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Galerie Barbara Thumm

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Galerie Barbara Thumm

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Galerie Barbara Thumm www.bthumm.de

01/10/2026

Current exhibition
Not All Travellers Walk Roads—Of Humanity as Practice
36th Bienal de São Paulo, Berlin Edition
12 September – 6 December 2026
presenting THEO ESHETU

Theo Eshetu investigates the relationships between media, identity, and global information networks. After studying photography, he began producing videos in the early 1980s, aiming to deconstruct the hegemonic status of television, which he saw as an instrument of institutional power.
His work, which includes documentaries, installations, and films, uses moving images to create a personal reality distinct from conventional institutional or political narratives. Shaped by his life in West Africa, Eshetu’s practice embraces a global perspective. His work has been presented at events such as the La Biennale di Venezia and Documenta, and at institutions including the Whitechapel Gallery in London. Eshetu lives between Berlin and Rome.

Photos: Hanna Wiedemann/hkw

🔗hkw.de

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30/09/2026

Not All Travellers Walk Roads—Of Humanity as Practice
36th Bienal de São Paulo, Berlin Edition
Exhibition
12 September – 6 December 2026
presenting MARÍA MAGDALENA CAMPOS-PONS

María Magdalena Campos-Pons creates works that address themes such as history, memory, gender, and religion, investigating the role they play in the formation of identity. Her practice brings together photography, painting, sculpture, film, video, and performance. Campos-Pons has participated in international exhibitions and biennials and has been the subject of solo exhibitions in museums around the world, including The Brooklyn Museum and the J. Paul Getty Museum in Los Angeles, which presented her multimedia show Behold. In 2023, she was awarded the MacArthur Fellowship. She currently holds the Cornelius Vanderbilt Chair and is a Professor of Fine Arts at Vanderbilt University, where she founded the Engine for Art, Democracy & Justice program. Campos-Pons lives in Nashville.

🔗hkw.de

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29/09/2026

ANNONCE ARTISTE #14 — CHRIS MUKENGE & LYDIA SCHELLHAMMER

Troisième duo que nous annonçons pour la 9e Biennale de Lubumbashi , Christ Mukenge et Lydia Schellhammer développent depuis près d’une décennie une pratique fondée sur un geste commun : peindre ensemble sur une même toile.

Au fil des années, leurs gestes et leurs styles se sont mêlés jusqu’à rendre impossible la distinction entre leurs contributions. Leur collaboration donne ainsi naissance à une signature commune, où l’œuvre échappe à toute paternité individuelle.

9e Biennale de Lubumbashi — MANGER LA TERRE / KUKURIA BULONGO
📍 Lubumbashi, RDC
📅 15 octobre — 15 novembre 2026
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ARTIST ANNOUNCEMENT #14 — CHRIS MUKENGE & LYDIA SCHELLHAMMER

The third duo we are announcing for the 9th Lubumbashi Biennale, Christ Mukenge and Lydia Schellhammer have developed a singular practice over nearly a decade: painting together on the same canvas.

Over the years, their gestures and styles have become so intertwined that it is impossible to distinguish each artist’s contribution.

Their collaboration gives rise to a shared signature, where the artwork escapes individual authorship.

9th Biennale de Lubumbashi — EATING THE SOIL / KUKURIA BULONGO
📍 Lubumbashi, DRC
📅 15 October — 15 November 2026

28/09/2026

María Magdalena Campos-Pons at The Armory Show 2026.

MARIA MAGDALENA CAMPOS-PONS
Platform, curated by Jovanna Venegas

Since her early career, Cuban artist María Magdalena Campos-Pons has explored her multicultural heritage and the spiritual practices intertwined within it. For instance, she depicts Yoruba and Santería motifs in her works through different lenses, resulting in unique pieces interconnected with each other. For the artist, identity is a dynamic process made in the present rather than a static concept determined by the past. In the series “Liminal Circularity, Family Whisper” (2021-2023) Campos-Pons explores these topics through familial relations and how her women relatives continue to keep and transmit traditions across generations, hence the “circularity” in the title.

In “(Portrait #4) Cousin María, Feast for Ogún,” a woman honors Ogún, deity of iron and war, holding a platter of fruits commonly used in ritual practices (mamey, banana, and watermelon) while seating on an iron stool and resting her feet over a machete, Ogún’s symbol. The pink flowers in the background also allude to the orisha, they are “Yerba Diez del Día,” used as offerings in rituals.

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María Magdalena Campos-Pons
Liminal Circularity, Family Whisper (Portrait #4) Cousin María, Feast for Ogún (2023)
Watercolor, ink, gouache, gum arabic on Rives BFK archival paper
Three panels 343 x 84 x 7cm (each, framed)
Cast glass sculpture on light box: 24 x 45 x 25 cm

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performance galeriebarbarathumm The Armory Show

28/09/2026

Kaloki Nyamai at The Armory Show 2026

We are honoured to present two gallery artists currently featured with large-scale installations at the 61st Venice Biennial, In Minor Keys, curated by Koyo Kouoh.

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KALOKI NYAMAI
Armory Sculpture
in collaboration with Carolina Nitsch Contemporary Art

Paintings by Kaloki Nyamai are characterized by organic layers. While his figurative motifs are easily recognizable, each image is a unique marriage of storytelling and material. His compositions involve threaded layers; braiding, stitched rope, collage, and yarn. Overall, his use of unusual materials suffuses canvases with narrative and physical weight. His compositions, at times framed and others suspended or un-stretched, explore the historical tradition of painting.
The work presented is from the series entitled Dining in Chaos, which depicts figures in times of local and historical crisis. In this series, chaos is treated as a stage for the tumultuous beauty of our times. Nyamai reflects on social unrest and its apocalyptic implications as well as moments of ease and community.

