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kk@kw-berlin.de

 

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Press Releases

 

KW announces new curators Download

Partnership between KW and BPA to promote the visibility of emerging Berlin-based artists Download

KW announces Winter and Spring Program 2020 Download

KW announces Program 2020 Download | Overview Program 2020

KW announces Fall Program 2019 Download

KW announces Summer Program 2019 Download

KW announces Winter and Spring Program 2019 Download

KW selects Andrea Büttner and Rachel O’Reilly for the KW Production Series 2019 Download

KW announces Program 2019 Download | Overview Program 2019

KW announces Fall Program 2018 Download

KW announces Berlin Art Week Program 2018 Download

KW Institute for Contemporary Art and Volkswagen Group announcing VW Research Fellowship (m/f) Download

Anna Daučíková honored with Schering Stiftung Art Award 2018 Download

KW presents Olaf Nicolai: Brecht in der Autowerkstatt Download

KW announces KW on location Download / Program booklet

KW announces Winter and Spring Program 2018 Download

KW announces Annual Program for 2018 Download / Overview annual program

Long-term project REALTY kicks off in October 2017 Download

KW announces Fall Program 2017 Download

Pause: Margaret Honda Download

KW Productions Series Download

KW announces Summer Program 2017 Download

Pause: Anthony McCall / Book launch Black Dada Reader Download

KW announces the first exhibitions of 2017 Download

KW announces new artistic team Download

 

 

Press Kit

 

Winter and Spring Program 2020: Hassan Sharif, Kris Lemsalu Malone & Kyp Malone Lemsalu, Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili Download

Fall Program 2019: Christina Ramberg, Hreinn Friðfinnsson, STATISTA Download

Summer Program 2019: Anna Daučíková, Heike-Karin Föll, Image Bank Download

Winter and Spring Program 2019: David Wojnarowicz, Reza Abdoh, Frank Wagner Download

Fall Program 2018: Steve Bishop, Tamara Henderson, Sidsel Meineche Hansen Download

Fall Program 2018: Beatriz González Retrospective 1965–2017 Download

KW’s Berlin Art Week Program Download

KW on Location: Lynn Hershman Leeson Download

Pause: AA Bronson’s Garten der Lüste Download

Spring Program 2018: Judith Hopf, Trix & Robert Haussmann Download

Fall Program 2017: Willem de Rooij, Lucy Skaer Download

Summer Program 2017: Enemy of the Stars, Hiwa K, Nicholas Mangan Download

Spring Program 2017: Ian Wilson: Hanne Lippard, Adam Pendleton, Paul Elliman Download

KW announces its annual program 2017 Download

 

 

Press Images

 

Image material may be used free of charge for non-commercial purposes relating to the respective exhibition; the der KW Institute for Contemporary Art must be credited and the copyrights cited.

 

For image requests of previous exhibitions please contact us by e-mail.

 

 

Mophradat’s Consortium Commissions:
Jasmina Metwaly & Yazan Khalili

 
<p>Yazan Khalili, <em>Medusa</em>, 2020, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

Yazan Khalili, Medusa, 2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<p>Yazan Khalili, <em>Medusa</em>, 2020, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

Yazan Khalili, Medusa, 2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<p>Yazan Khalili, <em>Medusa</em> (detail), 2020, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

Yazan Khalili, Medusa (detail), 2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<p>Yazan Khalili, <em>Medusa</em> (detail), 2020, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

Yazan Khalili, Medusa (detail), 2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<p>From left to right: Jasmina Metwaly, <em>Anbar (Badrawi’s atelier)</em>, 2019, <em>Untitled</em> (detail), 2019–2020, and <em>Anbar (Assem’s pictures)</em>, 2019, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

From left to right: Jasmina Metwaly, Anbar (Badrawi’s atelier), 2019, Untitled (detail), 2019–2020, and Anbar (Assem’s pictures), 2019, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<p>Left: Jasmina Metwaly, <em>Anbar (Badrawi’s atelier)</em>, 2019, right: Jasmina Metwaly, <em>Untitled</em> (detail), 2019–2020, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

