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Events in Art and Archaeology

Ellen Gallagher: AxME
MUNICH  •  Haus der Kunst  •  28 February - 13 July 2014

Ellen Gallagher’s art explores issues of race, identity and transformation. Renowned for her reworking of popular black imagery, Gallagher draws on postwar magazines and advertising, as well as film and music culture. She makes repeated reference to the traditions of minstrelsy, as well as to specific performers such as vaudeville star Bert Williams and jazz musician Sun Ra. Pages from mid-century black photomagazines such as Ebony, Our World and Sepia - all dominated by advertisements for Afro hairstyles, wigs and skin products aimed at African-American women - are often cited in her investigation of the anxieties and tensions surrounding black identity in the age of consumerism. Historically specific cultural references are merged with Gallagher’s own personal biography as a black Irish American woman.

Ellen Gallagher Dirty O's
Ellen Gallagher: Dirty O's, 2006 (Detail)
Ursula Hauser Collection, Switzerland
© Ellen Gallagher

First seen at the Tate Modern in 2013, this survey exhibition takes an overview of Gallagher’s practice, exploring the themes which have emerged and recurred from her seminal early canvases, to her ‘wigmap’ grid collages, through to recent film installations and new bodies of work. The exhibition will include such key works as Bird in Hand 2006, a complex relief built up in layers of printed matter, plasticine, crystal, paint and gold leaf. In Bird in Hand, human life and marine life converge at the bottom of the ocean in a mythical black Atlantis.

Gallagher’s mysterious vision of marine life extends beyond the canvas and into other media, such as the 16mm film installation Murmur 2003-4, created in collaboration with Edgar Cleijne, as well as the ongoing series of delicate watercolours and cut paper works entitled Watery Ecstatic. The large-scale sculptural installation Jungle Gym/Preserve 2001 will also be on display, which appears to be an abstract matrix of white poles, but on closer inspection becomes an intricate network of symbols referencing the traditions of whale-bone carving. New and recent work on display for the first time at Tate Modern, including Morphia, a series of two-sided drawings, will also show how Gallagher combines the intimate with the epic, the urban with the oceanic, the ethereal with the physical and history with the present.

Ellen Gallagher was born in Providence, Rhode Island in 1965 and now lives and works in Rotterdam and New York. Solo exhibitions of her work have included those held at the Whitney Museum of American Art, New York andNew Museum,New York. She was awarded the Joan Mitchell Fellowship in 1997 and an American Academy Award in Art in 2000 and her work is held in many major public collections, including MoMA, New York; Metropolitan Museum of Art, New York; Museum of Fine Arts,Boston; and Centre Pompidou, Paris.

Haus der Kunst Website

Contact: Haus der Kunst
Prinzregentenstrasse 1 
80538 Munich
Tel: (49) 89 21127-113

<P>Yinka Shonibare, MBE, Revolution Kid (Calf), 2012Mannequin, Dutch wax printed cotton, fibreglass, leather taxidermy calf head, Blackberry and 24 carat gold gilded gun and rope, 144.8 x 127 x 127 cm / (57 x 50 x 50 in)Photo: Christian Glaeser, 2014©the artist and courtesy of the artist and Blain|Southern</P>

Yinka Shonibare, MBE, Revolution Kid (Calf), 2012
Mannequin, Dutch wax printed cotton, fibreglass, leather taxidermy calf head, Blackberry and 24 carat gold gilded gun and rope, 144.8 x 127 x 127 cm / (57 x 50 x 50 in)
Photo: Christian Glaeser, 2014
©the artist and courtesy of the artist and Blain|Southern

Yinka Shonibare, MBE: Making Eden
BERLIN  •  Blain|Southern  •  15 February - 19 April 2014
Blain|Southern presents Making Eden, the first solo gallery exhibition in Berlin by British-based, Nigerian artist Yinka Shonibare, MBE, whose art explores the relationship between African identity and European colonialism. Shonibare is best known for working with visual symbols, especially the richly patterned Dutch wax fabric, produced in Europe for a West African market, which he uses in a wide range of applications

Bringing together a body of entirely new work across two floors of Blain|Southern's Berlin gallery, Making Eden explores the theme of revolution, drawing a stark contrast between the utopian ideals inherent in anarchic action and the darker realities of its consequences. Particularly pertinent in today’s global climate of social and political disillusionment, Shonibare explores both historical and contemporary cycles of revolution, seeking to demonstrate the destructive patterns of human behaviour that repeat themselves across time.

