For some time now, tense conditions have shaped our everyday lives. Whether its curfews, violence or the search for one’s own identity, we are constantly in the process of readjusting and getting our bearings. Artists respond to the vulnerability and confusion that lies in control, racial discrimination and exclusion. The uncertainty and instability that we experience every day is represented in their work.

The new collection presentation will show contemporary artworks from Scharpff-Striebich’s private art collection confronted with twentieth-century works from the Staatsgalerie’s own collection. These works highlight the complex and contradictory nature of our society.



Die in Berlin lebende Malerin Tina Braegger hat sich – in ironisch selbsterklärter Zwangsneurose – dem Wappentier der Band Grateful Dead verschrieben, einem Bären, der 1973 auf einem Cover der Platte „Bear’s Choice“ auftauchte und daraufhin ein popkulturelles Eigenleben

entwickelte: als kultige Handelsware von Fans der Rockband bis hin zu Braeggers großen und riesigen Formaten, die in fröhlicher Manier malerische Stile und Gesten inszeniert, kopiert, sampelt. Wieder und wieder malt Braegger seit Jahren jenen Bär. So bereichert sie die Allgegenwart standardisierter Symbole um eine Malerei mit einer Prise Glitzerstaub auf Leinwand. Zudem ist Braegger auch literarisch tätig.

1985 in Luzern geboren, wurden Tina Braegger jüngst Einzelausstellungen in der Galerie Société, Berlin, und der Meredith Rosen Gallery, New York, gewidmet. 2019 nahm sie an der Weiertal-Biennale in Winterthur und

2018 an der Gruppenschau Neuer Norden Zürich teil.

Die Münster Lectures 2021 finden als Zoom-Konferenzen statt.

Meeting-ID: 643 3086 1073
Kenncode: 884112



Under the title Hope, Trisha Baga illuminated the Fridericianum on November 3, 2020, with a film produced especially for the occasion. In the following short interview, the artist, born in Venice, Florida, in 1985 and now living in New York, talks about her project Hope and gives an insight into her working process. The work is a reflection on the state of our world and, more specifically, a commentary on the U.S. presidential election that took place on the same date.

Armchair Traveler: From Venice to Berlin

New York-based artist Trisha Baga is known for her innovative video, performance, and ceramic work that gleans the margins of the digital and the logic of online browsing to create dreamy, layered narratives in physical space. Her third solo at Société will be her first exhibition focused primarily on painting. The paintings will be presented in conversation with her new film 1620, which provided the inspiration and imagery for several works in the exhibition. According to Baga, the film is “an impressionistic science fiction, which reframes Plymouth Rock as a source of narrative stem cells in the hands of genetic scientists studying deep-seated flaws in The American Drama.” Read more on

334 SPRING 2021, LETTER FROM THE CITY 2, February 2021 by Kaspar Müller

It is 3:17 am as I start writing this column. I went to bed early, maybe a little after 10 pm. We were all in bed early: our daughter, with a flashlight-like projector (a late Christmas present), beamed images from space onto the ceiling and told us stories. Her younger brother fell asleep at some point, and so did my wife, and finally all of us. The delayed present, which also included a silky, flowered pajama, arrived as a big, wrapped package directly from Harrods London courtesy of her godfather. We didn’t see him in person, just like I haven’t seen my parents for Christmas, or any other relatives apart from our own small family. The generous gesture of an unnecessarily expensive and fancy package, perhaps an act of kind resistance, had a somewhat tragic note: the nicely wrapped gift in its trademark corporate green appeared like a ghostly ruin of a different time. Us, we didn’t even get around to sending him a present. Besides, it’s unclear where he is currently. Supposedly he’s in a mountain hut on the Swiss-Italian border. Read more on

GALLERY WEEKEND BERLIN 2021 by Alexandra Germer & Colin Lang

There is maybe no one better and more hilarious than Jeanette Mundt at subjecting the image world to the logic of the painted support. At Société, her gymnasts twist into impossible motion, highlighting the temporally static character of paintings, unable to move in time (thank the lord!). On surfaces of red, white, and blue, which cite Kenneth Noland’s chevrons and targets, is a kind of parody that can only be called American. Because Mundt’s range is as technically wide as her subject matter. Four other works take leave from the stars and stripes palette, populated by dark figures, posed like those of Adam and Eve cast out of Eden, who trudge through yellows, oranges, and blacks, smeared like one of Richter’s abstract squeegee paintings. All of this serves as a very good way to hide Mundt’s technical prowess, which like Oehlen down the road, is harder to pull off than one thinks.