Left: Jasmina Metwaly, Anbar (Badrawi’s atelier), 2019, right: Jasmina Metwaly, Untitled (detail), 2019–2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<p>Jasmina Metwaly, <em>Untitled</em>, 2019–2020, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

Jasmina Metwaly, Untitled, 2019–2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<p>From left to right: Jasmina Metwaly, <em>Untitled</em> (detail), 2019–2020, and <em>Anbar (Marta’s studio)</em>, 2019, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

From left to right: Jasmina Metwaly, Untitled (detail), 2019–2020, and Anbar (Marta’s studio), 2019, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<p>Jasmina Metwaly, <em>Untitled</em> (detail), 2019–2020, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

Jasmina Metwaly, Untitled (detail), 2019–2020, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<p>Front: Jasmina Metwaly, <em>Untitled</em> (detail), 2019–2020, back: Jasmina Metwaly, <em>Untitled (Thank you notes), Anbar</em>, 2019, installation view of the exhibition <em>Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling</p>

Front: Jasmina Metwaly, Untitled (detail), 2019–2020, back: Jasmina Metwaly, Untitled (Thank you notes), Anbar, 2019, installation view of the exhibition Mophradat’s Consortium Commissions: Jasmina Metwaly & Yazan Khalili at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artist and Mophradat, Photo: Frank Sperling

 

 

<div class="page_image_caption">
<p>Jasmina Metwaly, <i>Anbar</i>, 2019, Courtesy Jasmina Metwaly</p>
</div>

Jasmina Metwaly, Anbar, 2019, Courtesy Jasmina Metwaly

 

 

<div class="page_image_caption">
<p>Yazan Khalili, <em>Medusa</em>, 2020, Courtesy Yazan Khalili</p>
</div>

Yazan Khalili, Medusa, 2020, Courtesy Yazan Khalili

 

 

Kris Lemsalu Malone & Kyp Malone Lemsalu

 
<p>Front: Kris Lemsalu Malone, <em>Love Song Sing-Along</em>, 2019/2020; Middle: Michèle Pagel, <em>Birch Trunks</em>, 2020; Back: Kyp Malone Lemsalu, <em>Love Song Sing-Along series 1–14</em> (Detail: 7–14), 2019/2020; Installation view of the exhibition <em>Love Song Sing-Along</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling</p>

Front: Kris Lemsalu Malone, Love Song Sing-Along, 2019/2020; Middle: Michèle Pagel, Birch Trunks, 2020; Back: Kyp Malone Lemsalu, Love Song Sing-Along series 1–14 (Detail: 7–14), 2019/2020; Installation view of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

 

 

<p>Kris Lemsalu Malone, <em>Love Song Sing-Along</em> (Detail), 2019/2020, Installation view of the exhibition <em>Love Song Sing-Along</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling</p>

Kris Lemsalu Malone, Love Song Sing-Along (Detail), 2019/2020, Installation view of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

 

 

<p>Left: Kyp Malone Lemsalu, <em>Love Song Sing-Along series 1–14</em> (Detail: 7–14), 2019/2020; Right: Kris Lemsalu Malone, <em>Love Song Sing-Along</em> (Detail), 2019/2020, Installation view of the exhibition <em>Love Song Sing-Along</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling</p>

Left: Kyp Malone Lemsalu, Love Song Sing-Along series 1–14 (Detail: 7–14), 2019/2020; Right: Kris Lemsalu Malone, Love Song Sing-Along (Detail), 2019/2020, Installation view of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

 

 

<p>Kris Lemsalu Malone, Portrait in front of Kyp Malone Lemsalu <em>Love Song Sing-Along series 1–14</em> (Detail 10), 2019/2020; Installation view of the exhibition <em>Love Song Sing-Along</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling</p>

Kris Lemsalu Malone, Portrait in front of Kyp Malone Lemsalu Love Song Sing-Along series 1–14 (Detail 10), 2019/2020; Installation view of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

