Instagram Story Save

SAVE THE DATE: CANDICE BREITZ
‘Hot Potato’
01.05—27.06.2026

Gallery Weekend Berlin:
01—03.05.2026

KOW is pleased to announce ‘Hot Potato’, a solo exhibition by Candice Breitz, opening on 1 May. As calls to untether art from politics proliferate in Germany and beyond, ‘Hot Potato’ traces the historically fraught relationship between artists and the authorities that preside over them – by means of a series of appropriative homages.

For three days only, over Gallery Weekend, KOW’s storefront will serve as a vitrine for ‘Private Dancer,’ a live performance by Breitz.

Friday, MAY 01, 6 – 9 PM
Saturday, MAY 02, 11 AM – 6 PM
Sunday, MAY 03, 11 AM – 6 PM

We are looking forward to welcoming you!

___
Image:

Candice Breitz, ‘Code of Conduct (I Will Not Make Any More Political Art),’ courtesy of the artist and KOW, Berlin.


@kowberlin @candicebreitz

Never again means never again.

Never again means never again.

Never again means never again.

Never again means never again.

Never again means never again.

Never again means never again.

Never again means never again.

Never again means never again.

Never again means never again.

Never again means never again.

I can only concur with Naomi Klein, who postulates:

“At this rate, Germany is going to run out of Jewish intellectuals to ban.”

The loud silence of white Germany—[with the exception of a small handful of deeply appreciated individuals who dare to express their solidarity with those of us who are being publicly tarred and feathered (many of them students and/or folks who are precarious in the German ecosphere in one way or another)]—as progressive Jews get de-platformed, slandered and lambasted, can only be described as complicitous and deeply ominous.

A disproportionate number of the inconvenient Jews that are currently being defamed in the German public sphere and/or by German journalists and politicians (many of them carriers of Nazi ancestry), are female-identified and/or non-binary. To name but a few: Deborah Feldmann, Masha Gessen, Esther Bejarano, Susan Neiman, Eva Menasse, Emilia Roig, Udi Raz, Iris Hefets and myself. Many of us are mouthy feminists, which certainly doesn’t help to enamour us to the public at large. None of us are German by birth. We are inconvenient—in other words—far beyond our refusal of unconditional support for the right-wing government of Israel, as it continues its grotesque collective punishment of Gazan civilians.

Welcome to the Bad Jew Club, dear @mashagessen — as defined by a nation that has deep experience in sorting and pillorying Jews. As painful, stressful and anger-inducing as it may be to contend with German self-righteousness around Jewishness, German censure is fast translating into a badge-of-pride for progressive Jews. Nobody actively seeks censure. When it comes, however, it can bring with it narratives that have little to do with those being censured; everything to do with those wielding judgment.

It’s time for white Germany to stop displacing its guilt and historical responsibility onto leftist Jews, Palestinians, Muslims and/or Arabs, and Black and Brown people. It’s time for white Germany to wake up to the fact that it is fast slipping back into the very habits that it claims to have left behind. When does the book burning start?

Sick of the Germansplaining
Sick of the goysplaining

[Read on in slideshow]

I can only concur with Naomi Klein, who postulates:

“At this rate, Germany is going to run out of Jewish intellectuals to ban.”

The loud silence of white Germany—[with the exception of a small handful of deeply appreciated individuals who dare to express their solidarity with those of us who are being publicly tarred and feathered (many of them students and/or folks who are precarious in the German ecosphere in one way or another)]—as progressive Jews get de-platformed, slandered and lambasted, can only be described as complicitous and deeply ominous.

A disproportionate number of the inconvenient Jews that are currently being defamed in the German public sphere and/or by German journalists and politicians (many of them carriers of Nazi ancestry), are female-identified and/or non-binary. To name but a few: Deborah Feldmann, Masha Gessen, Esther Bejarano, Susan Neiman, Eva Menasse, Emilia Roig, Udi Raz, Iris Hefets and myself. Many of us are mouthy feminists, which certainly doesn’t help to enamour us to the public at large. None of us are German by birth. We are inconvenient—in other words—far beyond our refusal of unconditional support for the right-wing government of Israel, as it continues its grotesque collective punishment of Gazan civilians.

Welcome to the Bad Jew Club, dear @mashagessen — as defined by a nation that has deep experience in sorting and pillorying Jews. As painful, stressful and anger-inducing as it may be to contend with German self-righteousness around Jewishness, German censure is fast translating into a badge-of-pride for progressive Jews. Nobody actively seeks censure. When it comes, however, it can bring with it narratives that have little to do with those being censured; everything to do with those wielding judgment.

It’s time for white Germany to stop displacing its guilt and historical responsibility onto leftist Jews, Palestinians, Muslims and/or Arabs, and Black and Brown people. It’s time for white Germany to wake up to the fact that it is fast slipping back into the very habits that it claims to have left behind. When does the book burning start?

