Kunstverein Tiergarten

04/01/2026

Ein weiterer Artikel über das AUS des Kunstverein Tiergarten in den Räumen der Galerie Nord. Neben den Artikeln des Tagesspiegels, Berliner Morgenpost, der Ecke Turm und vielen anderen bezeugt auch diese Recherche die kulturpolitische Fragwürdigkeit und Kurzsichtigkeit des Fachbereichs für Kunst,kultur und Geschichte des Bezirks Berlin Mitte, Galerie Nord in Berlin-Mitte: Vor dem Nichts | taz.de https://share.google/WjlTGEa8imcwbHMWU Tiergarten Nord Witte

22/12/2025

22/12/2025

„15 Buchstaben – 207 Wörter“ von Penelope Wehrli ist nur noch bis Ende Dezember 2025 an der Fassade des Brüder-Grimm-Hauses in der Turmstraße zu sehen.

Die Künstlerin stellt den Schriftzug an der Fassade in den Mittelpunkt ihrer Lichtinstallation und rückt mit poetischen Wortspielen die Lebendigkeit von Sprache ins öffentliche Bewusstsein. Die fünfzehn Buchstaben bilden das Material für eine Komposition aus 207 Wörtern in Deutsch, Türkisch, Kroatisch, Französisch und Spanisch.

Die Wortspiele lassen Bilder der Märchensammlung der Brüder Grimm entstehen und spielen mit Satzbau, Klangfolgen sowie Assoziationen zu Comic, Trash-Art und Dada. Ab Dämmerung bis Sonnenaufgang leuchten die Buchstaben über der Galerie Nord und machen die Vielfalt unserer globalen Gesellschaft sichtbar.

Konzept/Realisierung: Penelope Wehrli
Kuratiert von: Veronika Witte
Lichtsteuerung: Joa Glasstetter

19/12/2025

Introducing

• Ohne Titel (2025) •

In his artistic practice, Jacobs develops processes in which the inherent dynamics of the material and the energy of the sculptural act create a contradiction to the expected understanding of materials. The tendency towards formlessness is not concealed or overcome, but deliberately made visible. The theme ‘Arrival?’ opens up various perspectives to which Jacobs is intuitively drawn. The casting process serves as a connecting element: usually, liquid material fills a predetermined form, adapts to its formal language and becomes solid – a smooth arrival? Jacobs, on the other hand, develops an improvisational language that places the oscillation between form and loss of form at the centre of the sculptural gesture.

Jeroen Jacobs (*1968, NL) studied at the Academy of Art and Design in ’s-Hertogenbosch and has lived in Berlin since 1997. He creates works in public spaces, including "Blauwe Maandag" (Curamus Hulst, 2008/2009, with SKOR, Amsterdam), and has exhibited internationally at venues such as Daily Practice (Rotterdam), Sommer & Kohl (Berlin), ROMA CONTEMPORARY (Rome), OSLO10 (Basel), Autocenter (Berlin), Galerie Andersen’s Contemporary (Copenhagen), Outpost Gallery (Norwich), and Tanya Bonakdar Gallery (New York). He teaches sculpture at Berlin University of the Arts, Weißensee Academy of Art, University of Kassel, and Academy of Visual Arts Leipzig, and received the KUNSTFONDS scholarship in 2024.

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The exhibition "MAP 2025 – Arrival? Bremen – Hanoi – Berlin" runs until 23 December 2025.
Curated by: Anh Tuấn Nguyễn, Ingo Vetter, and Veronika Witte.

📷 ©

.noah.art .bau.air

18/12/2025

Introducing

• halten (2025) • Mobile Posters on motorbikes of delivery service GHTK (2025) •

"halten" (Holding) is an installation consisting of nine lithographs inspired by the artist’s sense of arrival – a feeling he experiences particularly when he is in the water or near bodies of water, surrendering to the flow of the tides. The artist translates this sensation into a chemical choreography of hydrophobic grease, hydrophilic limestone, water and ink on paper. ‘Holding’ is a metaphorical transfer of the aggregate state of an element that is fluid in nature and constantly in motion. Noah combines the lithographs into a dynamic surface that is held in suspension like a roof or a wave, thus establishing a physical relationship with the visitors.

Alexander Noah (born in 2000 in Bremen) lives and works in Bremen. He studied contemporary art in Aberdeen, Great Britain, and is currently furthering his studies at the University of the Arts Bremen. Scholarships from the German National Academic Foundation and United World College Atlantic support his international and sustainable approach to his work. He works as an art teacher at KUBO Kultur- und Bildungsverein Ostertor and is actively involved in university politics as a student representative on several committees.

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The exhibition "MAP 2025 – Arrival? Bremen – Hanoi – Berlin" runs until 23 December 2025.
Curated by: Anh Tuấn Nguyễn, Ingo Vetter, and Veronika Witte.

