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Galerie Tanja Wagner

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Galerie Tanja Wagner

Art Gallery, Berlin

29/05/2026

🔺GTW Artists: Grit Richter – Artwork Deep Dive:
The Door is Open, 2025
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Grit Richter’s paintings are shifting between abstraction and figuration, between the immediacy of utopian landscapes and the momentariness of a snapshot. Within her work, she is searching for a way to visualize universal feelings that function as aesthetic parables of our inner world. Although mostly two-dimensional and abstract her painting often present some figurative elements which are often bizarre, humorous or soothing.
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Grit Richter will be part of at KunstRaum Potsdam, opening tomorrow, May 30, 2026. At
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🗓 Opening: May 30, 2026, from 4 pm
🗓 Exhibition: May 31 – July 5, 2026
🗓 Artist Talk: May 31, 2026, 2 pm — Grit Richter & Jan Albers in conversation with Nicola Graef
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Image 1 and 5: installation views from her solo exhibition, Soft Power, at Städtische Galerie Dresden, 2025
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Grit Richter
The Door is Open, 2025
Oil on linen
180 x 160 cm

28/05/2026

Elisa Giardina Papa | A Naked-Eye Blue
Closing This Saturday

A Naked-Eye Blue recounts the tale of a Mediterranean island that emerged and disappeared from the sea. In 1831, an underwater volcanic eruption gave rise to a basalt formation between Tunisia and Sicily, sparking a violent sovereignty dispute among European powers. Six months later, the island vanished underwater. The work leaps between the historical and the speculative to meditate on the illuminatory potential of an island that refused to be annexed.

Credits:
Elisa Giardina Papa, She Flickered In and Out of History, 2026. Stills from the video.
Courtesy of the artist and Galerie Tanja Wagner, Berlin.
The project is supported by the Italian Council program (2024) promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture.

26/05/2026

⚫️ GTW Beyond: Grit Richter will be part of at KunstRaum Potsdam, opening May 30, 2026.

The exhibition brings together artists from the Sammlung Holle collection in an open dialogue across generations and practices.

At

🗓 Opening: May 30, 2026, from 4 pm
🗓 Exhibition: May 31 – July 5, 2026

Grit Richter
Tbt (Das kleine Glück 02, Variation 01), 2024,
75 × 60 cm

19/05/2026

⚫️GTW Beyond: Ulf Aminde’s video Frontalunterricht (2009) will be featured in the exhibition – Dimensions of Empathy, opening May 20 at and on view until October 11, 2026.
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Frontalunterricht was created during a four-week workshop Ulf Aminde conducted with a group of teenagers as part of the Schillertage festival in Mannheim. The participants were invited to develop a performance based on their own interests, yet throughout the process they resisted the artist’s attempts to direct or motivate them so that nothing was produced. Only when he brought the group onto the theatre’s rehearsal stage and asked them, in front of a running camera, to “play” Ulf Aminde—that is, to directly address and perform their relationship to their director—did the teenagers gradually abandon their resistance.
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The resulting film reflects a central aspect of Aminde’s practice, in which artistic production emerges through real social encounters rather than predetermined outcomes. His works often focus on situations of projection, dependency, negotiation, and the desire for recognition.
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Slides: stills and snippet from Frontalunterricht (Colour), 2009, video, colour, sound.
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(

14/05/2026

⚫ GTW Beyond: A new site-specific installation by Sejla Kamerić will be on view as part of the 7th , SKYground, opening on May 15 in Mardin, Turkey. Curated by Çelenk Bafra ( ), the biennial will remain on view until 21 June 2026.
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Kamerić presents AGAPE BENCH, a new work dealing with the concept of agape-capability, understanding love not as sentiment, but as a condition that enables freedom, relation, and coexistence. Each word names love from a different linguistic and cultural horizon, yet none fully translates the others. Meaning unfolds in the space between languages and through the simple act of sitting together. Forged metal—traditionally associated with labor, defense, and permanence—here holds tenderness, care, and ethical presence. The bench proposes agape-love as infrastructure—a form of ethical support rather than a declaration. It creates a condition that allows bodies to remain, to sit, to exchange, and to share time and space without ownership or hierarchy. Rather than imagining a utopian elsewhere, AGAPE BENCH proposes common ground as something enacted quietly, through presence. The work echoes Christian J. Barrigar’s concept of agape freedom (book Freedom All the Way Up), where meaning arises through relational presence rather than isolated autonomy and is embodied through shared use and collective presence.
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During the Biennale, AGAPE BENCH will be moved between different locations, from Dara Ancient City to Mardin, where it will remain as a gift to the local community.