 

 

<p>Kyp Malone Lemsalu at the opening performance of the exhibition <em>Love Song Sing-Along</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling</p>

Kyp Malone Lemsalu at the opening performance of the exhibition Love Song Sing-Along at KW Institute for Contemporary Art, Berlin 2020, Courtesy the artists, Photo: Frank Sperling

 

 

<p>Kris Lemsalu Malone & Kyp Malone Lemsalu, 2019, photo: Eric Martin</p>

Kris Lemsalu Malone & Kyp Malone Lemsalu, 2019, photo: Eric Martin

 

 

Hassan Sharif

 
<p>From left to right: Hassan Sharif, <em>Barrel</em>, 1985; <em>Handwriting No. 1</em>, 1983; <em>Handwriting No. 2</em>, 1983; Installation view <em>I Am The Single Work Artist</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling</p>

From left to right: Hassan Sharif, Barrel, 1985; Handwriting No. 1, 1983; Handwriting No. 2, 1983; Installation view I Am The Single Work Artist at KW Institute for Contemporary Art, Berlin 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling

 

 

<p>Hassan Sharif, Installation view <em>I Am The Single Work Artist</em> at KW Center for Contemporary Art, 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling</p>

Hassan Sharif, Installation view I Am The Single Work Artist at KW Center for Contemporary Art, 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling

 

 

<p>Hassan Sharif, <em>Broom</em>, 2016, Installation view<em> I Am The Single Work Artist</em> at KW Institute for Contemporary Art, Berlin 2020, Courtesy Sharjah Art Foundation Collection, Photo: Frank Sperling</p>

Hassan Sharif, Broom, 2016, Installation view I Am The Single Work Artist at KW Institute for Contemporary Art, Berlin 2020, Courtesy Sharjah Art Foundation Collection, Photo: Frank Sperling

 

 

<p>Hassan Sharif, Installation view <em>I Am The Single Work Artist</em> at KW Center for Contemporary Art, 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling</p>

Hassan Sharif, Installation view I Am The Single Work Artist at KW Center for Contemporary Art, 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling

 

 

<p>Hassan Sharif, Installation view <em>I Am The Single Work Artist</em> at KW Center for Contemporary Art, 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling</p>

Hassan Sharif, Installation view I Am The Single Work Artist at KW Center for Contemporary Art, 2020, Courtesy Hassan Sharif Estate; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van den Eynde, Dubai; Sharjah Art Foundation, Sharjah, Photo: Frank Sperling

 

 

<p>Hassan Sharif, 1981, Courtesy Hassan Sharif Estate</p>

Hassan Sharif, 1981, Courtesy Hassan Sharif Estate

 

 

<p>Hassan Sharif, <em>Jumping No. 1</em>, 1983. 3 of 7 photographs, <span lang="NL">Photo-documentation of a performance</span> in Dubai, Courtesy Estate of Hassan Sharif; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van de Eynde, Dubai</p>

Hassan Sharif, Jumping No. 1, 1983. 3 of 7 photographs, Photo-documentation of a performance in Dubai, Courtesy Estate of Hassan Sharif; Alexander Gray Associates, New York; gb agency, Paris; Gallery Isabelle van de Eynde, Dubai

 

 

Pause:  Broken Sounds / Remote  Music—
Prepared Pianos from the Archivio Conz Collection

 
<p>Benjamin Patterson, Piano d’oiseux tropical, 1989, Courtesy Archivio Conz, Berlin, photo: Giorgia Palmisano</p>

Benjamin Patterson, Piano d’oiseux tropical, 1989, Courtesy Archivio Conz, Berlin, photo: Giorgia Palmisano

 

 

<p>Esther Ferrer, Piano con alas, 1986, Courtesy Archivio Conz, Berlin, photo: Giorgia Palmisano</p>

Esther Ferrer, Piano con alas, 1986, Courtesy Archivio Conz, Berlin, photo: Giorgia Palmisano