Sick of the Germansplaining
Sick of the goysplaining

[Read on in slideshow]

I can only concur with Naomi Klein, who postulates:

“At this rate, Germany is going to run out of Jewish intellectuals to ban.”

The loud silence of white Germany—[with the exception of a small handful of deeply appreciated individuals who dare to express their solidarity with those of us who are being publicly tarred and feathered (many of them students and/or folks who are precarious in the German ecosphere in one way or another)]—as progressive Jews get de-platformed, slandered and lambasted, can only be described as complicitous and deeply ominous.

A disproportionate number of the inconvenient Jews that are currently being defamed in the German public sphere and/or by German journalists and politicians (many of them carriers of Nazi ancestry), are female-identified and/or non-binary. To name but a few: Deborah Feldmann, Masha Gessen, Esther Bejarano, Susan Neiman, Eva Menasse, Emilia Roig, Udi Raz, Iris Hefets and myself. Many of us are mouthy feminists, which certainly doesn’t help to enamour us to the public at large. None of us are German by birth. We are inconvenient—in other words—far beyond our refusal of unconditional support for the right-wing government of Israel, as it continues its grotesque collective punishment of Gazan civilians.

Welcome to the Bad Jew Club, dear @mashagessen — as defined by a nation that has deep experience in sorting and pillorying Jews. As painful, stressful and anger-inducing as it may be to contend with German self-righteousness around Jewishness, German censure is fast translating into a badge-of-pride for progressive Jews. Nobody actively seeks censure. When it comes, however, it can bring with it narratives that have little to do with those being censured; everything to do with those wielding judgment.

It’s time for white Germany to stop displacing its guilt and historical responsibility onto leftist Jews, Palestinians, Muslims and/or Arabs, and Black and Brown people. It’s time for white Germany to wake up to the fact that it is fast slipping back into the very habits that it claims to have left behind. When does the book burning start?

Sick of the Germansplaining
Sick of the goysplaining

[Read on in slideshow]

I can only concur with Naomi Klein, who postulates:

“At this rate, Germany is going to run out of Jewish intellectuals to ban.”

The loud silence of white Germany—[with the exception of a small handful of deeply appreciated individuals who dare to express their solidarity with those of us who are being publicly tarred and feathered (many of them students and/or folks who are precarious in the German ecosphere in one way or another)]—as progressive Jews get de-platformed, slandered and lambasted, can only be described as complicitous and deeply ominous.

A disproportionate number of the inconvenient Jews that are currently being defamed in the German public sphere and/or by German journalists and politicians (many of them carriers of Nazi ancestry), are female-identified and/or non-binary. To name but a few: Deborah Feldmann, Masha Gessen, Esther Bejarano, Susan Neiman, Eva Menasse, Emilia Roig, Udi Raz, Iris Hefets and myself. Many of us are mouthy feminists, which certainly doesn’t help to enamour us to the public at large. None of us are German by birth. We are inconvenient—in other words—far beyond our refusal of unconditional support for the right-wing government of Israel, as it continues its grotesque collective punishment of Gazan civilians.

Welcome to the Bad Jew Club, dear @mashagessen — as defined by a nation that has deep experience in sorting and pillorying Jews. As painful, stressful and anger-inducing as it may be to contend with German self-righteousness around Jewishness, German censure is fast translating into a badge-of-pride for progressive Jews. Nobody actively seeks censure. When it comes, however, it can bring with it narratives that have little to do with those being censured; everything to do with those wielding judgment.

It’s time for white Germany to stop displacing its guilt and historical responsibility onto leftist Jews, Palestinians, Muslims and/or Arabs, and Black and Brown people. It’s time for white Germany to wake up to the fact that it is fast slipping back into the very habits that it claims to have left behind. When does the book burning start?

Sick of the Germansplaining
Sick of the goysplaining

[Read on in slideshow]

I can only concur with Naomi Klein, who postulates:

“At this rate, Germany is going to run out of Jewish intellectuals to ban.”

The loud silence of white Germany—[with the exception of a small handful of deeply appreciated individuals who dare to express their solidarity with those of us who are being publicly tarred and feathered (many of them students and/or folks who are precarious in the German ecosphere in one way or another)]—as progressive Jews get de-platformed, slandered and lambasted, can only be described as complicitous and deeply ominous.

A disproportionate number of the inconvenient Jews that are currently being defamed in the German public sphere and/or by German journalists and politicians (many of them carriers of Nazi ancestry), are female-identified and/or non-binary. To name but a few: Deborah Feldmann, Masha Gessen, Esther Bejarano, Susan Neiman, Eva Menasse, Emilia Roig, Udi Raz, Iris Hefets and myself. Many of us are mouthy feminists, which certainly doesn’t help to enamour us to the public at large. None of us are German by birth. We are inconvenient—in other words—far beyond our refusal of unconditional support for the right-wing government of Israel, as it continues its grotesque collective punishment of Gazan civilians.