📷 ©

.noah.art .bau.air

16/12/2025

Introducing

• In Motion, An Emotion: Parallel Playground Tracking Motion (2025) • Building Emotion (2025) •

In this project, Ngô Đình Bảo Châu uses the playground as a metaphor for mobility, connection and shared physical experience. Drawing on the Vietnamese proverb "First strange, then familiar," she understands movement as kinetic, emotional and communal. Personal reflections on her mother’s Parkinson’s disease shape the work: movement becomes a vital force whose absence signals a loss of spirit and connection. In "Building Emotion," participants create abstract ribbon forms by tracing their bodies, generating emotionally charged structures. "Tracking Motion" documents these interactions in a pop-up book, with each page opening like a memory. Together, both works propose an imaginary playground where mobility can be experienced physically and emotionally.

Đình Bảo Châu Ngô (born 1986, Đồng Tháp) is a multidisciplinary artist whose work explores contemporary life in Vietnam through material and symbolic forms. She studied at the Hồ Chí Minh University of Fine Arts, has exhibited internationally, and received the apexart Fellowship (New York, 2018) and the 943 Studio Residency (Kunming, 2010). She was nominated for the Sovereign Asian Art Prize (Hong Kong, 2025) and lives in Hồ Chí Minh City.

***
The exhibition "MAP 2025 – Arrival? Bremen – Hanoi – Berlin" runs until 23 December 2025.
Curated by: Anh Tuấn Nguyễn, Ingo Vetter, and Veronika Witte.

📷 ©

.noah.art .bau.air

15/12/2025

Introducing

• heRRum (2023-2025) •

heRRum is a long-term project exploring the colonial and personal histories of rum production. The artist’s homemade rum reflects on mixed identity, ancestral migration, the colonial industrial complex and notions of home within the 500-year rum trade. Named after her Jamaican father Hiram, the project links personal and planetary relationships through the circulation of water, sugar and alcohol. In its sixth chapter, the drink is shared with residents in Easton, Bristol, inviting conversations about value and lived experience. These encounters form a mixed-media work of video portraits, sugar circles and bottles.

Kayle Brandon is an interdisciplinary artist working in public and social spaces, often in collaboration with artists, communities and audiences. Her process-oriented practice examines how art and activism shape social and spatial relations, as well as experiences of place and identity. She engages with decolonization, open-source and collaborative movements, ecology and urbanism, and works across performance, live events, time-based media, sculpture, drawing and text.

***
The exhibition "MAP 2025 – Arrival? Bremen – Hanoi – Berlin" runs until 23 December 2025.
Curated by: Anh Tuấn Nguyễn, Ingo Vetter, and Veronika Witte.

📷 ©

.noah.art .bau.air

12/12/2025

Introducing 🛋

• Between Journeys (Zwischen) (2025) •

In "Between Journeys (Zwischen)", Florian Witt examines the moment of arrival as a fleeting instant that exists only through naming it. By designating an arrival as such, one journey ends and another one begins. Sometimes arrival is also proclaimed as an activity: “I’m still arriving.” — a peculiar concept.

The sculpture (Zwischen) focuses on arrivals and the places that make them possible, such as seating. A place to sit is also a place where ideas “arrive.” In this function, they often go unrecognized. By sitting, waiting, thinking, and writing down ideas, humans become mediators of this arrival. The place becomes the idea itself: a piece of furniture is invented, constructed, and built as a copy in Berlin. The construction sketch is sent as a file to Hanoi and implemented by local carpenters. The information has arrived and became a place itself. These transcultural and interdisciplinary translations give rise to playful visual and sculptural works.

Florian Witt (born 1990) studied painting in Nuremberg and Bremen. He has published artist books, began a master student year with Ingo Vetter in 2024, received scholarships from the Senator für Kultur Bremen and the DAAD, studied at the University of Guelph (Canada) and exhibited internationally. He is represented by Emde Gallery (Mainz).

***
The exhibition "MAP 2025 – Arrival? Bremen – Hanoi – Berlin" runs until 23 December 2025.
Curated by: Anh Tuấn Nguyễn, Ingo Vetter, and Veronika Witte.

📷 ©

.noah.art .bau.air

11/12/2025

Introducing

• what is it that holds the body together (2025) •

At the centre of this work is a family photo taken in 1989 at Hamadi Beach in West Papua. It combines private memory with geopolitical history: in the background, a rusted American tank from the Second World War can be seen – the place where Sunarjo’s father was stationed as a marine during West Papua’s transition from Dutch to Indonesian rule, and also the place where his father grew up. Sunarjo reconstructs the photo using pixelated image excerpts and isolated drawings of body parts – hands, legs, gestures, fragmented postures and poses. Rather than reconstructing a coherent past, the work traces how identity is assembled from the remnants of experience, geography and heritage. The result is an additive process of remembering that holds together what history, distance and the loss of space-time coordinates have separated. The drawings are accompanied by an audio conversation between Sunarjo and his father.