 

 

Hreinn Friðfinnsson

 
<p>Hreinn Friðfinnsson, <em>A Pair</em>, 2004–2005, installation view <em>To Catch a Fish with a Song: 1964</em><em>–Today</em> at KW Institute for Contemporary Art, Berlin, 2019, Courtesy Antonio Dalle Nogare Collection, Bozen (IT), photo: Frank Sperling</p>

Hreinn Friðfinnsson, A Pair, 2004–2005, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, Courtesy Antonio Dalle Nogare Collection, Bozen (IT), photo: Frank Sperling

 

 

<p>Hreinn Friðfinnsson, installation view <em>To Catch a Fish with a Song: 1964</em><em>–Today</em> at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

Hreinn Friðfinnsson, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

<p>Hreinn Friðfinnsson, <em>Summernights</em>, 1990, Courtesy the artist</p>

Hreinn Friðfinnsson, Summernights, 1990, Courtesy the artist

 

 

<p>Hreinn Friðfinnsson, installation view <em>To Catch a Fish with a Song: 1964</em><em>–Today</em> at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

Hreinn Friðfinnsson, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

<p>Hreinn Friðfinnsson, <em>Source</em>, 1992/2005, installation view <em>To Catch a Fish with a Song: 1964</em><em>–Today</em> at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling</p>

Hreinn Friðfinnsson, Source, 1992/2005, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

 

 

<p>Hreinn Friðfinnsson, installation view <em>To Catch a Fish with a Song: 1964</em><em>–Today </em>at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>
<p><strong> </strong></p>

Hreinn Friðfinnsson, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

 

<p>Hreinn Friðfinnsson, <em>I Collected Personal Secrets</em>, 1972–2015, installation view <em>To Catch a Fish with a Song: 1964</em><em>–Today </em>at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling</p>

Hreinn Friðfinnsson, I Collected Personal Secrets, 1972–2015, installation view To Catch a Fish with a Song: 1964–Today at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

 

 

<p>Hreinn Friðfinnsson, <em>First House, </em>1974, Courtesy the artist and i8 Gallery, Reykjavik, Galerie Nordenhake, Berlin, Meessen De Clercq, Brussels, Galería Elba Benítez, Madrid</p>

Hreinn Friðfinnsson, First House, 1974, Courtesy the artist and i8 Gallery, Reykjavik, Galerie Nordenhake, Berlin, Meessen De Clercq, Brussels, Galería Elba Benítez, Madrid

 

 

<p>Hreinn Friðfinnsson, <em>Attending, </em>1973, Courtesy the artist and i8 Gallery, Reykjavik</p>

Hreinn Friðfinnsson, Attending, 1973, Courtesy the artist and i8 Gallery, Reykjavik

 

 

The Making of Husbands: Christina Ramberg in Dialogue

 
<p>Installation view <em>The Making of Husbands: Christina Ramberg in Dialogue </em>at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>
<p> </p>

Installation view The Making of Husbands: Christina Ramberg in Dialogue at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

 

<p>f.l.t.r.: Christina Ramberg, <em>Black Widow</em>, 1971, Courtesy Illinois State Museum, lllinois Legacy Collection; Konrad Klapheck, <em>Der Mann in der Frau (L’homme dans la femme)</em>, 1986, Courtesy Private Collection. <span lang="NL">Installation view </span><em>The Making of Husbands: Christina Ramberg in Dialogue </em>at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

f.l.t.r.: Christina Ramberg, Black Widow, 1971, Courtesy Illinois State Museum, lllinois Legacy Collection; Konrad Klapheck, Der Mann in der Frau (L’homme dans la femme), 1986, Courtesy Private Collection. Installation view The Making of Husbands: Christina Ramberg in Dialogue at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

<p>Ghislaine Leung, <em>SHROOMS</em>, 2016, Courtesy the artist and ESSEX STREET, New York. <span lang="NL">Installation view </span><em>The Making of Husbands: Christina Ramberg in Dialogue </em>at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

