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Kunst Raum Mitte beschäftigt sich mit künstlerischen Praktiken, die Bezüge zur Geschichte des Ortes herstellen. Im Mittelpunkt des zukünftigen Programms stehen performative und transdisziplinäre Ansätze. Mit ihnen wird das Archiv der galerie weisser elefant sowohl aufgebaut als auch verschieden betrachtet und belebt.

Kunst Raum Mitte is dedicated to artistic practices that evoke the history of its locale. The upcoming program will prioritize performative and transdisciplinary approaches, aiming to establish, enrich and reinterpret the archive of galerie weisser elefant in various ways.

Design: @formundkonzept

@agnieszka_muriel__
@natalie.keppler
@kommunale_galerien_berlin
@ba_mitte_berlin
@kulturmitte

#kunstraummitte #kulturmitte#nataliekeppler #agnieszkaroguski

Die höchste Dichte an Galerien und Kunstinstitutionen in Berlin ist im Bezirk Mitte zu finden, inmitten davon befindet sich der kommunale Ausstellungsort in der Auguststraße 21. 1987 wurde sie als galerie weisser elefant nicht weit entfernt in der Almstadtstraße des damaligen Ost-Berlins eröffnet – wo sie für subversive Praktiken stand, die den damaligen Kunstbegriff herausforderten. Mit Kunst Raum Mitte gibt der Fachbereich Kunst, Kultur und Geschichte des Bezirksamts Mitte der galerie weisser elefant nun einen neuen Namen.

The Mitte district has the highest density of galleries and art institutions in Berlin, and right in the middle of it all is the municipal exhibition space at Auguststraße 21. It was opened in 1987 as galerie weisser elefant not far away in Almstadtstraße in what was then East Berlin – and soon after gained a reputation for subversive practices that questioned the concept of art at the time. The Art, Culture and History Department of the Mitte District Office has now given galerie weisser elefant a new name.

Design: @formundkonzept

@agnieszka_muriel__
@natalie.keppler
@kommunale_galerien_berlin
@ba_mitte_berlin
@kulturmitte

#kunstraummitte #kulturmitte#nataliekeppler #agnieszkaroguski

Die Umbenennung der galerie weisser elefant zu Kunst Raum Mitte gründet auf dem Gedanken, die kommunale Galerie als offenen und sozialen Raum zu verstehen. Die galerie weisser elefant ist Teil dieses Raumes – als historisches Kapitel, das sowohl das Gebäude als auch die unmittelbare Umgebung in Mitte geprägt hat.

The renaming of galerie weisser elefant to Kunst Raum Mitte is based on the idea of understanding the municipal gallery as an open and social space. The galerie weisser elefant is part of this space – as a historical chapter that has shaped both the building and its immediate surroundings in the Mitte district.

Design: @formundkonzept

@agnieszka_muriel__
@natalie.keppler
@kommunale_galerien_berlin
@ba_mitte_berlin
@kulturmitte

#kunstraummitte #kulturmitte#nataliekeppler #agnieszkaroguski

💌Message from Study Operator @mooniperry:

This study began from my film EL, shot in Shenyang and Changchun, former territories of Manchukuo in northeast China. The research initially followed the story of Joseon Akgeukdan, a theatrical troupe active during the Japanese colonial period in the 1930s and 1940s, but gradually expanded into unexpected alleyways and histories.

During field research, I wandered through the ruins of former comfort stations, listening to fragmented stories from elderly women nearby and middle-aged women working at local lottery shops. I also gathered materials from a secondhand bookstore selling old Japanese books inside an underground flea market arcade, while researching at the former Library of the Hsinking Branch of the South Manchuria Railway Company in Changchun. These scattered fragments eventually became a fictional video. And I thought to myself: I will return to this place again. I will dig deeper into it, will study harder.

This study follows the duration of my solo exhibition at @kunstraummitte (23.05 – 04.10.2026). We will begin with close readings of Korean-language materials alongside screenings of films, documentaries, and moving-image works related to the history of comfort women with English subtitles. Over time, the study will gradually expand toward Japanese, Chinese, and English materials.

Unlike some previous AFSAR studies that allowed participants to move in and out freely, I hope this can become a more committed form of collective learning.

The ending of this study remains open. But perhaps the most important thing is simply to begin.

Field research note: https://mailchi.mp/d3a1a2972746/twmp-letter-2

📚𝐌𝐚𝐢𝐧 𝐒𝐭𝐮𝐝𝐲 𝐌𝐚𝐭𝐞𝐫𝐢𝐚𝐥: To be decided weekly

★𝐖𝐡𝐞𝐫𝐞 𝐭𝐨 𝐌𝐞𝐞𝐭: Kunst Raum Mitte, Berlin (on site), later continuing on Discord

★𝐇𝐨𝐰 𝐎𝐟𝐭𝐞𝐧, 𝐖𝐡𝐞𝐧: Once every week, start day will be decided depending on members’ schedules.