05/05/2026

⬛️ GTW Exhibition: A Naked-Eye Blue, a solo exhibition by Elisa Giardina Papa ()
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Installation views of a series of hand-cast glass panels. The works engage with altered solar phenomena and incorporate fragments of the film poem by Megan Fernandes.
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Credits:
Elisa Giardina Papa, She Flickered In and Out of History, 2026. Supported by the Italian Council program (2024), promoted by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture.

04/05/2026

Thanks to everyone who came to and made it special! ❤️✨

on view until May 30.

02/05/2026

🎂 Happy birthday Elisa Giardina Papa!

Elisa Giardina Papa’s research-based practice investigates the performance of gender, sexuality, and labor in digital AI economies. Working across large scale video installation, drawings, sculptures, and theoretical texts, she documents how past and present forms of capitalism have extracted our capacities for labor and living—including sleep, intimacy, and emotion. With witty and poetic framing, her work calls attention to those parts of our lives, desires, and embodiments that remain radically unruly, untranslatable, and un-computable.

Elisa Giardina Papa is also a founding member of the artist collective Radha May. Together with Bathsheba Okwenje and Nupur Mathur, they develop performances and art installations that reveal forgotten archives, hidden histories, and peripheral sites, exploring their relation to gender, and colonialism.

Image 1: Portrait. Photo: Riccardo Banfi.

Image 2: A Naked-Eye Blue (2026). Installation view, Galerie Tanja Wagner, Berlin. Photo: Philip Fleischer

Image 3: Flock (2023). Installation view, Künstlerinnenhaus Bremen, 2025. Photo: Gabriela Valdespino.

Image 4: Installation view, Museo de Arte Moderno de Bogotá (MAMBO), Bogotá, 2024. Photo: Gregorio Díaz.

Image 5: Ether’s Bloom: A Programme on Artificial Intelligence (2023). Installation view, Gropius Bau, Berlin. Photo: Luca Girardini.

Image 6: Installation view, La Biennale di Venezia, Venice, 2022. Photo: Nicolò Gemin.

Image 7: Need Ideas PLZ (2011). Installation view, Stadtgalerie Bern, Bern, 2016.

Image 8: When the Towel Drops Vol.1: Italy (2015). Installation view, Granoff Center for the Creative Arts, Providence, RI, USA. Courtesy of Radha May (Bathsheba Okwenje, Nupur Mathur, Elisa Giardina Papa).

Image 9: Brush Stroke (2012–2018). UV print on aluminium, dimensions variable.

Image 10: Installation view, GAMeC, Bergamo, 2023.

01/05/2026

⬛️ GTW Exhibition:

Elisa Giardina Papa
A Naked-Eye Blue
Opening Tonight, 6-9 pm

30/04/2026

One day in Barcelona for Kapwani Kiwanga, Estats Canviants at , and worth every minute. Kapwani Kiwanga, winner of the Premi Joan Miró 2025, has built her first major retrospective in Spain into a show about the things we mistake for permanent: architecture, borders, materials, social structures, and the slow geological time in which all of them are, in fact, in motion.
A particular highlight was the conversation between Kapwani and the brilliant geographer Kathryn Yusoff that opened the show. Two thinkers circling questions of geology, power, and what it means to read a stone as a political document. The kind of exchange that stays with you long after you’ve walked back through the galleries.
The exhibition traces materiality and extractivism, economies of exchange, and the contemporary crises of territory, from agriculture to housing, through works of striking formal precision. There’s something quietly radical about the way she lets raw materials carry the weight of these histories: sisal, fabric, mineral, mirror.
A real gift to spend time with so many works I hadn’t seen in person in a while, alongside three new productions made specifically for the Fundació. Curated by Martina Millà. On view through 13 September.
ContemporaryArt

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