengthens the relationship between international residency practice and Berlin’s independent art scene. By involving independent curators, it fosters sustained working relationships and long-term exchange between artistic production and institutional contexts.

The Curatorial Fellow format is part of the ongoing refinement of Künstlerhaus Bethanien’s institutional profile towards a more process-oriented, discursive, and community-focused practice. It emphasizes long-term collaboration, shared knowledge production, and the building of sustainable networks within both the international and Berlin-based art scenes.

26/05/2026

UPCOMING:
Ruti de Vries
Pocket Lines
12.06.2026 – 09.08.2026

Ruti de Vries’s short film “The Catchers” (2026) presents anthropomorphic figures composed of monochrome forms and black lines moving rhythmically within a web-like structure they simultaneously inhabit and create. Embedded in a textile installation derived from photographs of Berlin’s urban landscape, the animated work explores collective labor, rhythm, and production as interconnected creative forces. Moments of instability emerge as the woven structures appear to gain autonomy before the figures restore order through synchronized movement. Across the exhibition “Pocket Lines”, Ruti de Vries combines textile, animation, geometry, and sound to blur boundaries between material, body, and media. Her recurring androgynous beings evoke mythological archetypes and suggest communal, open-ended creativity, while resisting fixed interpretation in favor of emotional and sensory experience.

Ruti de Vries’ residency is funded by Artis.

22/05/2026

UPCOMING:
Kosuke Nakane
Beyond the Facade
12.06.2026 – 09.08.2026
Eröffnung / Opening:
11.06.2026, 19 h

DE

Kosuke Nakanes Malerei lädt dazu ein, urbane Räume und alltägliche Architektur neu wahrzunehmen. In seiner Serie facade (2026) verschmelzen dreidimensionale Fragmente mit gemalten Illusionen zu komplexen Bildräumen, in denen Fläche und Tiefe, Objekt und Bild fortwährend ineinander kippen. Präzise Geometrien treffen auf sanfte, organische Formen und erzeugen irritierende Verschiebungen, die an Haut, Zellen oder utopische Stadtlandschaften erinnern. Inspiriert vom japanischen Prinzip mitate deutet Kosuke Nakane Vertrautes poetisch um und untersucht die Mehrdeutigkeit räumlicher Wahrnehmung. Fassaden, Türen und Fenster Berliner Architektur erscheinen dabei wie lebendige Oberflächen oder geologische Formationen. Mit traditionellen japanischen Materialien wie Mineralpigmenten, Washi-Papier und Knochenleim verbindet er japanische Maltraditionen mit europäischer Illusionsmalerei und reflektiert so die Unsicherheit von Wahrnehmung im Zeitalter digitaler und KI-generierter Bilder.

EN

Kosuke Nakane’s paintings invite viewers to rediscover urban spaces and everyday architecture. In his series “facade” (2026), three-dimensional fragments merge with painted illusions to create complex visual environments in which surface and depth, object and image continuously shift into one another. Precise geometries encounter soft, organic forms, producing subtle distortions that evoke skin, cells, or utopian cityscapes. Inspired by the Japanese concept of “mitate”, Nakane poetically reinterprets familiar elements and explores the ambiguity of spatial perception. Facades, doors, and windows drawn from Berlin architecture appear like living surfaces or geological formations. Using traditional Japanese materials such as mineral pigments, Washi paper, and animal glue, he combines Japanese painting traditions with European illusionistic painting, reflecting on the instability of perception in an age shaped by digital and AI-generated images.

20/05/2026

UPCOMING:
Shunsaku Hayashi
Hovers
12.06.2026 – 09.08.2026

DE
Shunsaku Hayashis Film hovers inszeniert den Bocksprung als rebellisches Ritual zwischen Spiel, Ekstase und Kontrollverlust. In einer Stop-Motion-Animation aus Originalgemälden verwandelt sich der sportliche Torjubel in einen hypnotischen Loop aus Springen, Unterwerfung und Rollenwechsel. Beschleunigte Bewegungen, elektronische Klänge und deformierte Körper erzeugen eine schwebende, anarchische Dynamik, die Regeln und Institutionen hinter sich lässt. Die gemalten Figuren wirken zugleich organisch und digital verfremdet: Müdigkeit, Mutation und körperliche Transformation prägen ihre Gestalten. Im Ausstellungsraum ergänzen großformatige Gemälde den Film. Sie zeigen hybride Körper zwischen Mensch, Tier und Maschine – Sinnbilder eines vitalen, unaufhörlich werdenden Kosmos.

