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Wehrmuehle Residency Award 2026 —
Open to Berlin-connected artists.

@artbiesenthal @wehrmuehle

One selected artist will receive a 3-week fully funded residency (6–26 July 2026), a €1,000 production grant, personalized mentorship, and a guaranteed feature in the Art Biesenthal 2026 summer exhibition.

Thank you to Stiftung Kunstforum Berliner Volksbank for their support.

@stiftungkunstforumbvb

Full details and application: Link in Bio

Please share or tag artists who may be interested.

📷 @lilika_strezoska

Wehrmuehle Residency Award 2026 —
Open to Berlin-connected artists.

@artbiesenthal @wehrmuehle

One selected artist will receive a 3-week fully funded residency (6–26 July 2026), a €1,000 production grant, personalized mentorship, and a guaranteed feature in the Art Biesenthal 2026 summer exhibition.

Thank you to Stiftung Kunstforum Berliner Volksbank for their support.

@stiftungkunstforumbvb

Full details and application: Link in Bio

Please share or tag artists who may be interested.

📷 @lilika_strezoska

Art Biesenthal 2024 | Aura’s Present Decay
Hosted by Wehrmuehle

Running from July 6 to August 25, the exhibition delves into the ephemeral nature of art, the passing of time, and the evolving aura. Featuring over 25 artists, contributing to a discourse exploring the temporal, prompting viewers to strip away transitory aspects in order to arrive at the essence of present. Viewing extends to the defining of aura, resonance, and experience in artistic expression.

Open on eight weekends, Saturdays and Sundays from 1 PM to 7 PM. Active engagement with a diverse weekend program featuring performance, dance, sound, and workshops (link in bio).

Culinary experiences by @taqueria_los_bebes @barlasang @luckyyoustudios @materialberlin @bebawillfeedyou @table_farrah and @bar____sway in the sculpture garden.

🥂 Vernissage 6th of July
🎟️ Ticket Link in Bio
📍 @wehrmuehle

Some Degree of Friction

Art Biesenthal 2025 — Curated by Tjioe Meyer Hecken

@artbiesenthal @wehrmuehle @tjioe.hecken

Opening Weekend: 19th & 20th of July 2025

Running from July 19th to August 31st, the exhibition inspired by A Thousand Plateaus by
Deleuze & Guattari (1987) and The Forest Maker by Volker Schlöndorff (2022). This project operates
through a rhizomatic structure — decentralized, non-linear, and open to multiplicity. Rather than
following a classic dramaturgy or fixed curatorial logic, each happening becomes a plateau: a zone of
sustained intensity where sound, performance, image, and body interweave. The exhibition evolves
through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with — creating an interdependent structure of care, friction, flow,
and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The
audience becomes part of the assemblage.

Artists include @alicjakwade @amandadonato3 @filet_minion_thong @anne_imhof @beatriz__morales @billie_clarken @christine_liebich @hoelzldaniel & @abiefranklin @francaele @hanihape @jadecassidy_ @jennasutela @yuuyoungkim @lenamemrich @lewinale @lorenz.rost @lukas.heerich @madelenisa @mirkomielke @nataliebrehmer @nicolaslamas @ornella_fieres @paulowirz @devilintraining_ @timeasperspective @rosa_merk @sallyvonrosen @seongwon.art @sofamusatova @susi_gelb @tim_schmid @yngveholen and more.

The Wehrmuehle is a community-driven and artist-centered institution. It opens for seven weekends — Saturdays and Sundays from 12 PM to 7 PM —
hosting art performances, dance, sound art, and workshops. Visitors can also enjoy
culinary delights by @1o1_bagels @mezamematcha @lamarzoccodeutschland @vitamin___color @donau_101 @saigon.kiss @therad.berlin
and others.

Thank you for your support @eigenmann.collection @deandotdean @yulia_aladko @yoram_roth @marc_mueller_1 @leoniechelsea @estherschippergallery @max.goelitz @maxgoelitzgallery @billy____jacob @felipeschwager @lili_wi_th @circleculture.gallery @lillebritttabea @sexauer_gallery @lillimartiny @leonievonracknitz @vrbgallery @galerie_neu @kraupatuskanyzeidler

Rosa Barba’s Double Rhymes (2024)

@timeasperspective @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

Double Rhymes (2024) combines steel, glass, motors, 35mm film, and aluminum in a unique sculptural installation. Measuring 100 x 100 x 12 cm, this work is part of a limited series of 7 with 2 artist’s proofs. Barba engages film as both medium and object, interrogating its material, spatial, and sculptural possibilities. By staging film beyond the screen, she redefines its relationship to gesture, genre, and document, positioning the viewer within an expanded cinematic environment that blurs the boundaries of truth and fiction, myth and reality, metaphor and material.