Welcome to the Bad Jew Club, dear @mashagessen — as defined by a nation that has deep experience in sorting and pillorying Jews. As painful, stressful and anger-inducing as it may be to contend with German self-righteousness around Jewishness, German censure is fast translating into a badge-of-pride for progressive Jews. Nobody actively seeks censure. When it comes, however, it can bring with it narratives that have little to do with those being censured; everything to do with those wielding judgment.

It’s time for white Germany to stop displacing its guilt and historical responsibility onto leftist Jews, Palestinians, Muslims and/or Arabs, and Black and Brown people. It’s time for white Germany to wake up to the fact that it is fast slipping back into the very habits that it claims to have left behind. When does the book burning start?

Sick of the Germansplaining
Sick of the goysplaining

[Read on in slideshow]

KOW𝗧𝗔𝗟𝗞: CANDICE BREITZ IN CONVERSATION WITH JOANNA WARSZA
MAY 29, 6:30 PM

KOW is pleased to invite you to a conversation between @candicebreitz and @jowa_hkhk

On the occasion of Candice Breitz' current solo exhibition at KOW, 'HOT POTATO', the artist will exchange in dialogue with Joanna Warsza about her newest body of work presented in the gallery.

In the video series 'Dear Esther', Candice Breitz weaves exacting analysis of the political and cultural landscape of contemporary Germany with fever-dream imagery and anecdotal research, drawing an arc between fascisms of the past and fascization in the present. The first film in the series, 'Dear Esther (May 1943)', recalls a formative moment in Esther Bejarano’s early life, setting the tone for the ‘letters’ that follow. It is intended to be viewed along with the film that follows it in the series, 'Dear Esther (15 May 2020)'.

The video work 'Dear Esther' lasts 47 minutes. The gallery opens at 12 pm on Friday.

We kindly encourage you to join us to watch the film before the talk begins at 6:30 that day. Viewing the film after the talk will not be possible.

The conversation will be held in English.

Attendance is free.

_____

CANDICE BREITZ (born in Johannesburg, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally.

JOANNA WARSZA is Hamburg’s city curator (Stadtkuratorin Hamburg). ‘A Song for Esther,’ a concert that has been conceived by Candice Breitz in homage to the late musician and anti-fascist activist Esther Bejarano, was originally commissioned by Warsza within a series of ‘Counter Monuments’ for Hamburg.

A Song for Esther will run at HAU in Berlin for two consecutive nights on 6 JUNE and 7 June.

Tickets are available via https://www.hebbel-am-ufer.de/
_____
Images:

Candice Breitz, 'Dear Esther', 2025, video stills, commissioned by steirischer herbst 2025, courtesy of the artist and KOW, Berlin.

KOW𝗧𝗔𝗟𝗞: CANDICE BREITZ IN CONVERSATION WITH JOANNA WARSZA
MAY 29, 6:30 PM

KOW is pleased to invite you to a conversation between @candicebreitz and @jowa_hkhk

On the occasion of Candice Breitz' current solo exhibition at KOW, 'HOT POTATO', the artist will exchange in dialogue with Joanna Warsza about her newest body of work presented in the gallery.

In the video series 'Dear Esther', Candice Breitz weaves exacting analysis of the political and cultural landscape of contemporary Germany with fever-dream imagery and anecdotal research, drawing an arc between fascisms of the past and fascization in the present. The first film in the series, 'Dear Esther (May 1943)', recalls a formative moment in Esther Bejarano’s early life, setting the tone for the ‘letters’ that follow. It is intended to be viewed along with the film that follows it in the series, 'Dear Esther (15 May 2020)'.

The video work 'Dear Esther' lasts 47 minutes. The gallery opens at 12 pm on Friday.

We kindly encourage you to join us to watch the film before the talk begins at 6:30 that day. Viewing the film after the talk will not be possible.

The conversation will be held in English.

Attendance is free.

_____

CANDICE BREITZ (born in Johannesburg, 1972) is a Berlin-based artist. Her moving image installations have been shown internationally.

JOANNA WARSZA is Hamburg’s city curator (Stadtkuratorin Hamburg). ‘A Song for Esther,’ a concert that has been conceived by Candice Breitz in homage to the late musician and anti-fascist activist Esther Bejarano, was originally commissioned by Warsza within a series of ‘Counter Monuments’ for Hamburg.

A Song for Esther will run at HAU in Berlin for two consecutive nights on 6 JUNE and 7 June.

Tickets are available via https://www.hebbel-am-ufer.de/
_____
Images:

Candice Breitz, 'Dear Esther', 2025, video stills, commissioned by steirischer herbst 2025, courtesy of the artist and KOW, Berlin.

Join us tomorrow — Saturday, 23 May, 20h00 — for a screening of ‘Dear Esther’ at Schloss Lind. The evening has been planned in cooperation with steirischer herbst and Mauthausen Komitee Österreich.