★𝐂𝐥𝐮𝐛 𝐎𝐩𝐞𝐫𝐚𝐭𝐨𝐫: Mooni Perry

📷: Field research image taken in Changchun, northeast China, Still image of EL

Please DM Mooni Perry to register.

💌Message from Study Operator @mooniperry:

This study began from my film EL, shot in Shenyang and Changchun, former territories of Manchukuo in northeast China. The research initially followed the story of Joseon Akgeukdan, a theatrical troupe active during the Japanese colonial period in the 1930s and 1940s, but gradually expanded into unexpected alleyways and histories.

During field research, I wandered through the ruins of former comfort stations, listening to fragmented stories from elderly women nearby and middle-aged women working at local lottery shops. I also gathered materials from a secondhand bookstore selling old Japanese books inside an underground flea market arcade, while researching at the former Library of the Hsinking Branch of the South Manchuria Railway Company in Changchun. These scattered fragments eventually became a fictional video. And I thought to myself: I will return to this place again. I will dig deeper into it, will study harder.

This study follows the duration of my solo exhibition at @kunstraummitte (23.05 – 04.10.2026). We will begin with close readings of Korean-language materials alongside screenings of films, documentaries, and moving-image works related to the history of comfort women with English subtitles. Over time, the study will gradually expand toward Japanese, Chinese, and English materials.

Unlike some previous AFSAR studies that allowed participants to move in and out freely, I hope this can become a more committed form of collective learning.

The ending of this study remains open. But perhaps the most important thing is simply to begin.

Field research note: https://mailchi.mp/d3a1a2972746/twmp-letter-2

📚𝐌𝐚𝐢𝐧 𝐒𝐭𝐮𝐝𝐲 𝐌𝐚𝐭𝐞𝐫𝐢𝐚𝐥: To be decided weekly

★𝐖𝐡𝐞𝐫𝐞 𝐭𝐨 𝐌𝐞𝐞𝐭: Kunst Raum Mitte, Berlin (on site), later continuing on Discord

★𝐇𝐨𝐰 𝐎𝐟𝐭𝐞𝐧, 𝐖𝐡𝐞𝐧: Once every week, start day will be decided depending on members’ schedules.

★𝐂𝐥𝐮𝐛 𝐎𝐩𝐞𝐫𝐚𝐭𝐨𝐫: Mooni Perry

📷: Field research image taken in Changchun, northeast China, Still image of EL

Please DM Mooni Perry to register.

DISSOLUTIONS Sequence II

On 22 May 2026, join us at Kunst Raum Mitte as we open the second sequence of our annual program DISSOLUTIONS with a solo exhibition by @mooniperry. For the first time in Europe, Perry’s video installation EL (2025) will be presented . Combining cinematic staging, music and historic materials, the exhibition traces historical entanglements between Korea, Northeast China and Japanese colonial rule through dreamlike encounters and shifting temporalities. Centered around the former Yamato Hotel in Shenyang, the video reflects on migration, displacement and the lingering traces of violence embedded within places and their histories – while AFSAR @afsar_asianfeministstudio uses the exhibition space for their collaborative research practice.

DISSOLUTIONS explores processes of dissolving and reformulating historical, political and spatial narratives. In resonance with the program, Mooni Perry’s practice engages with speculative fiction, feminist readings of history, collective research and the afterlives of memory across East Asian contexts.

The exhibition is accompanied by a series of events expanding on these themes through screenings, conversations, collective reading and performance.

DISSOLUTIONS—Mooni Perry
23.05. – 04.10.2026
OPENING: 22.05.2026, 6 PM

EVENTS
26.06.2026 – 28.06.2026 Screening: Montika Kham-on @montikakhamon, Hanwen Zhang @han_wen_zhang

26.06.2026
5 PM – Reading Group Haunted Potentials (registration required)
7 PM – Screening: Montika Kham-on, Hanwen Zhang
8 PM – Talk: Montika Kham-on, AFSAR / Mooni Perry, Hanwen Zhang

02.07.2026, 6 PM
Performance by Luzie Meyer

17.07.2026, 5 PM
Reading Group Haunted Potentials (egistration required)

24.07.2026, 6 PM
Exhibition tour with Mooni Perry & Agnieszka Roguski, curator of the exhibition

Curator of the exhibition: @agnieszka_muriel__
Curators of DISSOLUTIONS: @natalie.keppler & @agnieszka_muriel__ (Artistic Co-Directors KRM)

Flyer: Sibel Beyer @sibel_ooo
Images 1 & 2: Mooni Perry, EL, 2025, Videostill. Courtesy of Mooni Perry.