KALOKI NYAMAI
Tusukane (2023)
Textured layers of acrylic paint, image transfer, rubber threads and collage on stiched canvas
612 x 492 cm
Courtesy of the artist and Galerie Barbara Thumm

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$Now on view at the gallery until 31 OctoberFIONA BANNER AKA THE VANITY PRESSPoems for Helicopter BladesSpace I\As in muc...$

22/09/2026

Now on view at the gallery until 31 October
FIONA BANNER AKA THE VANITY PRESS
Poems for Helicopter Blades
Space I

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As in much of Banner’s work, the military object is stripped of its functional purpose and subjected to a process of linguistic and material displacement. What remains are unstable objects, sounds and images caught between machine and sculpture, weapon and image, body and language.

[1]
FIONA BANNER AKA THE VANITY PRESS
Books from Other, Margin / Books from Other, Fin (2026)
Acrylic on helicopter blade
30 × 42 × 5 cm each

[2]
FIONA BANNER AKA THE VANITY PRESS
Books from Other, Recto Verso (2026)
Acrylic on helicopter blade
30 × 42 × 5 cm each

[3]
FIONA BANNER AKA THE VANITY PRESS
Books from Other, Dear Bathos, Love___________. (2026)
Acrylic on helicopter blade
30 x 42 x 5 cm

More here 🔗bthumm.de

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17/09/2026

In the exhibition Poems for Helicopter Blades, Fiona Banner continues to explore language, conflict and gender through a range of media. The exhibition unfolds through a series of new video and sound sculptures constructed around re-formed parts of fighter aircraft.

The film La Fin / Runway projected onto the cockpit windscreen of a Jaguar aircraft, recalls the innocence of early cinema more than the uber-tech of contemporary warfare. In the film a small cast, including Banner and her teenage daughter, pose as and with two inflatable military aircraft, a Falcon and Typhoon. Playing out on the small theatre of a catwalk, merging a magazine shoot, a theatrical fashion space and a landing site for aircraft – a strange parody of the spaces of fashion and universal conflict emerges. Humans act out as aircraft and aircraft as beasts in an absurd ballet – creatures of the page as much as the wind, they seem stuck in a story of conflict, loss and hope.

Falcon and Typhoon, contemporary fighter planes active on the world stage today, are also forces of nature – a bird of prey and an awesome, increasingly destructive wind. The posturing human-beast-automatons perform a melding with nature and at the same time a tender, sad, euphoric loss of it. They pose a fantasy of emasculating the tools of conflict, stuck in a combative bind as they play out an unrequited desire for intimacy over alienation.

Banner is known for her iconoclastic and playful attitude to publishing, in 2009 she issued herself with an ISBN number and registered herself as a publication, ‘a sort of ongoing performance about the myth of biography’. Here a new publication Pas de Deux, (Tip Toe) incorporates two rotor blades from a Gazelle helicopter, positioned vertically they are suggestive of humans, animals and totems. Designed to spin laterally, upended, they appear to balance on tip toes, as such they perform a sort of sculptural ballet.

On view until 31 October 2026

🔗bthumm.de

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15/09/2026

Anne Mie Van Kerckhoven (AMVK) is an artist whose practice explores the intersection of drawing, painting, and installation, often combining these with digitally transformed content. Her radically feminist and avant-garde work has been presented internationally, including at Kunsthalle Bern, Fridericianum in Kassel, The Renaissance Society in Chicago, and Manifesta 7 in Trento.

For the portfolio of Electra 33, she presents „Palet“, a series of 12 collages made between 2005 and 2008, combining images from pin-up magazines with philosophical and poetic reflections. As she writes, „The need for eroticism in our intellectualised society would be met by excessive technological gadgets.“ Playful yet critical, the series challenges the eroticisation of women and the male gaze with sharp wit.

Discover this portfolio in Electra 33, available at newsstands, bookstores, the MAAT shop, and at 🔗electramagazine.com

Images: Anne Mie Van Kerckhoven, Palet (Series), 2005–2008. © AMVK / Galerie Barbara Thumm, Berlin / dépendance, Bruxelles

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14/09/2026

In Poems for Helicopter Blades, Fiona Banner continues to explore language, conflict and gender through a range of media. The exhibition unfolds through a series of new video and sound sculptures constructed around re-formed parts of fighter aircraft.

FIONA BANNER AKA THE VANITY PRESS
Mortal Coil (2026)
Newsprint, ink
Published in 2026 by The Vanity Press
Height of roll: 520mm Diameter of roll (including core: 350mm)

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Fiona Banner aka The Vanity Press
Poems for Helicopter Blades
Space I
11 September – 31 October 2026
🔗bthumm.de

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10/09/2026

Now on view
FIONA BANNER AKA THE VANITY PRESS
𝘓𝘢 𝘍𝘪𝘯 / 𝘙𝘶𝘯𝘸𝘢𝘺
2026
Single channel video projection with soundtrack
10 mins 28 sec

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Fiona Banner aka The Vanity Press
Poems for Helicopter Blades
Space I
Opening: 11 September, 6–9 pm
On view: 11 September – 31 October, 2026

🔗bthumm.de

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Adresse

Markgrafenstrasse 68
Berlin
10969

Öffnungszeiten

Mittwoch	12:00 - 18:00
Donnerstag	12:00 - 18:00
Freitag	12:00 - 18:00
Samstag	12:00 - 18:00

Telefon

+493028390347

Website

http://www.bthumm.de/

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