Ghislaine Leung, SHROOMS, 2016, Courtesy the artist and ESSEX STREET, New York. Installation view The Making of Husbands: Christina Ramberg in Dialogue at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

<p>Christina Ramberg, <em>Tight Hipped</em>, 1974, Copyright the Estate of Christina Ramberg, Courtesy Collection of the Madison Museum of Contemporary Art, The Bill McClain Collection of Chicago Imagism.</p>

Christina Ramberg, Tight Hipped, 1974, Copyright the Estate of Christina Ramberg, Courtesy Collection of the Madison Museum of Contemporary Art, The Bill McClain Collection of Chicago Imagism.

 

 

<p>Christina Ramberg, <em>O.H.B., </em>1976, Copyright the Estate of Christina Ramberg, Courtesy Collection of Karin Tappendorf.</p>

Christina Ramberg, O.H.B., 1976, Copyright the Estate of Christina Ramberg, Courtesy Collection of Karin Tappendorf.

 

 

<p>Christina Ramberg, <i>Glimpsed</i>, 1975, acrylic on Masonite, Copyright the Estate of Christina Ramberg, Courtesy Elmhurst College Art Collection.</p>

Christina Ramberg, Glimpsed, 1975, acrylic on Masonite, Copyright the Estate of Christina Ramberg, Courtesy Elmhurst College Art Collection.

 

 

Anna Daučíková

 
<p>Back: Anna Daučíková, <em>Upbringing by Exercise</em>, 1996/2016, 17 b/w-photographs; front right: Anna Daučíková, <em>We Care For Four Eyes II</em>, 2002, HD video; installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling</p>

Back: Anna Daučíková, Upbringing by Exercise, 1996/2016, 17 b/w-photographs; front right: Anna Daučíková, We Care For Four Eyes II, 2002, HD video; installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

 

 

<p>Anna Daučíková, installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling</p>

Anna Daučíková, installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

 

 

<p>Anna Daučíková, <em>Expedition for Four Hands and Accompaniment</em> (Detail), 2019<em>, </em>mixed media installation, with 3-channel video projection, glass, stones, publication, installation view of the exhibition at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling</p>
<p> </p>

Anna Daučíková, Expedition for Four Hands and Accompaniment (Detail), 2019mixed media installation, with 3-channel video projection, glass, stones, publication, installation view of the exhibition at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

 

 

 

<p>Anna Daučíková, <em>Expedition for Four Hands and Accompaniment</em> (Detail), 2019<em>, </em>mixed media installation, with 3-channel video projection, glass, stones, publication, installation view of the exhibition at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling</p>
<p> </p>

Anna Daučíková, Expedition for Four Hands and Accompaniment (Detail), 2019mixed media installation, with 3-channel video projection, glass, stones, publication, installation view of the exhibition at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the artist, photo: Frank Sperling

 

 

 

<p>Anna Daučíková, <em>Výchova dotykom (Upbringing by touch)</em>, 1996, Courtesy the artist</p>

Anna Daučíková, Výchova dotykom (Upbringing by touch), 1996, Courtesy the artist

 

 

Heike-Karin Föll

 
<p>Heike-Karin Föll, <em>my brain</em>, 2010–19; installation view (detail) <em>speed</em> at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

Heike-Karin Föll, my brain, 2010–19; installation view (detail) speed at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

<p>Heike-Karin Föll, <em>my brain</em>, 2010–19; installation view (detail) <em>speed</em> at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

Heike-Karin Föll, my brain, 2010–19; installation view (detail) speed at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

<p>Heike-Karin Föll, installation view <em>speed</em> at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

Heike-Karin Föll, installation view speed at KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

<p>Heike-Karin Föll, <i class="">linguistic operations/spatial concepts,</i> 2017, Courtesy the artist</p>

Heike-Karin Föll, linguistic operations/spatial concepts, 2017, Courtesy the artist

 

 