@kulturmitte @kommunalegalerienberlin #DISSOLUTIONS

DISSOLUTIONS Sequence II

On 22 May 2026, join us at Kunst Raum Mitte as we open the second sequence of our annual program DISSOLUTIONS with a solo exhibition by @mooniperry. For the first time in Europe, Perry’s video installation EL (2025) will be presented . Combining cinematic staging, music and historic materials, the exhibition traces historical entanglements between Korea, Northeast China and Japanese colonial rule through dreamlike encounters and shifting temporalities. Centered around the former Yamato Hotel in Shenyang, the video reflects on migration, displacement and the lingering traces of violence embedded within places and their histories – while AFSAR @afsar_asianfeministstudio uses the exhibition space for their collaborative research practice.

DISSOLUTIONS explores processes of dissolving and reformulating historical, political and spatial narratives. In resonance with the program, Mooni Perry’s practice engages with speculative fiction, feminist readings of history, collective research and the afterlives of memory across East Asian contexts.

The exhibition is accompanied by a series of events expanding on these themes through screenings, conversations, collective reading and performance.

DISSOLUTIONS—Mooni Perry
23.05. – 04.10.2026
OPENING: 22.05.2026, 6 PM

EVENTS
26.06.2026 – 28.06.2026 Screening: Montika Kham-on @montikakhamon, Hanwen Zhang @han_wen_zhang

26.06.2026
5 PM – Reading Group Haunted Potentials (registration required)
7 PM – Screening: Montika Kham-on, Hanwen Zhang
8 PM – Talk: Montika Kham-on, AFSAR / Mooni Perry, Hanwen Zhang

02.07.2026, 6 PM
Performance by Luzie Meyer

17.07.2026, 5 PM
Reading Group Haunted Potentials (egistration required)

24.07.2026, 6 PM
Exhibition tour with Mooni Perry & Agnieszka Roguski, curator of the exhibition

Curator of the exhibition: @agnieszka_muriel__
Curators of DISSOLUTIONS: @natalie.keppler & @agnieszka_muriel__ (Artistic Co-Directors KRM)

Flyer: Sibel Beyer @sibel_ooo
Images 1 & 2: Mooni Perry, EL, 2025, Videostill. Courtesy of Mooni Perry.

@kulturmitte @kommunalegalerienberlin #DISSOLUTIONS

DISSOLUTIONS Sequence II

On 22 May 2026, join us at Kunst Raum Mitte as we open the second sequence of our annual program DISSOLUTIONS with a solo exhibition by @mooniperry. For the first time in Europe, Perry’s video installation EL (2025) will be presented . Combining cinematic staging, music and historic materials, the exhibition traces historical entanglements between Korea, Northeast China and Japanese colonial rule through dreamlike encounters and shifting temporalities. Centered around the former Yamato Hotel in Shenyang, the video reflects on migration, displacement and the lingering traces of violence embedded within places and their histories – while AFSAR @afsar_asianfeministstudio uses the exhibition space for their collaborative research practice.

DISSOLUTIONS explores processes of dissolving and reformulating historical, political and spatial narratives. In resonance with the program, Mooni Perry’s practice engages with speculative fiction, feminist readings of history, collective research and the afterlives of memory across East Asian contexts.

The exhibition is accompanied by a series of events expanding on these themes through screenings, conversations, collective reading and performance.

DISSOLUTIONS—Mooni Perry
23.05. – 04.10.2026
OPENING: 22.05.2026, 6 PM

EVENTS
26.06.2026 – 28.06.2026 Screening: Montika Kham-on @montikakhamon, Hanwen Zhang @han_wen_zhang

26.06.2026
5 PM – Reading Group Haunted Potentials (registration required)
7 PM – Screening: Montika Kham-on, Hanwen Zhang
8 PM – Talk: Montika Kham-on, AFSAR / Mooni Perry, Hanwen Zhang

02.07.2026, 6 PM
Performance by Luzie Meyer

17.07.2026, 5 PM
Reading Group Haunted Potentials (egistration required)

24.07.2026, 6 PM
Exhibition tour with Mooni Perry & Agnieszka Roguski, curator of the exhibition

Curator of the exhibition: @agnieszka_muriel__
Curators of DISSOLUTIONS: @natalie.keppler & @agnieszka_muriel__ (Artistic Co-Directors KRM)

Flyer: Sibel Beyer @sibel_ooo
Images 1 & 2: Mooni Perry, EL, 2025, Videostill. Courtesy of Mooni Perry.