From the Double Rhymes series.

Rosa Barba, born in Italy, lives and works in Berlin. She studied at the Academy of Media Arts Cologne and the Rijksakademie in Amsterdam, and completed her PhD at Lund University in 2018. Barba is the recipient of numerous awards including the Calder Prize (2020) and the PIAC Prize (2015). Her practice spans film, sculpture, and installation, often creating site-specific works that explore cinema’s capacity to articulate space and time.

@calderfoundation @fondation_prince_pierre

Recent and upcoming exhibitions include The Ocean of One’s Pause, @themuseumofmodernart (2025); Meaning Distances, @msuzagreb (2025); Under The Canopy, @mdbkleipzig (2025). Other notable solo exhibitions include shows at @tate (2023); @pica_perth (2023); @neuenationalgalerie (2021); @museoreinasofia (2017); and @pirelli_hangarbicocca (2017).

Courtesy of @yoram_roth
Special thanks to @leoniechelsea @estherschippergallery

📷 @chowieson

Rosa Barba’s Double Rhymes (2024)

@timeasperspective @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

Double Rhymes (2024) combines steel, glass, motors, 35mm film, and aluminum in a unique sculptural installation. Measuring 100 x 100 x 12 cm, this work is part of a limited series of 7 with 2 artist’s proofs. Barba engages film as both medium and object, interrogating its material, spatial, and sculptural possibilities. By staging film beyond the screen, she redefines its relationship to gesture, genre, and document, positioning the viewer within an expanded cinematic environment that blurs the boundaries of truth and fiction, myth and reality, metaphor and material.

From the Double Rhymes series.

Rosa Barba, born in Italy, lives and works in Berlin. She studied at the Academy of Media Arts Cologne and the Rijksakademie in Amsterdam, and completed her PhD at Lund University in 2018. Barba is the recipient of numerous awards including the Calder Prize (2020) and the PIAC Prize (2015). Her practice spans film, sculpture, and installation, often creating site-specific works that explore cinema’s capacity to articulate space and time.

@calderfoundation @fondation_prince_pierre

Recent and upcoming exhibitions include The Ocean of One’s Pause, @themuseumofmodernart (2025); Meaning Distances, @msuzagreb (2025); Under The Canopy, @mdbkleipzig (2025). Other notable solo exhibitions include shows at @tate (2023); @pica_perth (2023); @neuenationalgalerie (2021); @museoreinasofia (2017); and @pirelli_hangarbicocca (2017).

Courtesy of @yoram_roth
Special thanks to @leoniechelsea @estherschippergallery

📷 @chowieson

Rosa Barba’s Double Rhymes (2024)

@timeasperspective @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

Double Rhymes (2024) combines steel, glass, motors, 35mm film, and aluminum in a unique sculptural installation. Measuring 100 x 100 x 12 cm, this work is part of a limited series of 7 with 2 artist’s proofs. Barba engages film as both medium and object, interrogating its material, spatial, and sculptural possibilities. By staging film beyond the screen, she redefines its relationship to gesture, genre, and document, positioning the viewer within an expanded cinematic environment that blurs the boundaries of truth and fiction, myth and reality, metaphor and material.

From the Double Rhymes series.

Rosa Barba, born in Italy, lives and works in Berlin. She studied at the Academy of Media Arts Cologne and the Rijksakademie in Amsterdam, and completed her PhD at Lund University in 2018. Barba is the recipient of numerous awards including the Calder Prize (2020) and the PIAC Prize (2015). Her practice spans film, sculpture, and installation, often creating site-specific works that explore cinema’s capacity to articulate space and time.

@calderfoundation @fondation_prince_pierre

Recent and upcoming exhibitions include The Ocean of One’s Pause, @themuseumofmodernart (2025); Meaning Distances, @msuzagreb (2025); Under The Canopy, @mdbkleipzig (2025). Other notable solo exhibitions include shows at @tate (2023); @pica_perth (2023); @neuenationalgalerie (2021); @museoreinasofia (2017); and @pirelli_hangarbicocca (2017).