After the screening, I’ll be in dialogue with Ekaterina Degot, who along with David Riff commissioned ‘Dear Esther’ (to be debuted in last year’s steirischer herbst).

Screening: ‘Dear Esther’
Location: Schloss Lind, Steiermark
When: Saturday, 23 May, 20h00

More Info:
https://schlosslind.at

During the Holocaust, Schloss Lind was used as a satellite of the Mauthausen concentration camp system. Today it is a memorial site and museum. I’m grateful for the opportunity to amplify Esther Bejarano’s legacy within a community that is dedicated to making lessons learned from the Holocaust resonant for the present—not only because horrors of the past should never be forgotten, but also because holding them in memory opens onto the collective obligation to recognise and protest new horrors as they emerge.

Esther Bejarano herself, who survived both Auschwitz and Ravensbrück, was a founding member of the Auschwitz-Komitee. She made it her life’s work to connect the dots between fascisms of the past and fascization in the present. In response to the persistent presence of the far right in Germany, she once famously said: “It’s insufficient to focus solely on the fact that Auschwitz was eventually liberated. We have to think about what comes after Auschwitz. Where are we now? And what can we do about it?”

On a more personal note, the steirischer herbst has played an incredibly meaningful role in my life as an artist. The first time I exhibited in Europe, it was at the steirischer herbst... in 1996. More recently, Ekaterina and David have been immensely valuable interlocutors, at a time when honest and open exchange could not have meant more. They were the first in the German-speaking context to commission me to make a new work in the wake of the stigmatisation that myself and so many others have faced for protesting the ongoing genocide in Palestine.

There will be a concert featuring the cellist Asja Valčić after the screening and talk.

@schlosslind
@steirischerherbst

Join us tomorrow — Saturday, 23 May, 20h00 — for a screening of ‘Dear Esther’ at Schloss Lind. The evening has been planned in cooperation with steirischer herbst and Mauthausen Komitee Österreich.

After the screening, I’ll be in dialogue with Ekaterina Degot, who along with David Riff commissioned ‘Dear Esther’ (to be debuted in last year’s steirischer herbst).

Screening: ‘Dear Esther’
Location: Schloss Lind, Steiermark
When: Saturday, 23 May, 20h00

More Info:
https://schlosslind.at

During the Holocaust, Schloss Lind was used as a satellite of the Mauthausen concentration camp system. Today it is a memorial site and museum. I’m grateful for the opportunity to amplify Esther Bejarano’s legacy within a community that is dedicated to making lessons learned from the Holocaust resonant for the present—not only because horrors of the past should never be forgotten, but also because holding them in memory opens onto the collective obligation to recognise and protest new horrors as they emerge.

Esther Bejarano herself, who survived both Auschwitz and Ravensbrück, was a founding member of the Auschwitz-Komitee. She made it her life’s work to connect the dots between fascisms of the past and fascization in the present. In response to the persistent presence of the far right in Germany, she once famously said: “It’s insufficient to focus solely on the fact that Auschwitz was eventually liberated. We have to think about what comes after Auschwitz. Where are we now? And what can we do about it?”

On a more personal note, the steirischer herbst has played an incredibly meaningful role in my life as an artist. The first time I exhibited in Europe, it was at the steirischer herbst... in 1996. More recently, Ekaterina and David have been immensely valuable interlocutors, at a time when honest and open exchange could not have meant more. They were the first in the German-speaking context to commission me to make a new work in the wake of the stigmatisation that myself and so many others have faced for protesting the ongoing genocide in Palestine.

There will be a concert featuring the cellist Asja Valčić after the screening and talk.

@schlosslind
@steirischerherbst

Join us tomorrow — Saturday, 23 May, 20h00 — for a screening of ‘Dear Esther’ at Schloss Lind. The evening has been planned in cooperation with steirischer herbst and Mauthausen Komitee Österreich.

After the screening, I’ll be in dialogue with Ekaterina Degot, who along with David Riff commissioned ‘Dear Esther’ (to be debuted in last year’s steirischer herbst).

Screening: ‘Dear Esther’
Location: Schloss Lind, Steiermark
When: Saturday, 23 May, 20h00

More Info:
https://schlosslind.at

During the Holocaust, Schloss Lind was used as a satellite of the Mauthausen concentration camp system. Today it is a memorial site and museum. I’m grateful for the opportunity to amplify Esther Bejarano’s legacy within a community that is dedicated to making lessons learned from the Holocaust resonant for the present—not only because horrors of the past should never be forgotten, but also because holding them in memory opens onto the collective obligation to recognise and protest new horrors as they emerge.

Esther Bejarano herself, who survived both Auschwitz and Ravensbrück, was a founding member of the Auschwitz-Komitee. She made it her life’s work to connect the dots between fascisms of the past and fascization in the present. In response to the persistent presence of the far right in Germany, she once famously said: “It’s insufficient to focus solely on the fact that Auschwitz was eventually liberated. We have to think about what comes after Auschwitz. Where are we now? And what can we do about it?”