@kulturmitte @kommunalegalerienberlin #DISSOLUTIONS

Ab Mai laden die SUNDAY ART MAKERS (SAM) im Kunst Raum Mitte zum kostenlosen Workshop „Reassembled Künstler*innenbuch“ mit Daniela Herig @daniela.herig ein ✂️📄

Vergängliche Blätter – Poster, Zettel, Verpackungen vergangener Ausstellungen – werden neu belebt. Durch Schneiden, Falten und Schichten entstehen Bücher, die keine Bücher mehr sind, sondern skulpturale Formen aus Erinnerung und Verwandlung. Jede Spur des Alten fließt in neue Gestalten, jede Seite trägt eine andere Geschichte. Ein Raum des Spiels und der Möglichkeiten, in dem Bücher wie Organismen wachsen – frei, experimentell und offen für alle, die aus Resten neue Welten spinnen wollen. Der Upcycling-Workshop führt zugleich in grundlegende Techniken des Buchbindens ein.

Der Workshop ist Teil von SAM, dem Kreativsonntag der Kommunalen Galerien Berlin-Mitte, mit kostenlosen Drop-in-Angeboten auch im @baerenzwinger.berlin, in der @klosterruine.berlin und in der @galeriewedding.

Termine: 3.5. · 7.6. · 5.7. · 2.8. · 6.9. · 4.10. · 6.12.
Jeweils von 14-17 Uhr
Ohne Anmeldung – einfach vorbeikommen und mitmachen
Für Kinder ab 5 Jahren, Jugendliche und Erwachsene

Workshop-Anleitungen können auch auf Englisch und Portugiesisch gegeben werden.

Fotos © Daniela Herig

#kulturmitte #kommunalegalerienberlin

Ab Mai laden die SUNDAY ART MAKERS (SAM) im Kunst Raum Mitte zum kostenlosen Workshop „Reassembled Künstler*innenbuch“ mit Daniela Herig @daniela.herig ein ✂️📄

Vergängliche Blätter – Poster, Zettel, Verpackungen vergangener Ausstellungen – werden neu belebt. Durch Schneiden, Falten und Schichten entstehen Bücher, die keine Bücher mehr sind, sondern skulpturale Formen aus Erinnerung und Verwandlung. Jede Spur des Alten fließt in neue Gestalten, jede Seite trägt eine andere Geschichte. Ein Raum des Spiels und der Möglichkeiten, in dem Bücher wie Organismen wachsen – frei, experimentell und offen für alle, die aus Resten neue Welten spinnen wollen. Der Upcycling-Workshop führt zugleich in grundlegende Techniken des Buchbindens ein.

Der Workshop ist Teil von SAM, dem Kreativsonntag der Kommunalen Galerien Berlin-Mitte, mit kostenlosen Drop-in-Angeboten auch im @baerenzwinger.berlin, in der @klosterruine.berlin und in der @galeriewedding.

Termine: 3.5. · 7.6. · 5.7. · 2.8. · 6.9. · 4.10. · 6.12.
Jeweils von 14-17 Uhr
Ohne Anmeldung – einfach vorbeikommen und mitmachen
Für Kinder ab 5 Jahren, Jugendliche und Erwachsene

Workshop-Anleitungen können auch auf Englisch und Portugiesisch gegeben werden.

Fotos © Daniela Herig

#kulturmitte #kommunalegalerienberlin

Join us for a special musical evening! Do Not Go Gentle Into That Good Night, a film by Catherina Cramer @cramercatherina and Sabine Bremer @sabinebremer_music, is currently in its final stages of production. On 10 April, you will have the chance to experience its soundtrack in advance, played live within the setting of Catherina Cramer’s installation at Kunst Raum Mitte.

For the concert, Bremer transforms her studio setup into a set of instruments. Moving between classical violin, playful jazz and electronic sound, she creates collage-like compositions in which broken rhythms, psychedelic patterns, and percussive elements collide and intertwine, forming a direct and unpredictable sonic landscape.

Before the concert, join Catherina Cramer and co-curator Agnieszka Roguski (@agnieszka_muriel__) for a guided tour of the exhibition and the opportunity to explore the works together.

10.04.2026
6 PM: Exhibition tour
7 PM: Concert

DISSOLUTIONS—Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon—Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

Photo: Catherina Cramer / Sabine Bremer

@kulturmitte @kommunale_galerien_berlin#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler

Sounds from the past!

Together with Cashmere Radio @cashmere_radio we listen to the past and recall the live sonic performance by Yara Mekawei and Cashmere Radio DJ Nils Fock, which took place during the Autumn School "Stadt als Beute Revisited" in November 2025 at Kunst Raum Mitte @kunstraummitte, Kunsthaus KuLe @kuleberlin , and the surrounding Berlin Mitte area.

Tune in with us as we revisit Nils Fock and Yara Mekawei‘s live performances:

March 27 + April 3
19:00Nils Fock
20:40 Yara Mekawei
🎧 via www.cashmereradio.com
📻 and DAB+ 7D Berlin / 12D Brandenburg

Yara Mekawei @yaramekawei is a Sonic Sculptor and Sound Artist exploring the intersection of sound, architecture, and urban landscapes. Her work transforms the rhythm of cities into immersive auditory experiences, where sonic narratives merge with visual form.