Courtesy of @yoram_roth
Special thanks to @leoniechelsea @estherschippergallery

📷 @chowieson

Rosa Barba’s Double Rhymes (2024)

@timeasperspective @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

Double Rhymes (2024) combines steel, glass, motors, 35mm film, and aluminum in a unique sculptural installation. Measuring 100 x 100 x 12 cm, this work is part of a limited series of 7 with 2 artist’s proofs. Barba engages film as both medium and object, interrogating its material, spatial, and sculptural possibilities. By staging film beyond the screen, she redefines its relationship to gesture, genre, and document, positioning the viewer within an expanded cinematic environment that blurs the boundaries of truth and fiction, myth and reality, metaphor and material.

From the Double Rhymes series.

Rosa Barba, born in Italy, lives and works in Berlin. She studied at the Academy of Media Arts Cologne and the Rijksakademie in Amsterdam, and completed her PhD at Lund University in 2018. Barba is the recipient of numerous awards including the Calder Prize (2020) and the PIAC Prize (2015). Her practice spans film, sculpture, and installation, often creating site-specific works that explore cinema’s capacity to articulate space and time.

@calderfoundation @fondation_prince_pierre

Recent and upcoming exhibitions include The Ocean of One’s Pause, @themuseumofmodernart (2025); Meaning Distances, @msuzagreb (2025); Under The Canopy, @mdbkleipzig (2025). Other notable solo exhibitions include shows at @tate (2023); @pica_perth (2023); @neuenationalgalerie (2021); @museoreinasofia (2017); and @pirelli_hangarbicocca (2017).

Courtesy of @yoram_roth
Special thanks to @leoniechelsea @estherschippergallery

📷 @chowieson

Precious Okoyomon’s It is enough / and I am redeemed was recently on view at @wehrmuehle.

Precious Okoyomon’s work spans art, poetry, and performance, exploring themes of identity, colonial history, spirituality, and the connections between people, objects and the living environment.

This work was previously presented at @kunsthausbregenz from the installation titled “I wanted to kill but had nothing to kill”

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

#artcubeevents ‘Some Degree of Friction’, curated by Tjioe Meyer Hecken at Wehrmuehle / Art Biesenthal in Berlin.

The exhibition is inspired by A Thousand Plateaus (Deleuze & Guattari, 1987) and The Forest Maker (Volker Schlöndorff, 2022). The project operates through a rhizomatic structure—decentralized, non-linear, open to multiplicity. Rather than a fixed dramaturgy, each happening becomes a plateau: a zone of sustained intensity where sound, performance, image, and body interweave. The exhibition evolves through processes of resonance between artists, viewers, materials, and spatial conditions.

The emphasis lies on becoming-with—an interdependent structure of care, friction, flow, and mutual recognition. Performance becomes a listening act. Sound becomes a holding space. The audience becomes part of the assemblage.

‘Some Degree of Friction’ is on view at @wehrmuehle (@artbiesenthal) until 31 August. The Finissage weekend is 30–31 August. To plan your visit, go to www.wehrmuehle.de

Artists are tagged per slide — see comments for the full artist list.

#artcubepeople meet some of the people shaping this project:
+ Dean Eigenmann (Collector, Zurich) @deandotdean @eigenmann.collection
+ Felipe Schwager (Cultural architect & Art dealer, Berlin) @felipeschwager @offsite_arts
+ Max Goelitz (Gallerist, Berlin) @max.goelitz @maxgoelitzgallery

Photos: @chowieso @nosheberlin @lilika_strezoska

#ArtBiesenthal #Wehrmuehle #Biesenthal #BerlinArt @tjioe.hecken #artcube

Alicja Kwade’s “PRINCIPIUM” (2020)

@alicjakwade @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction’, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

PRINCIPIUM twists and coils, resembling a DNA double helix. Corresponding to a particular person, the sculpture reflects their respective body size. By stacking smartphone casts on top of each other, Kwade transforms these fundamentally contemporary objects, holding potentially the most meaningful stores of the average person’s personal information. Kwade’s work often explores the relationship between materialand information.

From the PRINCIPUM series.

Alicja Kwade, born 1979 in Katowice, Poland, lives and works in Berlin. Her recent major exhibitions include her 2025 solo shows at @pacegallery and @i8gallery. She also exhibited @berlinischegalerie (2021–2022), participated in @_desertx AlUla (2022), and created the commission ParaPivot for the @metmuseum Roof Garden in 2019.

