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Galerie Anton Janizewski

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Prenzlauer Berg
Galerie Anton Janizewski

Kontaktinformationen, Karte und Wegbeschreibungen, Kontaktformulare, Öffnungszeiten, Dienstleistungen, Bewertungen, Fotos, Videos und Ankündigungen von Galerie Anton Janizewski, Prenzlauer Berg.

28/06/2025

Today is the final day of Rebekka Benzenberg’s solo exhibition Dream Baby Dream. Many thanks to all who were involved in the exhibition. Especially Rebekka, of course. Thank you Malte Lin-Kröger for the beautiful text & artist talk (you can also find it on Youtube, sorry for the bad camera work). Thanks to Julian for the photos, to Moritz for the help with the lamp and to everyone else.

The exhibition is open until 6pm. Come quickly if you haven’t seen it yet.

1. 📷Photo:Rebekka Benzenberg, Doing Comes From Being Itself, 2025, Plexiglas, wooden plate, make-up palette, socks,towel, eiderdown pillow, pants, bedspread, 90 x 185 x 15 cm

5. 📸Rebekka Benzenberg, Dream Baby Dream, 2025, Wooden board, plexiglass, spacer, down, cushion, fitted sheet, staple pins, 80 x 80 x 10 cm

📸
benzenberg

21/06/2025

It‘s the last week of Rebekka Benzenberg‘s current solo exhibition „Dream Baby Dream“!
The exhibition continues until June 28th - come by Wednesday through Saturday, 12 - 6 p.m.

„The sound work ‚Or don‘t you know what to look for?‘ fills the exhibition space in an endless loop with sounds from the puzzle game Candy Crush: an app that, like many others, targets the brain’s reward system by releasing a little dopamine with every candy puzzle solved. This creates the illusion of an accomplished or fulfilling task, but due to the endless nature of the game, the risk of addiction should not be underestimated.“

- Malte Lin-Kröger

Rebekka Benzenberg
Or don‘t you know what to look for?, 2025
Speakers, lampshades, cables, amplifiers
150 x 150 x 80 cm

Photo by Julian Blum
benzenberg

10/06/2025

On Thursday at 7 pm the Artist Talk with Rebekka and Malte will take place. Come along to the gallery.

Another work by Rebekka in her exhibition "Dream Baby Dream" is the sculpture "They Longed For An Ancient Tragedy", 2025

Malte Lin-Kröger writes the following in his text about the work:

„...another replica that appears twice in the room: an echo of Richard Langer’s bronze sculpture Flora, once freestanding, once mounted on a tripod like a spotlight. The original cast from 1920 – an interpretation of the Roman goddess of spring, naked and youthful in the look of German life reform – can be found behind glass in the Mülheim Stadthalle. The sculpture did not survive the unprotected public space, more precisely the Mülheim city garden. It was smeared, sprayed and one of its arms was chopped off. The artist’s doubling of the sculpture echoes the last, unsuccessful attempt by the Mülheim city council to at least preserve a copy of the Flora made from plastic at its original location. Does this space offer her a newly created shelter? Or is it just condemning it to a shadowy existence?“

Rebekka Benzenberg
They Longed For An Ancient Tragedy, 2025
Worbla, UV resin, epoxy resin, glass fibre fabric,
fabric
60 x 160 x 60 cm

Photos by
benzenberg

05/06/2025

We are delighted to invite you to an artist talk with Rebekka Benzenberg and Malte Lin-Kröger on June 12 at 7 pm at the gallery. The talk will be held in German.

Malte Lin-Kröger is a curator at Kunstpalais Erlangen and the author of the accompanying exhibition text, which you can read on the gallery’s website.

We look forward to seeing you!

28/05/2025

„Rebekka Benzenberg’s exhibition is a monument to a condition that silently cries out to be overcome. This becomes particularly clear in her paintings and wall works, which show orphaned bedscapes and crumpled pillows and blankets. It is not immediately clear from them whether the person lying here has left the bed permanently or only for a moment before returning to it. In any case, the bed does not appear inviting here, but rather oppressive. In “All be fine“ it not only occupies the entire canvas, but virtually merges with it – as if to say that under present conditions there is nothing more to be imagined and depicted than this oppressive imprisonment.“

- Malte Lin-Kröger
Rebekka Benzenberg
All be fine, 2025
Oil on canvas
155 x 120 cm

The work is on view at the gallery until June 28 — don’t miss Rebekka Benzenberg’s exhibition Dream Baby Dream.

Photos by
benzenberg

21/05/2025

We’re pleased to share installation views from "und wenn sie es dir sagen", the duo exhibition by Ferdinand Dölberg and Sarah Neumann at Kunstverein Ulm.

If you’re in the area, be sure to stop by!

Photos by Oleg Kuchar. Courtesy Kunstverein Ulm.