Nils Fock @nils_fock is a former staff member at Hard Wax and was active in Cashmere Radio with radio shows such as Ziese and Scholien. As a DJ, they focus on ambient, early electronic, experimental, and industrial music.

The Autumn School took place within the 2025 program DISLOCATIONS, which was conceived by Natalie Keppler @natalie.keppler and Agnieszka Roguski @agnieszka_muriel__
Artistic Directors of Kunst Raum Mitte

Photos: Piotr Pietrus @piotr.pietrus

@kulturmitte@kommunale_galerien_berlin

Sounds from the past!

Together with Cashmere Radio @cashmere_radio we listen to the past and recall the live sonic performance by Yara Mekawei and Cashmere Radio DJ Nils Fock, which took place during the Autumn School "Stadt als Beute Revisited" in November 2025 at Kunst Raum Mitte @kunstraummitte, Kunsthaus KuLe @kuleberlin , and the surrounding Berlin Mitte area.

Tune in with us as we revisit Nils Fock and Yara Mekawei‘s live performances:

March 27 + April 3
19:00Nils Fock
20:40 Yara Mekawei
🎧 via www.cashmereradio.com
📻 and DAB+ 7D Berlin / 12D Brandenburg

Yara Mekawei @yaramekawei is a Sonic Sculptor and Sound Artist exploring the intersection of sound, architecture, and urban landscapes. Her work transforms the rhythm of cities into immersive auditory experiences, where sonic narratives merge with visual form.

Nils Fock @nils_fock is a former staff member at Hard Wax and was active in Cashmere Radio with radio shows such as Ziese and Scholien. As a DJ, they focus on ambient, early electronic, experimental, and industrial music.

The Autumn School took place within the 2025 program DISLOCATIONS, which was conceived by Natalie Keppler @natalie.keppler and Agnieszka Roguski @agnieszka_muriel__
Artistic Directors of Kunst Raum Mitte

Photos: Piotr Pietrus @piotr.pietrus

@kulturmitte@kommunale_galerien_berlin

Take a seat on the oversized — sleeping or collapsed? — teddy bear at the center of Catherina Cramer’s installation at Kunst Raum Mitte and join the artist @cramercatherina together with co-curator Agnieszka Roguski @agnieszka_muriel__ for a guided tour of our current duo exhibition DISSOLUTIONS—Johannes Büttner, Catherina Cramer.

The tour offers deeper insights into the artworks and an opportunity to hear directly from one of the artists and co-curator about the ideas, processes and contexts shaping the exhibition.

DATE: 10.4.2026, 6 PM

Afterwards, stay on for a concert at 7 PM based on the soundtrack of "Do Not Go Gentle Into That Good Night", a film by Catherina Cramer and Sabine Bremer @sabinebremer_music. More info coming soon.

DISSOLUTIONS—Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon—Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

@kulturmitte @kommunale_galerien_berlin#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler

Johannes Büttner and Catherina Cramer at Kunst Raum Mitte, Berlin
“DISSOLUTIONS”
Curated by Agnieszka Roguski, Natalie Keppler
February 6 – May 10, 2026
Photos: ©Jannis Uffrecht, courtesy of the artists and Kunst Raum Mitte, Berlin
@kunstraummitte @_johannesbuettner @cramercatherina @agnieszka_muriel__ @natalie.keppler

Johannes Büttner and Catherina Cramer at Kunst Raum Mitte, Berlin
“DISSOLUTIONS”
Curated by Agnieszka Roguski, Natalie Keppler
February 6 – May 10, 2026
Photos: ©Jannis Uffrecht, courtesy of the artists and Kunst Raum Mitte, Berlin
@kunstraummitte @_johannesbuettner @cramercatherina @agnieszka_muriel__ @natalie.keppler

Johannes Büttner and Catherina Cramer at Kunst Raum Mitte, Berlin
“DISSOLUTIONS”
Curated by Agnieszka Roguski, Natalie Keppler
February 6 – May 10, 2026
Photos: ©Jannis Uffrecht, courtesy of the artists and Kunst Raum Mitte, Berlin
@kunstraummitte @_johannesbuettner @cramercatherina @agnieszka_muriel__ @natalie.keppler

Johannes Büttner and Catherina Cramer at Kunst Raum Mitte, Berlin
“DISSOLUTIONS”
Curated by Agnieszka Roguski, Natalie Keppler
February 6 – May 10, 2026
Photos: ©Jannis Uffrecht, courtesy of the artists and Kunst Raum Mitte, Berlin
@kunstraummitte @_johannesbuettner @cramercatherina @agnieszka_muriel__ @natalie.keppler

