KW Institute for Contemporary Art
Since 2009
Works in Berlin Germany

KW Institute for Contemporary Art in Berlin is a place for the production and presentation of discourse oriented contemporary art.

KW has no collection of its own but instead views itself as a laboratory for communicating and advancing contemporary cultural developments in Germany and abroad by means of exhibitions, workshops and resident artists' studios, as well as by collaborating with artists or other institutions and by commissioning works.

In 1996 KW launched the berlin biennial for contemporary art, taking place for the sixth time in 2010.
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KW69 #7 Kalin Lindena: Vielleicht steht es wirklich auf der Wand, dachte ich, sagte sie

Thu Sep 22, 2011 12:00 - Thu Oct 13, 2011

Berlin, Germany

Hanna Brandes, Michaela Eichwald, Agathe Fleury, Hella Gerlach, Daniel Müller-Friedrichsen, Martin Neumaier, Nina Rhode
With KW69 #7 our series of exhibitions KW69 ends.


Seeing is believing

Sun Sep 11, 2011 12:00 - Sun Nov 13, 2011

Berlin, Germany

Adel Abdessemed, Abbas Akhavan, Kenneth Anger, Nadim
Asfar, Taysir Batniji, Adam Broomberg und Oliver Chanarin, Paul Chan,
Zeyad Dajani, Anita Di Bianco, Joana Hadjithomas und Khalil Joreige,
Khaled Hourani, Iman Issa, Alfredo Jaar, Nedim Kufi, Iñigo
Manglano-Ovalle, Gianni Motti, Adrian Paci, Walid Sadek, Taryn Simon,
Sean Snyder, Hito Steyerl, Akram Zaatari
Images of
terrorist attacks can be seen live, and within seconds they are
dispatched via media portals throughout the world. In the UN Security
Council a tapestry with the Guernica motif is veiled, and soon after a
satellite photo is presented as a central argument to justify the war.
Images of an execution are broadcast live to the White House, though no
photos are leaked to the public.
Images spread instantaneously
and appear to be the only evidence required to render an event credible
and immediate. Seeing is believing, and yet images still manage to
overwhelm our imagination, our belief in reality. The realization that
images are not merely the objects of a non-media reality but instead
create their own realities has become an integral part of the ability to
read contemporary images. The visual immediacy of political events, the
politicization of images and their uncontrollable speed of circulation
have led to intense reflection in contemporary art on the power and
status of the image.
With the generous support by the Capital Cultural Fund, Berlin.


KW69 #3 Cold Society by Judith Hopf

Thu Jan 20, 2011 00:00 - Thu Jan 13, 2011

Morally speaking, the “cold society” is not a good or a bad society. It can run like clockwork, because it ritually confirms the familiar and remains true to it. So the question is not “what real results the cold societies achieve”, but “what permanent intention directs them; because the image they have of themselves are an essential part of their reality.” (Claude Lévi-Strauss, The Savage Mind)


KW69 #2 cactus craze by Jean-Michel Wicker

Thu Dec 09, 2010 00:00 - Tue Dec 07, 2010

Artist: Judith Hopf
With works by: Emanuel Rossetti, Simon Popper, Sara MacKillop, Janice Kerbel, Karl Holmqvist / Ei Arakawa

The exhibition series KW69—situated in the front building KW Institute for Contemporary Art—provides a space for dialogue for artists, a kind of experimental stage that for one year will be the home to a number of artistic projects in quick succession. Moving on from one project to the next, the participants will shift roles, as the artists exhibiting then invite the next project. This dynamic interplay will enable unconventional points of reference, continuous shifts in perspective, and uses of the exhibition space that refer to and build on one another.



Sun Nov 28, 2010 00:00 - Wed Nov 10, 2010

28.11.2010 - 20.02.2011
Opening: 27.11.2010, 5 - 10 pm

Absalon engages himself with spaces in systematic and successive ways. By taking questions around essential human activities and basic forms such as the rectangular, the square, the triangle and the circle as his starting points, he begins by emtpying out the encountered spaces before restructuring and refilling them with the help of simple forms. These test assemblies, further developed later on by means of objects, drawings, photographs and films, come to a full circle in Absalon’s Cellules: individualized, ascetic living units for contemplation based on the measurements of the artist’s own body. Reduced to a vocabulary of strictly geometrical forms these pieces convey a sense of absolute abstraction, yet without alluding to utopian ideas. Instead, they open up heterotopic spaces, which Absalon had planned to publicly position in six large cities in order to confront his physical existence with the corpus of society: “They are not meant to posit any solutions in terms of isolation. They have been made for living the social.” (Absalon)

KW Institute for Contemporary Art in Berlin is presenting the first comprehensive solo exhibition by the Israeli artist Absalon. Absalon, born in Ashod (Israel) in 1964, died at the age of 28 in Paris in 1993. In only a few years he created an oeuvre of extraordinary complexity and coherence which—even if forever unfinished—yet never remains fragmentary.