Image Bank

 
<p>Installation view ‘Image Bank’ at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the Morris/Trasov Archive, Morris and Helen Art Gallery, University of British Columbia (CA), photo: Frank Sperling</p>

Installation view ‘Image Bank’ at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the Morris/Trasov Archive, Morris and Helen Art Gallery, University of British Columbia (CA), photo: Frank Sperling

 

 

<p>Front: Image Bank: <em>Colour Bars – Spectrum Sets</em>, 1972–73, Paint on wood; Center: Eric Metcalfe: <em>Leopard Realty</em>, ca. 1973, HD video, colour, silent; Back: General Idea: <em>Hands of the Spirit</em>, 1974, 5 acrylic glass wands; installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Collection of the Eric Metcalfe Fonds / Morris/Trasov Archive, Morris and Helen Belkin Art Gallery, University of Britsh Columbia (CA), photo: Frank Sperling</p>
<p> </p>

Front: Image Bank: Colour Bars – Spectrum Sets, 1972–73, Paint on wood; Center: Eric Metcalfe: Leopard Realty, ca. 1973, HD video, colour, silent; Back: General Idea: Hands of the Spirit, 1974, 5 acrylic glass wands; installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Collection of the Eric Metcalfe Fonds / Morris/Trasov Archive, Morris and Helen Belkin Art Gallery, University of Britsh Columbia (CA), photo: Frank Sperling

 

 

 

<p>Image Bank: Annual Report, Image Requests and Mailings, Archival materials, installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Morris/Trasov Archive, Morris and Helen Belkin Art Gallery, University of Britsh Columbia (CA), photo: Frank Sperling</p>

Image Bank: Annual Report, Image Requests and Mailings, Archival materials, installation view of the exhibition, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Morris/Trasov Archive, Morris and Helen Belkin Art Gallery, University of Britsh Columbia (CA), photo: Frank Sperling

 

 

<p>Installation view ‘Image Bank’ at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the Morris/Trasov Archive, Morris and Helen Art Gallery, University of British Columbia (CA), photo: Frank Sperling</p>

Installation view ‘Image Bank’ at KW Institute for Contemporary Art, Berlin, 2019, Courtesy the Morris/Trasov Archive, Morris and Helen Art Gallery, University of British Columbia (CA), photo: Frank Sperling

 

 

<p>Bob Strazicich, <em>Mr. Peanut Mayoral Campaign: Mr. Peanut descends steps of Vancouver Court House</em>, 1974, gelatin silver print, Collection of the Morris/Trasov Archive, Morris and Helen Belkin Art Gallery, University of British Columbia</p>

Bob Strazicich, Mr. Peanut Mayoral Campaign: Mr. Peanut descends steps of Vancouver Court House, 1974, gelatin silver print, Collection of the Morris/Trasov Archive, Morris and Helen Belkin Art Gallery, University of British Columbia

 

 

David Wojnarowicz

 
<p>David Wojnarowicz, <em>A Fire in My Belly</em>, 1986–1987, video still taken from Super 8 film, installation view of the exhibition David Wojnarowicz <em>Photography & Film 1978–1992</em>, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Electronic Arts Intermix (EAI), New York, photo: Frank Sperling</p>

David Wojnarowicz, A Fire in My Belly, 1986–1987, video still taken from Super 8 film, installation view of the exhibition David Wojnarowicz Photography & Film 1978–1992, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Electronic Arts Intermix (EAI), New York, photo: Frank Sperling

 

 

<p>Andreas Sterzing, <em>David Wojnarowicz</em> (<em>Silence = Death), </em>1989, New York, Photograph, Courtesy the artist, the Estate of David Wojnarowicz, and P·P·O·W, New York</p>

Andreas Sterzing, David Wojnarowicz (Silence = Death), 1989, New York, Photograph, Courtesy the artist, the Estate of David Wojnarowicz, and P·P·O·W, New York

 

 

Reza Abdoh

 
<p>Reza Abdoh, <em>Bogeyman</em>, 1991, video still, installation view of the exhibition <em>Reza Abdoh, </em>KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling</p>