Johannes Büttner and Catherina Cramer at Kunst Raum Mitte, Berlin
“DISSOLUTIONS”
Curated by Agnieszka Roguski, Natalie Keppler
February 6 – May 10, 2026
Photos: ©Jannis Uffrecht, courtesy of the artists and Kunst Raum Mitte, Berlin
@kunstraummitte @_johannesbuettner @cramercatherina @agnieszka_muriel__ @natalie.keppler

Johannes Büttner and Catherina Cramer at Kunst Raum Mitte, Berlin
“DISSOLUTIONS”
Curated by Agnieszka Roguski, Natalie Keppler
February 6 – May 10, 2026
Photos: ©Jannis Uffrecht, courtesy of the artists and Kunst Raum Mitte, Berlin
@kunstraummitte @_johannesbuettner @cramercatherina @agnieszka_muriel__ @natalie.keppler

In her work Indexical, Catherina Cramer does not explore medical norms, but rather the narratives to which they are subject. Her almost criminological approach is based on set pieces from various found objects, text fragments, and materials, and unfolds as a search for clues rather than a linear narrative. Migraine and chronic fatigue syndrome form the culmination point: Cramer shows how these conditions are categorized as diseases and how they measure the performance of bodies. To illustrate the dimensions of this body politics, Cramer emphasizes the fictions and stories that supposedly claim control. These are thwarted by the visible seams and tears that—scratched and glued—reveal the inscriptions of illness on bodies. Tangible fantasies that seemingly cannot or do not want to fill the installation appear here as a gigantic, perhaps sleeping, perhaps collapsed teddy bear on which visitors can sit to view the wall-based works. These fantasies tell of something shiny and new that, precisely in their fragmentary nature, form a coherent whole. Illness is thus transformed from an individual deficiency into a social fact, in which deviations are integrated just as much as vulnerabilities and humor. The exhausted body, it can be concluded, is not a personal deficit, but instead reveals its possibilities for care in a dark yet luminous way—resisting the neoliberal imperative of omnipresent performance and the binary division into healthy or sick forms of existence.

Indexical is on view at Kunst Raum Mitte until 10 May 2026.

Join co-curator Agnieszka Roguski @agnieszka_muriel__ on an exhibition tour for a chance to get in-depth insight into the works by Catherina Cramer and Johannes Büttner.

DATE: 10.4.2026, 6 PM

DISSOLUTIONS, Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon—Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

Photos: @jannisuffrecht

@kulturmitte @kommunale_galerien_berlin
#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler

In her work Indexical, Catherina Cramer does not explore medical norms, but rather the narratives to which they are subject. Her almost criminological approach is based on set pieces from various found objects, text fragments, and materials, and unfolds as a search for clues rather than a linear narrative. Migraine and chronic fatigue syndrome form the culmination point: Cramer shows how these conditions are categorized as diseases and how they measure the performance of bodies. To illustrate the dimensions of this body politics, Cramer emphasizes the fictions and stories that supposedly claim control. These are thwarted by the visible seams and tears that—scratched and glued—reveal the inscriptions of illness on bodies. Tangible fantasies that seemingly cannot or do not want to fill the installation appear here as a gigantic, perhaps sleeping, perhaps collapsed teddy bear on which visitors can sit to view the wall-based works. These fantasies tell of something shiny and new that, precisely in their fragmentary nature, form a coherent whole. Illness is thus transformed from an individual deficiency into a social fact, in which deviations are integrated just as much as vulnerabilities and humor. The exhausted body, it can be concluded, is not a personal deficit, but instead reveals its possibilities for care in a dark yet luminous way—resisting the neoliberal imperative of omnipresent performance and the binary division into healthy or sick forms of existence.

Indexical is on view at Kunst Raum Mitte until 10 May 2026.

Join co-curator Agnieszka Roguski @agnieszka_muriel__ on an exhibition tour for a chance to get in-depth insight into the works by Catherina Cramer and Johannes Büttner.

DATE: 10.4.2026, 6 PM

DISSOLUTIONS, Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon—Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

Photos: @jannisuffrecht

@kulturmitte @kommunale_galerien_berlin
#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler

In her work Indexical, Catherina Cramer does not explore medical norms, but rather the narratives to which they are subject. Her almost criminological approach is based on set pieces from various found objects, text fragments, and materials, and unfolds as a search for clues rather than a linear narrative. Migraine and chronic fatigue syndrome form the culmination point: Cramer shows how these conditions are categorized as diseases and how they measure the performance of bodies. To illustrate the dimensions of this body politics, Cramer emphasizes the fictions and stories that supposedly claim control. These are thwarted by the visible seams and tears that—scratched and glued—reveal the inscriptions of illness on bodies. Tangible fantasies that seemingly cannot or do not want to fill the installation appear here as a gigantic, perhaps sleeping, perhaps collapsed teddy bear on which visitors can sit to view the wall-based works. These fantasies tell of something shiny and new that, precisely in their fragmentary nature, form a coherent whole. Illness is thus transformed from an individual deficiency into a social fact, in which deviations are integrated just as much as vulnerabilities and humor. The exhausted body, it can be concluded, is not a personal deficit, but instead reveals its possibilities for care in a dark yet luminous way—resisting the neoliberal imperative of omnipresent performance and the binary division into healthy or sick forms of existence.