15/05/2025

„The market for psychotherapies is flooded with offers that specialize in the elimination of symptoms but do not identify and address systemic causes as such. Benzenberg’s work „Tell me what you know about dreams, dreams“, which attracts attention with its hypnotic light that wanders back and forth, is inspired by the approach of Eye Movement Desensitization and Reprocessing (EMDR for short), which is intended to support the therapy of traumatic experiences through guided eye movements and is used, among other things, for soldiers returning from war zones. Benzenberg makes it clear how technology specifically intervenes in cognitive processes and is intended to maintain productivity and perceived normal stress tolerance. On the other hand, an unprecedented medialization and gamification of social life undermine precisely such efforts.“
— Malte Lin-Kröger
„Tell me what you know about dreams, dreams“ is one of the main works in Rebekka Benzenberg’s third solo exhibition at the gallery. Come by and check it out.

Rebekka Benzenberg
Tell me what you know about dreams, dreams
2025
LEDs, aluminium housing, cable, dimmer
280 x 180 x 100 cm
benzenberg

09/05/2025

„Exhaustion as an expression of resistance, depression as a silent but fundamental indictment of a sick system: in her exhibition Dream Baby Dream, Rebekka Benzenberg draws attention to questions that are only superficially personal and intimate. The motif of the bed is at the center of her pointed, finely tuned compilation of sculptures, sound and paintings: a tempting retreat and a hated sickbed at the same time. The bed – especially the unmade one – implies a body that tosses and turns in it, sweats and leaves traces of its presence behind. Artists such as Tracey Emin and Louise Bourgeois have established the bed as a cipher for the presence of female bodies and their sexual self-determination in contemporary art. Benzenberg draws on these role models and their impulse to make the private public and thus political. The artist focuses on the body made invisible due to depression and isolation and critically questions its pathologization: a perspective that looks at social contexts as a whole and understands mental illness as described by the British revolutionary collective Red Therapy in the 1970s: „A major form of reaction, of our bodies’ rebellion, against capitalism”.“

Writes Malte Lin-Kröger in his text about Rebekka Benzenberg’s. "Dream Baby Dream" is now on view until 28 June. Come by, there is a lot to discover.

Rebekka Benzenberg
Looking For Stories To Live, 2025
Plexiglas, wooden board, duvet, down pillows, pillowcases,
duvet covers, bedspread, make-up remover
wipes, pyjama bottoms, T-shirt, heat plasters
90 x 185 x 15 cm

Photos by
benzenberg .lin.k

01/05/2025

Thank you to everyone who joined us yesterday for the opening and made the evening so special! Thank you so much Rebekka for the great show, and to Malte Lin-Kröger for the beautiful exhibition text.

„The sculpture lying in Benzenberg’s specially made bed
seems to be in this precarious limbo of therapy and paralyzing distraction. It is a cast of the Düsselnixe from Düsseldorf’s Malkastenpark that the artist has reworked and alienated.“

Special opening hours for the Gallery Weekend:

Thu 1 May 12-7pm
Fri 2 May 12-9pm
Sat 3 May 11-7pm
Sun 4 May 11-6pm

Installation view by
benzenberg .lin.k

29/04/2025

Please join us tomorrow for the opening of .benzenberg solo exhibition Dream Baby Dream.

You can find the great exhibition text by Malte Lin-Kröger on the website.

The opening runs from 4 pm to 9 pm. We will serve ice cream at 6 pm - make sure to come by and cool off!

We look forward to your visit!

23/04/2025

Nicholas Warbug’s solo exhibition "Aktenzeichen XY Unerlöst" is on view at Galerie Judith Andreae in Bonn.

The ZDF series Aktenzeichen XY ungelöst (Case File XY Unsolved) is the world’s longest-running true-crime television format. Since its first broadcast in 1967, over five thousand cases have been featured, nearly one in three involving murder. At its peak in the old Federal Republic of Germany, more than half the population tuned in. Viewers were called upon to assist the police when investigations stalled – often leading to breakthroughs. But solving crimes was not the show’s only effect. Perpetrators were sometimes cast in a racist light; at other times, they appeared without history, as if emerging from nowhere, evil. Denunciation flourished once again, and an aggressive climate of suspicion pervaded society: danger lurked everywhere. Thus, in the dim glow of flickering living rooms, a German Angstlust – a morbid thrill of fear – merged with simmering resentment and the comforting identification with victims. After all, only a few decades earlier, millions had found themselves on the other side, in the role of perpetrators.

In Nicholas Warburg’s first solo exhibition at Galerie Judith Andreae, Aktenzeichen XY ungelöst becomes Aktenzeichen XY unERlöst (Case File XY Unredeemed). Not only does Germany’s reckoning with its past seem to have largely failed – its ghosts have returned. The term »Hauntology« , coined by French philosopher Jacques Derrida in the early 1990s, fuses »haunting« with »ontology«, the study of being. It describes the feeling of being haunted by historical possibilities that never came to pass. In Warburg’s work, the Thousand-Year Reich appears as such a nostalgia for lost futures.

19/04/2025

Today is the final day of Jonas Höschl’s exhibition "Point of No Return". The gallery is open until 6 pm.

The frottage of the gravestone of Andreas Baader and Gudrun Ensslin is part of Jonas Höschl’s interest in documentary processes. What is the effect of this media change when the simplest of all reproduction technologies makes the names of the terrorists appear a lovers’ carving?

Jonas Höschl
Ohne Titel (2023)
Frottage
44 x 55 cm (frame)

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