Reza Abdoh, Bogeyman, 1991, video still, installation view of the exhibition Reza Abdoh, KW Institute for Contemporary Art, Berlin, 2019, Courtesy Adam Soch and the Estate of Reza Abdoh, photo: Frank Sperling

 

 

<p><em>The Hip-Hop Waltz of Eurydice</em>, 1990. Written and directed by Reza Abdoh, performance at Sigma Festival, Bordeaux, 1992, photo: Patrick Veyssière</p>

The Hip-Hop Waltz of Eurydice, 1990. Written and directed by Reza Abdoh, performance at Sigma Festival, Bordeaux, 1992, photo: Patrick Veyssière

 

 

Frank Wagner

 
<p>Installation view of the exhibition <em>TIES, TALES AND TRACES. Dedicated to Frank Wagner, Independent Curator (1958–2016)</em>, KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling</p>

Installation view of the exhibition TIES, TALES AND TRACES. Dedicated to Frank Wagner, Independent Curator (1958–2016), KW Institute for Contemporary Art, Berlin, 2019, photo: Frank Sperling

 

 

<p>Frank Wagner in the exhibition<em> Félix González-Torres (1957–1996),</em> RealimusStudio / nGbK Berlin, 1996, photo: Jürgen Henschel</p>

Frank Wagner in the exhibition Félix González-Torres (1957–1996), RealimusStudio / nGbK Berlin, 1996, photo: Jürgen Henschel

 

 

Jimi Robert

 
<p>Jimmy Robert, <em>Joie noire</em>, performance with Courtney Henry at KW Institute for Contemporary Art, 2019, Berlin, Courtesy the artist, photo: Frank Sperling</p>

Jimmy Robert, Joie noire, performance with Courtney Henry at KW Institute for Contemporary Art, 2019, Berlin, Courtesy the artist, photo: Frank Sperling

 

 

Steve Bishop

 
<p>Steve Bishop, installation view of the exhibition <em>Deliquescing</em>, Installation in five parts, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Carlos/Ishikawa, London, Photo: Frank Sperling</p>

Steve Bishop, installation view of the exhibition Deliquescing, Installation in five parts, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Carlos/Ishikawa, London, Photo: Frank Sperling

 

 

Tamara Henderson

 
<p>Tamara Henderson, <i><span lang="EN-US">Language of Mud, </span></i><span lang="EN-US">2018, installation view</span> of the exhibition <em>Womb Life</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling</p>

Tamara Henderson, Language of Mud, 2018, installation view of the exhibition Womb Life, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

 

 

Sidsel Meineche Hansen

 
<p>Sidsel Meineche Hansen, installation view of the exhibition <em>Real Doll Theatre</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling</p>

Sidsel Meineche Hansen, installation view of the exhibition Real Doll Theatre, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

 

 

<p>Sidsel Meineche Hansen, <i><span lang="EN-US">PA.VA, </span></i><span lang="EN-US">2018, installation view </span>of the exhibition <em>Real Doll Theatre</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling</p>

Sidsel Meineche Hansen, PA.VA, 2018, installation view of the exhibition Real Doll Theatre, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Rodeo, London/Piraeus, Photo: Frank Sperling

 

 

Beatriz González

 
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<p>Beatriz González, installation view of the exhibition <em>Retrospective 1965–2017</em>, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling</p>
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Beatriz González, installation view of the exhibition Retrospective 1965–2017, KW Institute for Contemporary Art, Berlin, 2018, photo: Frank Sperling

 

 

<p>Beatriz González, <em>Los Suicidas del Sisga No 2</em>, 1965, Oil on canvas, Courtesy the artist, Óscar Monsalve, and Museo La Tertulia, Cali, Collection Museo La Tertulia, Cali</p>

Beatriz González, Los Suicidas del Sisga No 2, 1965, Oil on canvas, Courtesy the artist, Óscar Monsalve, and Museo La Tertulia, Cali, Collection Museo La Tertulia, Cali

