Boris Abel, Deniz Alt, Jakob Argauer, Emilliano Baiocchi, Lisa Ballmann, Gleb Bas, Olaf Bastigkeit, Hannah Becher, Thomas Behling, Niklas Binzberger, Roland Boden, Pedro Boese, Sascha Boldt, Gunnar Borbe, Elisa Jule Braun, Katja Brinkmann, Joanna Buchowska, Johannes Bünemann, Astrid Busch, Michele Caliari, Diego Castro, Sabatino Cersosimo, Chun-Tzu Chang, Ben Cottrell, Herbert De Colle, COUNCIL OF MANY (Alexine Chanel & Mickaël Faure), Till Cremer, DAG, Chiara Dazi, Leo de Munk, Flavio Degen, Mathias Deutsch, Bruno Di Lecce, Frank Diersch, Nataly Dietz, Maurice Doherty, Grigori Dor, Matthias Dornfeld, Thomas Draschan, Ernst F. Drewes, Cécile Dupaquier, Stefan Heinrich Ebner, Tatiana Echeverri Fernandez, Knut Eckstein, fårce RAIK, Wolfgang Flad, Frederik Foert, Sven-Ole Frahm, Daniela Fromberg, Roland Fuhrmann, Frauke Funkhauser, Veronika Gabel, Paul Gallagher, Anne Gathmann, Clemens Geißler, April Gertler, Paris Giachoustidis, Monika Goetz, Kerstin Gottschalk, Julija Goyd, Jürgen Grewe, Mariola Groener, Harriet Groß, Berenice Güttler, Andreas Hachulla, Ann-Kristin Hamm, Michael Hazell, Andreas Helfer, Christian Hellmich, Christian Henkel, Thomas Henriksson, Forster Herchenbach, Matthias Hesselbacher, Hanna Hildebrand, Birgit Hölmer, Alekos Hofstetter, Stephan Homann, Sonja Hornung, Irène Hug, Franziska Hünig, Patrick Jambon, Maarten Janssen, Heehyun Jeong, Thomas Jocher, Elena Karakitsou, Heiko Karn, Stephanie Keitz, Stephanie Kloss, Silke Koch, Sebastian Körbs, Erika Krause, Matthias Krause Hamrin, Pantea Lachin, Patricia Lambertus, Davide Lantermoz, Oliver Lanz, Laurie Georgopoulos, Daniela Lehmann Carrasco, Ronny Lischinski, Sabine Linse, Ingeborg Lockemann & Elke Mohr, Adrian Lohmüller, Christine Lohr, Antonia Low, Mahony, Ioannis Malegianniakis, Angela Mathis, Rei Matsushima, Matthias Mayer, David Möller, Thomas Monses, Valère Mougeot, Paula Muhr, Timo Nasseri, Mascha Naumova, Enrico Niemann, Fernando Niño-Sánchez, Irina Novarese, Lorcan O'Byrne, Felix Oehmann, Claudia Olendrowicz, Olivia Ines Orsolini, Jurgen Ostarhild, Lydia Paasche, Kirsten Palz, Manfred Peckl, Matteo Peterlini, Pfelder, Katja Pudor, Nika Radić & Georg Spehr, Pedro Reis de Mendonca, Øyvind Renberg, Benjamin Renter, Marie Rief, Yvonne Roeb, Römer + Römer, Stefan Roigk, Annette Ruenzler, Daniel Sambo-Richter, Michel Santos, Özlem Sarıyıldız, Christina Sarli, Damien Sayer, Felicia Scheuerecker, Maik Schierloh, Christoph Schieder, Sandra Schlipköter, Oliver Schmidt, Michael Schultze, Richard Schütz, Eva Schwab, Olivia W. Seiling, Semra Sevin, Chiemi Shimada, Soji Shimizu, Liudmila Siewerski, Heidi Sill, Johanna Smiatek, Erik Smith, Sean Smuda, Elisabeth Sonneck, Frederic Spreckelmeyer, Charlie Stein, Gabriele Stellbaum, Tommy Støckel, Moritz Stumm, Katharina Sucker, Miriam Tölke, Emanuele Torti, Marcus Trägner, Petra Trenkel, Chryssa Tsampazi, Jens Ullrich, Kata Unger, V Stylianidou aka Franck-Lee Alli-Tis, James Verhille, Claudia Virginia Vitari, Anke Völk, Andrea van Reimersdahl, Wolf von Kries, Stefanie von Schroeter, Yvonne Wahl, Christine Weber, Linda Weiss, Tilman Wendland, Claudio Wichert, Daniel Wiesenfeld, Barbara Wille, Markus Willeke, Anne Wodtcke, Ina Wudtke, Bora Yediel, Vittorio Zambardi, Simone Zaugg, Ella Ziegler, Michaela Zimmer, Elmar Zimmermann, Christof Zwiener, Oliver Zwink
Group exhibition initiated and realized by Maik Schierloh and Matthias Mayer
Anyone who has moved to Berlin in the last decades has played a part in the development of this city. While for some it conveyed an atmosphere of departure (or "dependency") in an alternative and avant-garde sense, for others it was merely a projection surface for profane economic interests pushed by global market events. There was never a vision for all. Politicians merely tried to pick the pearls out of many alternative ideas. For example, the nightlife and the precarious life of artists were included in the marketing of Berlin.
This blind vision is now reflected in a location. An unrenovated former industrially used hall and other rooms formerly used as offices, which were made available by an investor to the artists' community "Treptow-Ateliers" along with their cheaply rented temporary studios as a temporary playground. The community itself opened the space for third-party projects. The rawness of the historic site, the desire and spontaneity of the alternative users inevitably lead back to the aura of Berlin in the 1980s and 1990s. And of course Berlin still works that way.
But the atmosphere is deceptive, the awakening already sits in the neck, like a drug that slowly loses its effect. Because it all ends, and without romanticism. The artists soon have to go back to their nomadic way. Only that they are not nomadic, but originally displaced from their cherished place of work. Their journey is already unique, because they stick together in solidarity in their seemingly hopeless situation. What could become, what could be? Why is it a blind vision?