On a more personal note, the steirischer herbst has played an incredibly meaningful role in my life as an artist. The first time I exhibited in Europe, it was at the steirischer herbst... in 1996. More recently, Ekaterina and David have been immensely valuable interlocutors, at a time when honest and open exchange could not have meant more. They were the first in the German-speaking context to commission me to make a new work in the wake of the stigmatisation that myself and so many others have faced for protesting the ongoing genocide in Palestine.

There will be a concert featuring the cellist Asja Valčić after the screening and talk.

@schlosslind
@steirischerherbst

Join us tomorrow — Saturday, 23 May, 20h00 — for a screening of ‘Dear Esther’ at Schloss Lind. The evening has been planned in cooperation with steirischer herbst and Mauthausen Komitee Österreich.

After the screening, I’ll be in dialogue with Ekaterina Degot, who along with David Riff commissioned ‘Dear Esther’ (to be debuted in last year’s steirischer herbst).

Screening: ‘Dear Esther’
Location: Schloss Lind, Steiermark
When: Saturday, 23 May, 20h00

More Info:
https://schlosslind.at

During the Holocaust, Schloss Lind was used as a satellite of the Mauthausen concentration camp system. Today it is a memorial site and museum. I’m grateful for the opportunity to amplify Esther Bejarano’s legacy within a community that is dedicated to making lessons learned from the Holocaust resonant for the present—not only because horrors of the past should never be forgotten, but also because holding them in memory opens onto the collective obligation to recognise and protest new horrors as they emerge.

Esther Bejarano herself, who survived both Auschwitz and Ravensbrück, was a founding member of the Auschwitz-Komitee. She made it her life’s work to connect the dots between fascisms of the past and fascization in the present. In response to the persistent presence of the far right in Germany, she once famously said: “It’s insufficient to focus solely on the fact that Auschwitz was eventually liberated. We have to think about what comes after Auschwitz. Where are we now? And what can we do about it?”

On a more personal note, the steirischer herbst has played an incredibly meaningful role in my life as an artist. The first time I exhibited in Europe, it was at the steirischer herbst... in 1996. More recently, Ekaterina and David have been immensely valuable interlocutors, at a time when honest and open exchange could not have meant more. They were the first in the German-speaking context to commission me to make a new work in the wake of the stigmatisation that myself and so many others have faced for protesting the ongoing genocide in Palestine.

There will be a concert featuring the cellist Asja Valčić after the screening and talk.

@schlosslind
@steirischerherbst

Join us tomorrow — Saturday, 23 May, 20h00 — for a screening of ‘Dear Esther’ at Schloss Lind. The evening has been planned in cooperation with steirischer herbst and Mauthausen Komitee Österreich.

After the screening, I’ll be in dialogue with Ekaterina Degot, who along with David Riff commissioned ‘Dear Esther’ (to be debuted in last year’s steirischer herbst).

Screening: ‘Dear Esther’
Location: Schloss Lind, Steiermark
When: Saturday, 23 May, 20h00

More Info:
https://schlosslind.at

During the Holocaust, Schloss Lind was used as a satellite of the Mauthausen concentration camp system. Today it is a memorial site and museum. I’m grateful for the opportunity to amplify Esther Bejarano’s legacy within a community that is dedicated to making lessons learned from the Holocaust resonant for the present—not only because horrors of the past should never be forgotten, but also because holding them in memory opens onto the collective obligation to recognise and protest new horrors as they emerge.

Esther Bejarano herself, who survived both Auschwitz and Ravensbrück, was a founding member of the Auschwitz-Komitee. She made it her life’s work to connect the dots between fascisms of the past and fascization in the present. In response to the persistent presence of the far right in Germany, she once famously said: “It’s insufficient to focus solely on the fact that Auschwitz was eventually liberated. We have to think about what comes after Auschwitz. Where are we now? And what can we do about it?”

On a more personal note, the steirischer herbst has played an incredibly meaningful role in my life as an artist. The first time I exhibited in Europe, it was at the steirischer herbst... in 1996. More recently, Ekaterina and David have been immensely valuable interlocutors, at a time when honest and open exchange could not have meant more. They were the first in the German-speaking context to commission me to make a new work in the wake of the stigmatisation that myself and so many others have faced for protesting the ongoing genocide in Palestine.

There will be a concert featuring the cellist Asja Valčić after the screening and talk.

@schlosslind
@steirischerherbst

Join us tomorrow — Saturday, 23 May, 20h00 — for a screening of ‘Dear Esther’ at Schloss Lind. The evening has been planned in cooperation with steirischer herbst and Mauthausen Komitee Österreich.

After the screening, I’ll be in dialogue with Ekaterina Degot, who along with David Riff commissioned ‘Dear Esther’ (to be debuted in last year’s steirischer herbst).