Blain|Southern Website

Contact: Blain|Southern
Potsdamer Straße 77–87
10785 Berlin
Tel: (49) 30 64 49 31 510

A class of its own: photography as action space
DRESDEN  •  Kupferstich-Kabinett  •  1 February - 18 May 2014
Timm Rautert (born 1941), who lectured from 1993 to 2008 at the Academy of Visual Arts in Leipzig, is one of the most important catalysts for current trends in German photography. The exhibition presents a group of younger photographers that has formed around Timm Rautert. His groups of works are compared with pieces by his ex-students, among others Claudia Angelmaier, Viktoria Binschtok, Bernhard Fuchs, Sven Johne, Ricarda Roggan, Adrian Sauer, Sebastian Stumpf, Anett Stuth and Tobias Zielony.

Contact: Kupferstich-Kabinett
Taschenberg 2
D - 01067 Dresden
Tel: (49) 3 51 / 49 14 2000

Dionysus: Intoxication and Ecstasy
DRESDEN  •  Staatliche Kunstsammlungen Dresden  •  6 February - 10 June 2014
Dionysus, the Greek god of wine, joy and fertility – known to the Romans as Bacchus – has inspired a multitude of images. His countenance, his story, his religious mystery cult have fascinated people throughout the ages. His ritual veneration symbolises the joy of life and escapism from reality, beatitude and rapture, with his mixed mortal and divine parentage making him more easily accessible to man than the distant gods of Olympus.

In Renaissance and Baroque art he is the divine representative of the triumph of life, and his image was used to enhance the status of rulers in courtly festivities: not only the delirium induced by wine but also his triumphant processions, led by himself and his bride Ariadne followed by excited satyrs and dancing maenads, are part of the canon of Dionysian images.

Featuring more than 80 works of art – including antique sculptures and vases as well as paintings, drawings and prints by Peter Paul Rubens, Anthony van Dyck and Annibale Carracci as well as Lovis Corinth, Franz von Stuck and Max Beckmann – this exhibition, which has been organised in association with the Bucerius Kunst Forum Hamburg, illustrates the vibrant and exuberant sphere of the Dionysian, from antiquity down to modern times. The masterpieces from the Dresden collections are supplemented by valuable loans from European and American museums.


Contact: Semperbau am Zwinger
Theaterplatz 1
01067 Dresden

Tel: (49) 3 51 / 49 14 2000

Iñaki Bonillas & Sandra Vasquez de la Horra : The numerically inferior male figures are soldiers, clowns, men with erections, men dangling off trees, little boys – or Christ.
BERLIN  •  Niels Borch Jensen  •  15 January - 26 April 2014

Chilean artist Sandra Vasquez de la Horra (born 1967) has created a series of personal drypoint prints that, as with her earlier work, speak of fears, visualize dreams and nightmares, and recount memories. Lone figures are often drawn without limbs or skin, raw and disarmed and yet exuding an air of determination. The dominance of the female figure stands out: mothers, nuns, saints, seductresses, prisoners, damned ones. The numerically inferior male figures are soldiers, clowns, men with erections, men dangling off trees, little boys – or Christ. They are deeply catholic or deeply pagan, but in any case radiate a base sexuality. The figures mostly seem to hover on the paper – perspective plays almost no role in her compositions. 

Meanwhile Mexican artist Iñaki Bonillas’(born 1981) most recent series of photogravures, entitled Theme and Variations (2013), continues his persistent exploration of the ways in which individuals constantly edit, and accept others' editings, of the world around them. The photographs from which the project originates are a series of documentative images of a car crash that Bonillas found in an album inherited from his grandfather in 2000. The clinical account of the damages caused to his grandfather’s 1961 Peugeot 403 coexists bizarrely alongisde typical family scenes and memories album.
With this clash of contents in mind, Bonillas worked on combining the 8 original photographs, beginning by splitting them each in half, and then pairing the resulting 16 halves until all possible permutations were achieved. The result is 240 unique photogravures that never repeat a single combination.

Both Sandra Vasquez de la Horra and  Iñaki Bonillas have had numerous solo and group exhibitions internationally are featured in public and private collections across the globe.

Niels Borch Jensen Website

Contact: Niels Borch Jensen - Gallery & Editions
Lindenstrasse 34, 2
10969 Berlin
Tel: (49) 30 6150 7448

Tomás Saraceno: <EM>in orbit</EM>, K21 StändehausPhotography by Studio Tomás Saraceno&nbsp;© 2013
Tomás Saraceno: in orbit, K21 Ständehaus
Photography by Studio Tomás Saraceno
 © 2013
Tomás Saraceno: in orbit
DÜSSELDORF  •  Kunstsammlung Nordrhein-Westfalen  •  22 June 2013 - 22 September 2014
Suspended more than 25 meters above the piazza of the K21 is Tomás Saraceno‘s gigantic installation in orbit. This steel wire construction spans the museum‘s vast glass cupola on three different levels. Positioned within this net structure, which encompasses altogether 2500 m², are half a dozen „spheres“ – inflated spheres having diameters up to 8.5 meters. Visitors have access to this transparent installation, and can move freely between the spheres on all three levels.