EN
Shunsaku Hayashi’s film hovers stages leapfrog as a rebellious ritual oscillating between play, ecstasy, and loss of control. In a stop-motion animation composed of original paintings, the athletic gesture of celebration transforms into a hypnotic loop of jumping, submission, and shifting roles. Accelerated movements, electronic sounds, and distorted bodies create a floating, anarchic dynamic that leaves rules and institutions behind. The painted figures appear both organic and digitally altered: exhaustion, mutation, and physical transformation shape their forms. In the exhibition space, large-scale paintings complement the film. They depict hybrid bodies between human, animal, and machine — symbols of a vital cosmos in a constant state of becoming.

Shunsaku Hayashi’s resdiency and exhibition are funded by Pola Art Foundation.

06/05/2026

“Local host ://” (2026) by İpek Burçak is an interactive installation that uses home servers as tools for worldbuilding – as a means of designing self-determined knowledge spaces and networks of relationships. The work is rooted in the artist’s interest in locally operated, self-built infrastructures as an alternative to centralized, global systems. The installation consists of three servers of various dimensions distributed throughout the exhibition space, designed and built by İpek Burçak to act as autonomous sculptural elements. These technoid structures are composed of 3D-printed components as well as cabinets, displays, keyboards, Raspberry P*s, and visible cabling, making the materiality of digital infrastructure tangible. Connected via Ethernet cables, they form a decentralized, autonomous network. Each server hosts a specific archive and unfolds its own knowledge space: an interactive health advisor fed by collected texts, PDFs, and healing protocols; materials on current anti-AI movements worldwide – ranging from digital networks and online discourses to analogue initiatives, protests, and local collectives; and an archive on affects and language models.

In collaboration with Maru Mushtrieva, İpek Burçak transformed one of her self-built server racks into a stage for a puppet theater performance. Between technical precision and fragile gesture, the performance created a hybrid situation in which digital infrastructure was transferred into a performative and narrative context.

Memory Is a Strange Bell

Künstlerhaus Bethanien, Kottbusser Str. 10, 10999 Berlin
Duration: 20.03.2026 – 17.05.2026
Artists: İpek Burçak, Olga Monina, Ania Nowak, Niclas Riepshoff, Max Schaffer, Alina Schmuch, Antje Taubert, Sergio Zevallos

Neuer Berliner Kunstverein, Chausseestraße 128/129, 10115 Berlin
Duration: 14.03.2026 – 03.05.2026
Artists: Nadja Buttendorf, Markus Draper, Martin Eberle, Noi Fuhrer, Shaun Motsi, Leonie Nagel

Photos: Jens Ziehe, Galya Feierman

16/04/2026

We’re very excited to be part of this year’s Sellerie Weekend (May 1–3) and to join such a vibrant community of artists and spaces.

At Künstlerhaus Bethanien, we’ll be presenting a varied program including an exhibition, performances, and Open Studios.

Make sure to explore the programs of all the other project spaces as well—there’s a lot to discover. See you there!

Adresse

Exhibition Space: Kottbusser Str. 10/Offices And Studios: Kohlfurter Str. 41-43
Berlin
10999

Öffnungszeiten

Mittwoch	14:00 - 19:00
Donnerstag	14:00 - 19:00
Freitag	14:00 - 19:00
Samstag	14:00 - 19:00
Sonntag	14:00 - 19:00

Telefon

+49306169030

Webseite

http://www.bethanien.de/

Benachrichtigungen

Lassen Sie sich von uns eine E-Mail senden und seien Sie der erste der Neuigkeiten und Aktionen von Künstlerhaus Bethanien erfährt. Ihre E-Mail-Adresse wird nicht für andere Zwecke verwendet und Sie können sich jederzeit abmelden.

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