Screening: ‘Dear Esther’
Location: Schloss Lind, Steiermark
When: Saturday, 23 May, 20h00

More Info:
https://schlosslind.at

During the Holocaust, Schloss Lind was used as a satellite of the Mauthausen concentration camp system. Today it is a memorial site and museum. I’m grateful for the opportunity to amplify Esther Bejarano’s legacy within a community that is dedicated to making lessons learned from the Holocaust resonant for the present—not only because horrors of the past should never be forgotten, but also because holding them in memory opens onto the collective obligation to recognise and protest new horrors as they emerge.

Esther Bejarano herself, who survived both Auschwitz and Ravensbrück, was a founding member of the Auschwitz-Komitee. She made it her life’s work to connect the dots between fascisms of the past and fascization in the present. In response to the persistent presence of the far right in Germany, she once famously said: “It’s insufficient to focus solely on the fact that Auschwitz was eventually liberated. We have to think about what comes after Auschwitz. Where are we now? And what can we do about it?”

On a more personal note, the steirischer herbst has played an incredibly meaningful role in my life as an artist. The first time I exhibited in Europe, it was at the steirischer herbst... in 1996. More recently, Ekaterina and David have been immensely valuable interlocutors, at a time when honest and open exchange could not have meant more. They were the first in the German-speaking context to commission me to make a new work in the wake of the stigmatisation that myself and so many others have faced for protesting the ongoing genocide in Palestine.

There will be a concert featuring the cellist Asja Valčić after the screening and talk.

@schlosslind
@steirischerherbst

Join us tomorrow — Saturday, 23 May, 20h00 — for a screening of ‘Dear Esther’ at Schloss Lind. The evening has been planned in cooperation with steirischer herbst and Mauthausen Komitee Österreich.

After the screening, I’ll be in dialogue with Ekaterina Degot, who along with David Riff commissioned ‘Dear Esther’ (to be debuted in last year’s steirischer herbst).

Screening: ‘Dear Esther’
Location: Schloss Lind, Steiermark
When: Saturday, 23 May, 20h00

More Info:
https://schlosslind.at

During the Holocaust, Schloss Lind was used as a satellite of the Mauthausen concentration camp system. Today it is a memorial site and museum. I’m grateful for the opportunity to amplify Esther Bejarano’s legacy within a community that is dedicated to making lessons learned from the Holocaust resonant for the present—not only because horrors of the past should never be forgotten, but also because holding them in memory opens onto the collective obligation to recognise and protest new horrors as they emerge.

Esther Bejarano herself, who survived both Auschwitz and Ravensbrück, was a founding member of the Auschwitz-Komitee. She made it her life’s work to connect the dots between fascisms of the past and fascization in the present. In response to the persistent presence of the far right in Germany, she once famously said: “It’s insufficient to focus solely on the fact that Auschwitz was eventually liberated. We have to think about what comes after Auschwitz. Where are we now? And what can we do about it?”

On a more personal note, the steirischer herbst has played an incredibly meaningful role in my life as an artist. The first time I exhibited in Europe, it was at the steirischer herbst... in 1996. More recently, Ekaterina and David have been immensely valuable interlocutors, at a time when honest and open exchange could not have meant more. They were the first in the German-speaking context to commission me to make a new work in the wake of the stigmatisation that myself and so many others have faced for protesting the ongoing genocide in Palestine.

There will be a concert featuring the cellist Asja Valčić after the screening and talk.

@schlosslind
@steirischerherbst

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
The exhibition runs until 27 June
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
The exhibition runs until 27 June
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
The exhibition runs until 27 June
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
The exhibition runs until 27 June
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
The exhibition runs until 27 June
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
The exhibition runs until 27 June
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

What agency is available to artists and musicians in times of genocide and repression? A century after the birth of Holocaust survivor Esther Bejarano (1924-2021), this conceptual concert considers the enduring resonance of her legacy of defiance for the present moment.

‘A Song for Esther’ is an act of remembrance conceived to mark the absence of the tireless antifascist activist and musician, a transient monument in the shape of a concert. During the concert, I will share anecdotes drawn from the life and legacy of Esther. I will be joined on stage by an incredible line-up of musicians.

A tribute to Esther would not be complete without an extraordinary accordionist such as Dejan Jovanović, who will be on stage to complement the gorgeous voice of Oana Cǎtǎlina Chiţu (the two are pictured here). Expect additional musical contributions from Peaches, Lurje Judelman Schenyveys, Aeham Ahmad, Die Anstalt, Rasha Nahas, Lie Ning, Polly Ott, Sialan Quartet, Lili Sommerfeld, and — as our very special guests — Bejarano & Microphone Mafia, who played hundreds of concerts with Esther (the last one just a few weeks before her passing at the age of 96).