 

 

KW Production Series: Jamie Crewe and Beatrice Gibson

 
<p>Jamie Crewe, <em>Pastoral Drama</em>, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, courtesy the artist, photo: Frank Sperling</p>

Jamie Crewe, Pastoral Drama, 2018, installation view of the exhibition KW Production Series, KW Institute for Contemporary Art at Julia Stoschek Collection Berlin, 2018, courtesy the artist, photo: Frank Sperling

 

 

Evelyn Taocheng Wang

 
<p>Evelyn Taocheng Wang, <em>Hospital Conversations</em>, <em>Three Versions of Change</em>, 2018, installation view of the exhibition <em>What is he afraid of?</em>, KW Institute for Contemporary Art, 2018, Courtesy the artist and Galerie Fons Welters, photo: Frank Sperling</p>
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Evelyn Taocheng Wang, Hospital Conversations, Three Versions of Change, 2018, installation view of the exhibition What is he afraid of?, KW Institute for Contemporary Art, 2018, Courtesy the artist and Galerie Fons Welters, photo: Frank Sperling

 

 

 

Lynn Hershman Leeson

 
<p><span class="s1">Lynn Hershman Leeson, </span><i>Lorna</i>, 1979–82, installation view of the exhibition <em>First Person Plural</em>, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Bridget Donahue, New York, <span class="s1">photo: Frank Sperling</span></p>

Lynn Hershman Leeson, Lorna, 1979–82, installation view of the exhibition First Person Plural, KW Institute for Contemporary Art, Berlin, 2018, Courtesy the artist and Bridget Donahue, New York, photo: Frank Sperling

 

 

AA Bronson

 
<p>AA Bronson, <em>Garten der Lüste</em>, 2018, installation view KW Institute for Contemporary Art, photo: Frank Sperling</p>

AA Bronson, Garten der Lüste, 2018, installation view KW Institute for Contemporary Art, photo: Frank Sperling

 

 

Judith Hopf

 
<p>Judith Hopf, <em>Hand 4</em>, 2017, Installation view at KW Institute for Contemporary Art, Courtesy the artist and Deborah Schamoni, Munich, Photo: Frank Sperling</p>

Judith Hopf, Hand 4, 2017, Installation view at KW Institute for Contemporary Art, Courtesy the artist and Deborah Schamoni, Munich, Photo: Frank Sperling

 

 

<p>Judith Hopf, <em>Stepping Stairs</em>, 2018, Courtesy Judith Hopf</p>

Judith Hopf, Stepping Stairs, 2018, Courtesy Judith Hopf

 

 

Trix & Robert Haussmann

 
<p>Trix & Robert Haussmann, Installation view <em>The Log-O-Rithmic Slide Rule: A Retrospective</em> KW Institute for Contemporary Art, Photo: Frank Sperling</p>

Trix & Robert Haussmann, Installation view The Log-O-Rithmic Slide Rule: A Retrospective KW Institute for Contemporary Art, Photo: Frank Sperling

 

 

<p>Trix & Robert Haussmann, Ionic column stump, <em>Lehrstück V,</em> Function Follows Forms, 1978, Modell, Zabrowsky Modellbau, Dumeng Raffainer, photo: Fred Waldvogel, Courtesy Trix & Robert Haussmann</p>

Trix & Robert Haussmann, Ionic column stump, Lehrstück V, Function Follows Forms, 1978, Modell, Zabrowsky Modellbau, Dumeng Raffainer, photo: Fred Waldvogel, Courtesy Trix & Robert Haussmann

 

 

<p>Philippe Van Snick, <em>Dag/Nacht</em>, 1984–ongoing, Installation view entrance gate, KW Institute for Contemporary Art, Photo: Frank Sperling, Courtesy Tatjana Pieters.</p>

Philippe Van Snick, Dag/Nacht, 1984–ongoing, Installation view entrance gate, KW Institute for Contemporary Art, Photo: Frank Sperling, Courtesy Tatjana Pieters.