Those bold enough to clamber high into the work set beneath the glass cupola perceive the museum visitors far below them from the lofty heights as tiny figures in a model world. Viewed from below or from intermediate levels of the Ständehaus, conversely, the people enmeshed in this net seem to be swimming in the sky.

This floating spatial configuration becomes an oscillating network of relationships,  resonances, and synchronous communication. When several people enter the audacious construction simultaneously, their presence sets it into motion, altering the tension of the steel wires and the intervals between the three meshwork levels. Visitors can coordinate their activities within the space, and are able – not unlike spiders in a web – to perceive space through the medium of vibration. Saraceno himself speaks of a new hybrid form of communication.

Kunstsammlung Nordrhein-Westfalen Website

Contact: Kunstsammlung Nordrhein-Westfalen
Ständehausstraße 1
40217 Düsseldorf

Tel: (49) 211 83 81 204

Events in Classical Music

Martha Argerich, piano : Daniel Barenboim, piano
BERLIN  •  Berliner Philharmonie  •  19 April 2014

Mozart: Sonata for two pianos in D major K. 448
Schubert: Variations on an Original Theme in A flat major for piano four hands D 813
Stravinsky: Le Sacre du Printemps (Version for piano four hands)

Martha Argerich, piano
Daniel Barenboim, piano

Berliner Philharmonie Website

Detailed schedule information:

Contact: Berliner Philharmonie
Herbert-von-Karajan-Str. 1
10785 Berlin

Tel: (49) 30 25488 12

Events in Dance

Mauro Bigonzetti: <EM>Caravaggio</EM>Staatsballetts Berlin
Mauro Bigonzetti: Caravaggio
Staatsballetts Berlin
Mauro Bigonzetti: Caravaggio
BERLIN  •  Staatsoper unter den Linden  •  14 February - 13 June 2014

Choreography: Mauro Bigonzetti
Music: Bruno Moretti
Set and Light design: Carlo Cerri
Costume design: Kristopher Millar
Lois Swandale

Paul Connelly, conductor
Orchestra Staatskapelle Berlin

Solisten und Corps de ballet des Staatsballetts Berlin

Mauro Bigonzetti is one of the leading choreographers of the Italian ballet which freed itself from the predominance of mainly classical opera companies in the 1980’s. He created his choreographies mainly for the Aterballetto in Reggio Emilia that helped him to fame and worldwide attention. “When I think of Caravaggio, I think of the artist and the human being at the same time. These are the two sides of the human existence that interest me in particular. The relations of these two worlds are the inspiration for this work: the inner world on the one hand – and how it evolves artistically on the other.”

Mauro Bigonzetti developed Caravaggio in collaboration with the Staatsballett Berlin.

Staatsoper unter den Linden Website

Detailed schedule information:

Contact: Staatsoper
Unter den Linden 7
10117 Berlin
Tel: (49) 30 343 84 01

Events in Opera

Simon Boccanegra : By Giuseppe Verdi
MUNICH  •  Nationaltheater  •  14 - 24 April 2014

Giuseppe Verdi: Simon Boccanegra
Opera with a prologue and three acts
Libretto by Francesco Maria Piave (1857), new version by Arrigo Boito (1881)
In Italian with German surtitles

New production

Coproduction with the English National Opera London

Bertrand de Billy, conductor
Sets: Dmitri Tcherniakov
Costumes: Elena Zaytseva
Lighting: Gleb Filshtinsky
Chorus: Sören Eckhoff


Simon Boccanegra: George Gagnidze
Amelia: Grimaldi Krassimira Stoyanova
Jacopo Fiesco: Vitalij Kowaljow
Gabriele Adorno: Stefano Secco
Paolo Albiani: Levente Molnár
Pietro: Peter Lobert
Capitano: Francesco Petrozzi
Amelia's servant: Iulia Maria Dan

Bayerisches Staatsorchester
The Chorus of Bayerische Staatsoper

Bayerische Staatsoper Website

Detailed schedule information:

Contact: Bayerische Staatsoper
Max-Joseph-Platz 2
D - 80539 München

Tel: (49) 89 21 85 01

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