Indexical is on view at Kunst Raum Mitte until 10 May 2026.

Join co-curator Agnieszka Roguski @agnieszka_muriel__ on an exhibition tour for a chance to get in-depth insight into the works by Catherina Cramer and Johannes Büttner.

DATE: 10.4.2026, 6 PM

DISSOLUTIONS, Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon—Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

Photos: @jannisuffrecht

@kulturmitte @kommunale_galerien_berlin
#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler

In her work Indexical, Catherina Cramer does not explore medical norms, but rather the narratives to which they are subject. Her almost criminological approach is based on set pieces from various found objects, text fragments, and materials, and unfolds as a search for clues rather than a linear narrative. Migraine and chronic fatigue syndrome form the culmination point: Cramer shows how these conditions are categorized as diseases and how they measure the performance of bodies. To illustrate the dimensions of this body politics, Cramer emphasizes the fictions and stories that supposedly claim control. These are thwarted by the visible seams and tears that—scratched and glued—reveal the inscriptions of illness on bodies. Tangible fantasies that seemingly cannot or do not want to fill the installation appear here as a gigantic, perhaps sleeping, perhaps collapsed teddy bear on which visitors can sit to view the wall-based works. These fantasies tell of something shiny and new that, precisely in their fragmentary nature, form a coherent whole. Illness is thus transformed from an individual deficiency into a social fact, in which deviations are integrated just as much as vulnerabilities and humor. The exhausted body, it can be concluded, is not a personal deficit, but instead reveals its possibilities for care in a dark yet luminous way—resisting the neoliberal imperative of omnipresent performance and the binary division into healthy or sick forms of existence.

Indexical is on view at Kunst Raum Mitte until 10 May 2026.

Join co-curator Agnieszka Roguski @agnieszka_muriel__ on an exhibition tour for a chance to get in-depth insight into the works by Catherina Cramer and Johannes Büttner.

DATE: 10.4.2026, 6 PM

DISSOLUTIONS, Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon—Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

Photos: @jannisuffrecht

@kulturmitte @kommunale_galerien_berlin
#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler

Buzzing microwaves pile up in Kunst Raum Mitte to form a city of apparatuses, accelerating the time between progress and decay. In the video work L’ État, c’est moi (Engl.: “The state is me”), Johannes Büttner @_johannesbuettner explores the founding of the anarcho-capitalist pseudo-state of the so- called “Free Republic of Liberland,” which exists both geographically—on a piece of no man’s land between Serbia and Croatia—and digitally in the metaverse. The stark contrast between a futuristic luxury world designed by the architectural studio Zaha Hadid and a swampy forest area becomes increasingly apparent in the video.

Büttner's second work in the exhibition, How to get through, revisits the 1995 analog cyber attack by the group Keine Verbindung e.V., which disrupted Frankfurt Airport’s information network in protest against racist deportation policies , specifically the “deportation zones” at the airport. Afterwards, a video by the group circulated under the title How to get through, serving as both a manifesto and a guide to the attack. Büttner brings this story from subcultural memory into the present and reveals how, almost thirty years later, these practices are once again enforced through policies of isolation and deportation, as part of the normalization of racist violence. By focusing on so-called special administrative zones—also in connection with L’ État c'est moi—How to get through makes the arbitrariness of state action and national sovereignty particularly clear.

Join Johannes Büttner and co-curator Natalie Keppler @natalie.keppler in our upcoming guided exhibition tour for a chance to explore the works together:
27.02.2026, 6 PM

DISSOLUTIONS—Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon — Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

Photos: @jannisuffrecht
Slides 1-3: Johannes Büttner, L' État, c' est moi, 2025/26.
Slide 4: Johannes Büttner, How to get through, 1995/25.

@kulturmitte @kommunale_galerien_berlin
#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler

Buzzing microwaves pile up in Kunst Raum Mitte to form a city of apparatuses, accelerating the time between progress and decay. In the video work L’ État, c’est moi (Engl.: “The state is me”), Johannes Büttner @_johannesbuettner explores the founding of the anarcho-capitalist pseudo-state of the so- called “Free Republic of Liberland,” which exists both geographically—on a piece of no man’s land between Serbia and Croatia—and digitally in the metaverse. The stark contrast between a futuristic luxury world designed by the architectural studio Zaha Hadid and a swampy forest area becomes increasingly apparent in the video.