Benjamin Sunarjo studied contemporary dance (Trinity Laban, London), contemporary art (Bern University of the Arts) and environmental sciences (ETH Zurich). He co-curates the Translocal Performance Art Giswil festival and teaches at Bern University of the Arts. Sunarjo received a scholarship for the research project Collecting the Ephemeral (Lucerne University of Applied Sciences and Arts, 2020–2022) and has performed with Tino Sehgal, Boris Charmatz, Alexandra Pirici, Alexandra Bachzetsis and Boris Nikitin.

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The exhibition "MAP 2025 – Arrival? Bremen – Hanoi – Berlin" runs until 23 December 2025.
Curated by: Anh Tuấn Nguyễn, Ingo Vetter, and Veronika Witte.

📷 ©

.noah.art .bau.air

10/12/2025

Introducing 🎥

• Wondering of a Parallel Somewhere (2024) • Archiving as a form of deromanticizing (2025) • Archiving as a Refusal to Part (2025) •

The multi-part video installation invites reflection on memory and archives through three works. In "Archiving as a Form of Deromanticising" (2025), dialogues between the filmmakers and a man presenting his memorabilia explore how preserving objects shapes our understanding of the past. "Archiving as a Refusal to Part" (2025) shows the same man holding objects in still shots, where the act of showing becomes a quiet gesture of connection. Xuân Hạ’s "Wondering of a Parallel Somewhere" (2024) features rice paper bricks with images and archival materials from the Vietnamese community in Thailand. Visitors can discover hidden Vietnamese words with a black-light lamp.

Founded in 2019, A Sông Collective is an interdisciplinary group from central Vietnam supporting grassroots art through festivals, films, and community projects.

***
The exhibition "MAP 2025 – Arrival? Bremen – Hanoi – Berlin" runs until 23 December 2025.
Curated by: Anh Tuấn Nguyễn, Ingo Vetter, and Veronika Witte.

📷 © Foto 1-4: , Foto 5-6: Janine Pauleck

.noah.art .bau.air

09/12/2025

Lecture Performance with music 🎤🎶

"Waves of Sound Without Shore "
with Lem TragNguyen and Nhi Dương

📍 Saturday, 13.12., 5 PM

In the performance of Waves of Sound Without Shore, Lem TragNguyen works with Nhi Dương’s research on Vietnamese folk songs and diasporic sound archives. The work takes “memories that refuse closure” as its starting point, allowing memory to emerge through voice, silence, and subtle bodily gestures.

Through the interplay of research and embodiment, the performance evokes connections to cultural trauma, inherited silence, and the fragmented intimacies of wartime. It opens a space of resonance in which memory remains fluid and continually reshapes itself in the moment.

Nhi Dương is a cultural practitioner researching Vietnamese folk music and diasporic sound archives. She combines ethnography with participatory methods, engaging participants as co-creators, and develops inclusive approaches to heritage that treat living traditions as dynamic and evolving.

***
The exhibition "MAP 2025 – Arrival? Bremen – Hanoi – Berlin" runs until 23 December 2025.
Curated by: Anh Tuấn Nguyễn, Ingo Vetter, and Veronika Witte.

📷 © Erich Pohl

.noah.art .bau.air

08/12/2025

Introducing 🌸

• Waves of Sound Without Shore (2025) •

The artist explores origins, belonging and shifting identities in postcolonial contexts, often working with everyday materials to create performance and transformation as spaces of memory and intergenerational resonance. Waves of Sound Without Shore reflects on how personal memory, transgenerational trauma and diasporic sound are interwoven. The installation takes as its starting point her grandmother’s stool and letters written by the artist’s grandfather during his military service in Cambodia in 1979. The work shows how war changes intimacy and leaves its mark across generations. These elements are framed by printed veils with diffuse images of war and fragments of sentences, making recurring structures of violence and displacement palpable. Music runs through the work as a connecting element – from archives of Vietnamese folk songs from exile to the artist’s newly composed Lost Lullaby.

Lem TragNguyen (she/they) is a performance-based visual artist and curator, born in Germany and raised between Vietnam and Germany. She studied in an MFA programme focusing on the body, theory and poetics of performance art, combining practice-oriented research with curatorial work. Her work has been shown internationally. In 2021, Lem founded the independent platform Lem Hay Là for performance art in Vietnam. In addition to her artistic practice, she realises curatorial projects, including a film programme on the Vietnamese diaspora.

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The exhibition "MAP 2025 – Arrival? Bremen – Hanoi – Berlin" runs until 23 December 2025.
Curated by: Anh Tuấn Nguyễn, Ingo Vetter, and Veronika Witte.

📷 ©

.noah.art .bau.air