Courtesy of Leonie Lang and Marc Müller Sammlung.
Thank you @sonjaschacht, and Frank Schmeichel, and Dr. Angela Wiechula.

Don’t miss the Finissage weekend on August 30–31. To plan your visit, go to www.wehrmuehle.de

Photos: @nosheberlin

#AlicjaKwade #Principium #ContemporarySculpture #MaterialAndInformation #ArtExhibition #BerlinArt #Wehrmuehle #ArtBiesenthal

Alicja Kwade’s “PRINCIPIUM” (2020)

@alicjakwade @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction’, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

PRINCIPIUM twists and coils, resembling a DNA double helix. Corresponding to a particular person, the sculpture reflects their respective body size. By stacking smartphone casts on top of each other, Kwade transforms these fundamentally contemporary objects, holding potentially the most meaningful stores of the average person’s personal information. Kwade’s work often explores the relationship between materialand information.

From the PRINCIPUM series.

Alicja Kwade, born 1979 in Katowice, Poland, lives and works in Berlin. Her recent major exhibitions include her 2025 solo shows at @pacegallery and @i8gallery. She also exhibited @berlinischegalerie (2021–2022), participated in @_desertx AlUla (2022), and created the commission ParaPivot for the @metmuseum Roof Garden in 2019.

Courtesy of Leonie Lang and Marc Müller Sammlung.
Thank you @sonjaschacht, and Frank Schmeichel, and Dr. Angela Wiechula.

Don’t miss the Finissage weekend on August 30–31. To plan your visit, go to www.wehrmuehle.de

Photos: @nosheberlin

#AlicjaKwade #Principium #ContemporarySculpture #MaterialAndInformation #ArtExhibition #BerlinArt #Wehrmuehle #ArtBiesenthal

Alicja Kwade’s “PRINCIPIUM” (2020)

@alicjakwade @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction’, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

PRINCIPIUM twists and coils, resembling a DNA double helix. Corresponding to a particular person, the sculpture reflects their respective body size. By stacking smartphone casts on top of each other, Kwade transforms these fundamentally contemporary objects, holding potentially the most meaningful stores of the average person’s personal information. Kwade’s work often explores the relationship between materialand information.

From the PRINCIPUM series.

Alicja Kwade, born 1979 in Katowice, Poland, lives and works in Berlin. Her recent major exhibitions include her 2025 solo shows at @pacegallery and @i8gallery. She also exhibited @berlinischegalerie (2021–2022), participated in @_desertx AlUla (2022), and created the commission ParaPivot for the @metmuseum Roof Garden in 2019.

Courtesy of Leonie Lang and Marc Müller Sammlung.
Thank you @sonjaschacht, and Frank Schmeichel, and Dr. Angela Wiechula.

Don’t miss the Finissage weekend on August 30–31. To plan your visit, go to www.wehrmuehle.de

Photos: @nosheberlin

#AlicjaKwade #Principium #ContemporarySculpture #MaterialAndInformation #ArtExhibition #BerlinArt #Wehrmuehle #ArtBiesenthal

Anna Uddenberg’s “Disconnect (Airplane Mode)” (2018/2023)

@filet_minion_thong @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction’, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

Through the feedback loop of consumerist culture, Uddenberg explores how body culture, spirituality, and self-presentation are deeply connected to the ways new technologies shape and mediate subjectivity. Her practice integrates approaches to gender while acting as a space for reflecting on taste and class, appropriation and sexuality.

Anna Uddenberg, born 1982 in Stockholm, Sweden, lives and works in Berlin. Her recent major exhibitions include @tankshanghai (2025); @pinakothekdermoderne (2024); @kindlberlin (2024); and solo shows at @kunsthallema (2023), @schinkelpavillon (2022), and @kraupatuskanyzeidler (2021).