With fascism on the rise across the globe, ‘A Song for Esther’ offers a fugitive site for the expression of embodied resistance. Each of the featured musicians and bands has committed to performing a single song that is far removed from their usual repertoire during the concert. One doesn’t always get to choose one’s own instrument as an artist, or the song that one plays on it. There nevertheless remains potential – both political and creative – in the moment of performance.

+

Today only (20 May) – between 17h00 and 21h00 – you can buy half-price tickets online, for as long as they last:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin
+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸 Esra Gültekin

What agency is available to artists and musicians in times of genocide and repression? A century after the birth of Holocaust survivor Esther Bejarano (1924-2021), this conceptual concert considers the enduring resonance of her legacy of defiance for the present moment.

‘A Song for Esther’ is an act of remembrance conceived to mark the absence of the tireless antifascist activist and musician, a transient monument in the shape of a concert. During the concert, I will share anecdotes drawn from the life and legacy of Esther. I will be joined on stage by an incredible line-up of musicians.

A tribute to Esther would not be complete without an extraordinary accordionist such as Dejan Jovanović, who will be on stage to complement the gorgeous voice of Oana Cǎtǎlina Chiţu (the two are pictured here). Expect additional musical contributions from Peaches, Lurje Judelman Schenyveys, Aeham Ahmad, Die Anstalt, Rasha Nahas, Lie Ning, Polly Ott, Sialan Quartet, Lili Sommerfeld, and — as our very special guests — Bejarano & Microphone Mafia, who played hundreds of concerts with Esther (the last one just a few weeks before her passing at the age of 96).

With fascism on the rise across the globe, ‘A Song for Esther’ offers a fugitive site for the expression of embodied resistance. Each of the featured musicians and bands has committed to performing a single song that is far removed from their usual repertoire during the concert. One doesn’t always get to choose one’s own instrument as an artist, or the song that one plays on it. There nevertheless remains potential – both political and creative – in the moment of performance.

+

Today only (20 May) – between 17h00 and 21h00 – you can buy half-price tickets online, for as long as they last:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin
+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸 Esra Gültekin

Join us at the Kunstmuseum Bonn tonight for the opening of this exhibition, on which I’m happy to be showing my seven-channel installation, ‘Love Story’:

Exhibition: ‘Dimensions of Empathy’
Where: Kunstmuseum Bonn
Opening: 20 May, 19h00
Duration: 21.05.26 - 11.10.26

All are welcome at the opening
No pre-registration necessary!

‘Love Story’ will be on view alongside a compelling selection of works by Alfredo Jaar, Ulf Aminde, Renate Bertlmann, Candice Breitz, Philipp Gufler, Hans Hemmert, Franco & Eva Mattes, Boris Mikhail, Evamaria Schaller and several others.

Thank you so much to the curator of the exhibition @barbarajscheuermann — as well as her team, who have gone to extraordinary lengths to install ‘Love Story’ beautifully. Huge gratitude, as always, to my second husband Ben Geiselhart and to @fabo__rgpro , for consistently empowering my work.

Seen Here:

Julianne Moore and Shabeena Saveri
Stills from ‘Love Story,’ 2016
Seven-channel installation

#kunstmuseumbonn

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

I’m not expecting too much attention from the German press for my current exhibition, HOT POTATO (on view at @kowberlin until 27 June)…

Very few journalists in this country are willing to give visibility to work that challenges the political dogma that has been steadily eroding freedom of expression and freedom of political opinion in this country.

Uppity Jews like myself remain a distinct problem for most German journalists, a significant number of whom can’t imagine a heterogeneity of Jewish opinion when it comes to discourse around the ongoing genocide in Palestine, a genocide in which Germany has been grotesquely complicit. HOT POTATO addresses the current climate explicitly, making it something of, well, a hot potato…

I’d be happy to be proven wrong, of course — but for the time being, I’m grateful for the critical feedback so far received via word of mouth, as well as from several publications based in London and New York, including this thoughtful opinion piece that Carolin Kralapp has just published in the context of @hot_coffee_conversations

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

On view until 27 June

See @kowberlin for opening hours and other details…

+++

Check out:

www.hot-coffee-conversations.com

@hot_coffee_conversations
@caromilon
@nina__chkareuli

Candice Breitz’ Videoserie „Dear Esther“ – in Auftrag gegeben und produziert von steirischer herbst ’25 – wird diese Woche im Schloss Lind gezeigt, gefolgt von einem Gespräch mit der Künstlerin und einem Konzert der Cellistin Asja Valčić.

In den Videos spürt Candice Breitz dem Vermächtnis der Holocaustüberlebenden Esther Bejarano (1924–2021) nach und fragt, was Widerstand heute bedeutet.

23.5., 20:00
Schloss Lind
In Kooperation mit steirischer herbst und Mauthausen Komitee Österreich

Details unter https://schlosslind.at

//

Candice Breitz's video series “Dear Esther”—commissioned and produced by steirischer herbst ’25—is screened at Schloss Lind this week, followed by a talk with the artist and a concert by cellist Asja Valčić.