Büttner's second work in the exhibition, How to get through, revisits the 1995 analog cyber attack by the group Keine Verbindung e.V., which disrupted Frankfurt Airport’s information network in protest against racist deportation policies , specifically the “deportation zones” at the airport. Afterwards, a video by the group circulated under the title How to get through, serving as both a manifesto and a guide to the attack. Büttner brings this story from subcultural memory into the present and reveals how, almost thirty years later, these practices are once again enforced through policies of isolation and deportation, as part of the normalization of racist violence. By focusing on so-called special administrative zones—also in connection with L’ État c'est moi—How to get through makes the arbitrariness of state action and national sovereignty particularly clear.

Join Johannes Büttner and co-curator Natalie Keppler @natalie.keppler in our upcoming guided exhibition tour for a chance to explore the works together:
27.02.2026, 6 PM

DISSOLUTIONS—Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon — Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

Photos: @jannisuffrecht
Slides 1-3: Johannes Büttner, L' État, c' est moi, 2025/26.
Slide 4: Johannes Büttner, How to get through, 1995/25.

@kulturmitte @kommunale_galerien_berlin
#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler

Buzzing microwaves pile up in Kunst Raum Mitte to form a city of apparatuses, accelerating the time between progress and decay. In the video work L’ État, c’est moi (Engl.: “The state is me”), Johannes Büttner @_johannesbuettner explores the founding of the anarcho-capitalist pseudo-state of the so- called “Free Republic of Liberland,” which exists both geographically—on a piece of no man’s land between Serbia and Croatia—and digitally in the metaverse. The stark contrast between a futuristic luxury world designed by the architectural studio Zaha Hadid and a swampy forest area becomes increasingly apparent in the video.

Büttner's second work in the exhibition, How to get through, revisits the 1995 analog cyber attack by the group Keine Verbindung e.V., which disrupted Frankfurt Airport’s information network in protest against racist deportation policies , specifically the “deportation zones” at the airport. Afterwards, a video by the group circulated under the title How to get through, serving as both a manifesto and a guide to the attack. Büttner brings this story from subcultural memory into the present and reveals how, almost thirty years later, these practices are once again enforced through policies of isolation and deportation, as part of the normalization of racist violence. By focusing on so-called special administrative zones—also in connection with L’ État c'est moi—How to get through makes the arbitrariness of state action and national sovereignty particularly clear.

Join Johannes Büttner and co-curator Natalie Keppler @natalie.keppler in our upcoming guided exhibition tour for a chance to explore the works together:
27.02.2026, 6 PM

DISSOLUTIONS—Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon — Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

Photos: @jannisuffrecht
Slides 1-3: Johannes Büttner, L' État, c' est moi, 2025/26.
Slide 4: Johannes Büttner, How to get through, 1995/25.

@kulturmitte @kommunale_galerien_berlin
#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler

Buzzing microwaves pile up in Kunst Raum Mitte to form a city of apparatuses, accelerating the time between progress and decay. In the video work L’ État, c’est moi (Engl.: “The state is me”), Johannes Büttner @_johannesbuettner explores the founding of the anarcho-capitalist pseudo-state of the so- called “Free Republic of Liberland,” which exists both geographically—on a piece of no man’s land between Serbia and Croatia—and digitally in the metaverse. The stark contrast between a futuristic luxury world designed by the architectural studio Zaha Hadid and a swampy forest area becomes increasingly apparent in the video.

Büttner's second work in the exhibition, How to get through, revisits the 1995 analog cyber attack by the group Keine Verbindung e.V., which disrupted Frankfurt Airport’s information network in protest against racist deportation policies , specifically the “deportation zones” at the airport. Afterwards, a video by the group circulated under the title How to get through, serving as both a manifesto and a guide to the attack. Büttner brings this story from subcultural memory into the present and reveals how, almost thirty years later, these practices are once again enforced through policies of isolation and deportation, as part of the normalization of racist violence. By focusing on so-called special administrative zones—also in connection with L’ État c'est moi—How to get through makes the arbitrariness of state action and national sovereignty particularly clear.

Join Johannes Büttner and co-curator Natalie Keppler @natalie.keppler in our upcoming guided exhibition tour for a chance to explore the works together:
27.02.2026, 6 PM

DISSOLUTIONS—Johannes Büttner, Catherina Cramer
On view until 10 May 2026
Opening hours:
Mon — Sun, 10 AM — 6 PM

DISSOLUTIONS is curated by Natalie Keppler & Agnieszka Roguski (Artistic Directors KRM).
@natalie.keppler @agnieszka_muriel__

Photos: @jannisuffrecht
Slides 1-3: Johannes Büttner, L' État, c' est moi, 2025/26.
Slide 4: Johannes Büttner, How to get through, 1995/25.

@kulturmitte @kommunale_galerien_berlin
#dissolutions #kunstraummitte #agnieszkaroguski #nataliekeppler