Courtesy of @eigenmann.collection
Thank you @deandotdean @yulia_aladko @danielmoldoveanu

Don’t miss the Finissage weekend on August 30–31. To plan your visit, go to www.wehrmuehle.de

Photos: @chowieso @lilika_strezoska

#AnnaUddenberg #ContemporaryArt #BerlinArt #Wehrmuehle #ArtBiesenthal #ArtExhibition #Friction #Gender #Technology #BodyCulture #SelfPresentation

Anna Uddenberg’s “Disconnect (Airplane Mode)” (2018/2023)

@filet_minion_thong @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction’, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

Through the feedback loop of consumerist culture, Uddenberg explores how body culture, spirituality, and self-presentation are deeply connected to the ways new technologies shape and mediate subjectivity. Her practice integrates approaches to gender while acting as a space for reflecting on taste and class, appropriation and sexuality.

Anna Uddenberg, born 1982 in Stockholm, Sweden, lives and works in Berlin. Her recent major exhibitions include @tankshanghai (2025); @pinakothekdermoderne (2024); @kindlberlin (2024); and solo shows at @kunsthallema (2023), @schinkelpavillon (2022), and @kraupatuskanyzeidler (2021).

Courtesy of @eigenmann.collection
Thank you @deandotdean @yulia_aladko @danielmoldoveanu

Don’t miss the Finissage weekend on August 30–31. To plan your visit, go to www.wehrmuehle.de

Photos: @chowieso @lilika_strezoska

#AnnaUddenberg #ContemporaryArt #BerlinArt #Wehrmuehle #ArtBiesenthal #ArtExhibition #Friction #Gender #Technology #BodyCulture #SelfPresentation

Anna Uddenberg’s “Disconnect (Airplane Mode)” (2018/2023)

@filet_minion_thong @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction’, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

Through the feedback loop of consumerist culture, Uddenberg explores how body culture, spirituality, and self-presentation are deeply connected to the ways new technologies shape and mediate subjectivity. Her practice integrates approaches to gender while acting as a space for reflecting on taste and class, appropriation and sexuality.

Anna Uddenberg, born 1982 in Stockholm, Sweden, lives and works in Berlin. Her recent major exhibitions include @tankshanghai (2025); @pinakothekdermoderne (2024); @kindlberlin (2024); and solo shows at @kunsthallema (2023), @schinkelpavillon (2022), and @kraupatuskanyzeidler (2021).

Courtesy of @eigenmann.collection
Thank you @deandotdean @yulia_aladko @danielmoldoveanu

Don’t miss the Finissage weekend on August 30–31. To plan your visit, go to www.wehrmuehle.de

Photos: @chowieso @lilika_strezoska

#AnnaUddenberg #ContemporaryArt #BerlinArt #Wehrmuehle #ArtBiesenthal #ArtExhibition #Friction #Gender #Technology #BodyCulture #SelfPresentation

Anna Uddenberg’s “Disconnect (Airplane Mode)” (2018/2023)

@filet_minion_thong @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction’, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

Through the feedback loop of consumerist culture, Uddenberg explores how body culture, spirituality, and self-presentation are deeply connected to the ways new technologies shape and mediate subjectivity. Her practice integrates approaches to gender while acting as a space for reflecting on taste and class, appropriation and sexuality.

Anna Uddenberg, born 1982 in Stockholm, Sweden, lives and works in Berlin. Her recent major exhibitions include @tankshanghai (2025); @pinakothekdermoderne (2024); @kindlberlin (2024); and solo shows at @kunsthallema (2023), @schinkelpavillon (2022), and @kraupatuskanyzeidler (2021).

Courtesy of @eigenmann.collection
Thank you @deandotdean @yulia_aladko @danielmoldoveanu

Don’t miss the Finissage weekend on August 30–31. To plan your visit, go to www.wehrmuehle.de

Photos: @chowieso @lilika_strezoska

#AnnaUddenberg #ContemporaryArt #BerlinArt #Wehrmuehle #ArtBiesenthal #ArtExhibition #Friction #Gender #Technology #BodyCulture #SelfPresentation

30 / 31 AUGUST The season folds into silence.
Two nights of sound, drifting between trees @artbiesenthal

30 / 31 AUGUST The season folds into silence.
Two nights of sound, drifting between trees @artbiesenthal

30 / 31 AUGUST The season folds into silence.
Two nights of sound, drifting between trees @artbiesenthal

Anne Imhof’s “Maria” (2002)

@anne_imhof @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction’, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

In this early self-portrait video, Imhof throws punches to the camera while Maria from West Side Story sings, “I feel pretty, so pretty, so witty, and gay”. Filmed on a camcorder with a fold-out screen, a new technology at the time of filming, Imhof was able to film the piece facing and boxing her own reflection.