In her work, Candice Breitz traces Holocaust survivor Esther Bejarano’s (1924–2021) legacy of defiance, reflecting on what it means today.

23.5., 20:00
Schloss Lind
In cooperation with steirischer herbst and Mauthausen Komitee Österreich

Details at https://schlosslind.at

(1) Führung mit Candice Breitz, Foto: steirischer herbst / Mathias Völzke | (2) Candice Breitz, „Dear Esther“ (2025), Installationsansicht, mit freundlicher Genehmigung der Künstlerin, Foto: steirischer herbst / Henrik Bergstedt

Candice Breitz’ Videoserie „Dear Esther“ – in Auftrag gegeben und produziert von steirischer herbst ’25 – wird diese Woche im Schloss Lind gezeigt, gefolgt von einem Gespräch mit der Künstlerin und einem Konzert der Cellistin Asja Valčić.

In den Videos spürt Candice Breitz dem Vermächtnis der Holocaustüberlebenden Esther Bejarano (1924–2021) nach und fragt, was Widerstand heute bedeutet.

23.5., 20:00
Schloss Lind
In Kooperation mit steirischer herbst und Mauthausen Komitee Österreich

Details unter https://schlosslind.at

//

Candice Breitz's video series “Dear Esther”—commissioned and produced by steirischer herbst ’25—is screened at Schloss Lind this week, followed by a talk with the artist and a concert by cellist Asja Valčić.

In her work, Candice Breitz traces Holocaust survivor Esther Bejarano’s (1924–2021) legacy of defiance, reflecting on what it means today.

23.5., 20:00
Schloss Lind
In cooperation with steirischer herbst and Mauthausen Komitee Österreich

Details at https://schlosslind.at

(1) Führung mit Candice Breitz, Foto: steirischer herbst / Mathias Völzke | (2) Candice Breitz, „Dear Esther“ (2025), Installationsansicht, mit freundlicher Genehmigung der Künstlerin, Foto: steirischer herbst / Henrik Bergstedt

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

This series of five ‘Appropriated Posters’ is currently on sale in the context of my exhibition at KOW in Berlin (€10 per poster):

All income generated through poster sales will be donated to Medico International’s campaign “Nothilfe für Palästina” / “Emergency Funding for Palestine”, which raises aid in support of communities facing devastation in Gaza and the West Bank.

Each poster costs: €10,00
The set of five posters costs: €40,00
All posters measure 594 x 841mm

If you can’t settle on one, buy them all. How often do you get the opportunity to purchase the work of seven artists in the form of five posters for a total amount of €40?

WHERE TO GET YOUR POSTERS:

Pick up your posters directly at @kowberlin
Scroll down for more info.

+++

ABOUT THE POSTERS:

In order of appearance in the slides:

BOYCOTT GERMAN GOODS
‘Appropriated Poster (After Christoph Schlingensief),’ 1999-2026

MERZ LECK EIER
‘Appropriated Poster (After an anonymous teenage protestor),’ 2026

DIE TRENDFARBE BRAUN
‘Appropriated Poster (After Sereina Steinemann),’ 2026

BERLIN IS A TRAP
‘Appropriated Poster (After Nick Cocozza),’ 2026

GENOCIDE IS OVER!
‘Appropriated Poster (After John Lennon + Yoko Ono),’ 1969-2026

+++

Candice Breitz
HOT POTATO

KOW
Frobenstr. 1
10783 Berlin

See @kowberlin for opening hours and other details…

Photos: Ladislav Zajac

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker

Hopefully, those who can afford to, have already bought their tickets for ‘A Song for Esther’ at full price. Those of us who have the resources, need to be supporting our precious cultural institutions — especially at a time when they are experiencing drastic funding cuts.

That said, students and others who are needing to keep a closer eye on what they spend, might want to take advantage of this opportunity to access more affordable tickets for the concert (which takes place over two consecutive nights on 6 June and 7 June):

On the 20 May only — between 17h00 and 21h00 — tickets for ‘A Song for Esther’ will be available for half-price via the website of HAU (and all offline ticket boxes), while stocks last. This promotion cannot be combined with any other reductions or discounts.

To find out more, see the second slide in this post and find the ticket sale on HAU’s website at:

https://www.hebbel-am-ufer.de/en/service/contact-box-office

+

Candice Breitz
A SONG FOR ESTHER

HAU, Berlin:

6 June, 19h30
7 June, 19h30

English, with German Surtitles

Tickets now available at:

www.hebbel-am-ufer.de
@hauberlin

+

Originally commissioned by @stadtkuratorin_hh in co-production with @kampnagel_hamburg with the generous support of @sabinebrunckhorst and others who choose to remain anonymous.

📸: Esra Gültekin, Jetmir Idrizi, Louis Boeker