Imhof has said it was the first time she was able to perform and see herself at the same time. Work previously presented for Imhof’s solo show at @kunsthausbregenz , “Wish you were gay” (2024).

Anne Imhof, born 1978 in Gießen, Germany, lives and works in Berlin and New York. Her recent major exhibitions @stedelijkmuseum (2022), @palaisdetokyo (2021), @tate (2019), the German Pavilion at the 57th International Art Exhibition – @labiennale (2017), @hamburger_bahnhof (2016), @kunsthallebasel (2016), and @momaps1 (2015).

Courtesy of Leonie Lang and Marc Müller.
Thank you for the generosity, trust, and years of friendship.

Thank you @spruethmagers @juliane_vine @sofamusatova

Don’t miss the Finissage weekend on August 30–31. To plan your visit, go to www.wehrmuehle.de

Photos: @chowieson

#AnneImhof #Maria #ContemporaryArt #SelfPortrait #PerformanceArt #BerlinArt #ArtExhibition #MajorExhibitions #BerlinArt #Wehrmuehle #ArtBiesenthal

Anne Imhof’s “Maria” (2002)

@anne_imhof @wehrmuehle

On view at Art Biesenthal 2025: Some Degree of Friction’, curated by Tjioe Meyer Hecken

@artbiesenthal @tjioe.hecken

In this early self-portrait video, Imhof throws punches to the camera while Maria from West Side Story sings, “I feel pretty, so pretty, so witty, and gay”. Filmed on a camcorder with a fold-out screen, a new technology at the time of filming, Imhof was able to film the piece facing and boxing her own reflection.

Imhof has said it was the first time she was able to perform and see herself at the same time. Work previously presented for Imhof’s solo show at @kunsthausbregenz , “Wish you were gay” (2024).

Anne Imhof, born 1978 in Gießen, Germany, lives and works in Berlin and New York. Her recent major exhibitions @stedelijkmuseum (2022), @palaisdetokyo (2021), @tate (2019), the German Pavilion at the 57th International Art Exhibition – @labiennale (2017), @hamburger_bahnhof (2016), @kunsthallebasel (2016), and @momaps1 (2015).

Courtesy of Leonie Lang and Marc Müller.
Thank you for the generosity, trust, and years of friendship.

Thank you @spruethmagers @juliane_vine @sofamusatova

Don’t miss the Finissage weekend on August 30–31. To plan your visit, go to www.wehrmuehle.de

Photos: @chowieson

#AnneImhof #Maria #ContemporaryArt #SelfPortrait #PerformanceArt #BerlinArt #ArtExhibition #MajorExhibitions #BerlinArt #Wehrmuehle #ArtBiesenthal

Menu’s for August 9 & 10 — day catering & dinner service

@artbiesenthal @wehrmuehle @anima.sgn

Tickets still available in the link in bio!
*Note: tickets for the day programme and our dinner are sold separately

Creative & art direction by @jessica.pichet
@yennhifromtheblock @veroniquebenoy
Graphic design by @_ngocci

Menu’s for August 9 & 10 — day catering & dinner service

@artbiesenthal @wehrmuehle @anima.sgn

Tickets still available in the link in bio!
*Note: tickets for the day programme and our dinner are sold separately

Creative & art direction by @jessica.pichet
@yennhifromtheblock @veroniquebenoy
Graphic design by @_ngocci

Menu’s for August 9 & 10 — day catering & dinner service

@artbiesenthal @wehrmuehle @anima.sgn

Tickets still available in the link in bio!
*Note: tickets for the day programme and our dinner are sold separately

Creative & art direction by @jessica.pichet
@yennhifromtheblock @veroniquebenoy
Graphic design by @_ngocci

Menu’s for August 9 & 10 — day catering & dinner service

@artbiesenthal @wehrmuehle @anima.sgn

Tickets still available in the link in bio!
*Note: tickets for the day programme and our dinner are sold separately

Creative & art direction by @jessica.pichet
@yennhifromtheblock @veroniquebenoy
Graphic design by @_ngocci

Menu’s for August 9 & 10 — day catering & dinner service

@artbiesenthal @wehrmuehle @anima.sgn

Tickets still available in the link in bio!
*Note: tickets for the day programme and our dinner are sold separately

Creative & art direction by @jessica.pichet
@yennhifromtheblock @veroniquebenoy
Graphic design by @_ngocci