Daata is delighted to announce the launch of its first tokenized artworks as NFTs

Artworks by Petra Cortright, Jeremy Couillard and Keiken will be minted on Foundation on 10  May  2021, and open to bidding on 12  May  2021;  joining a roster of leading artists previously commissioned by Daata including Eva Papamargariti, Takeshi Murata, Rachel Rossin, Jon Rafman, Yung Jake, and FlucT who have all sold works through Foundation.

Daata fully supports Ethereum’s move to Proof of Stake and in the meantime will offset double the estimated carbon emitted by our own blockchain activity via Offsetra.

The three artworks have been co-commissioned by Daata and Art Fair Philippines, and will be streamed on from May 5, 2021.


It is 3:17 am as I start writing this column. I went to bed early, maybe a little after 10 pm. We were all in bed early: our daughter, with a flashlight-like projector (a late Christmas present), beamed images from space onto the ceiling and told us stories. Read more in Flash Art.

Interview with Petra Cortright

When asked to comment on her first NFT drop, Cortright said “I was born to make NFTs”. Her statement captures an important truth: for digital-native artists, NFTs simply provide a new format for their work. The artist has welcomed the increasing acceptance of the digital workflow and creating an NFT felt like an extension of her practice. She explains: “My workflow is almost set up as an NFT anyway”. Read the full interview on Superrare.

Schau durch die Scheibe

So zum Beispiel bei Société in der Wielandstraße, wo bis Ende Januar die amerikanische Künstlerin Bunny Rogers ihre Ausstellung „MS Agony“ zeigt – in Räumen, die sich nahezu komplett durch das Schaufenster erfassen lassen. Read more on Der Tagesspiegel.

Radikale Aneignung

Gleich drei Varianten von Appropriation Art werden derzeit ausgestellt, angefangen bei der postmodernen Ikonoklastin schlechthin, Elaine Sturtevant. Read more on taz.

5 Art Accounts to Follow on Instagram Now

Radical, historical and hysterical, her Instagram is a universe of technical images, like the wild, grotesque “Uterus Man” (2013) or the delirious “Lu Yang Delusional Mandala” (2015), featuring the artist as a post-gender humanoid who seems to achieve mortality through digital means. Where her installations are enveloping and exhilarating, her Instagram feed offers snippets of her manic and visionary work. Read now on The New York Times.

Sturtevant – Appreciating the appropriation applicably

Sturtevant (1924–2014) is an American artist whose iconic series Warhol Flowers (1970) is in full bloom at the gallery Société in Berlin. The small and dainty, variously colorful silkscreen works-on-canvas hang on the white walls like postage stamps. Yet the simple, clean hanging of the exhibition (which in my view is perfect) reveals nothing of the convolution the works involve. Maybe it would not do to mount an exhibition in an elaborate setting for a complex artist: These are the silkscreen series of Andy Warhol “by” Sturtevant. Read more on Talking About Art.

As MoMA Rehangs a Full Third of Its Collection, the Art of the Internet Age Takes Center Stage

Emblematic of the museum’s endeavor overall is gallery 209, a mini-exhibition titled “Search Engines” on the second floor, which houses art from 1970 to the present. Including works from the first two decades of the new millennium, it focuses on the historic 1998 launch of Google. It studies the way that artists have responded to the internet’s penetration into every aspect of our lives, not only with new-media works like Petra Cortright’s VVEBCAM (2007), which was created for YouTube and is on view at the museum for the first time, but also with handcrafted pieces that react to our new reality, such as Gabriel Kuri’s 2005 piece Untitled (Superama II), a woven, wall-hung work that reproduces a receipt from a Mexican department store. Read more on artnet news.

Lu Yang Destroys Self in Motion Capture Performance

Lu Yang’s motion capture performance Delusional World (2020) was live streamed from Chronus Art Centre in Shanghai this week. Presented by ACMI, Arts Centre Melbourne, AsiaTOPA, and The Exhibitionist, the event was scheduled to take place in Federation Square, Melbourne, but was shifted online due to the pandemic. Read more on Ocula.

In the galleries: Referencing the revered Washington colorists and beyond

Most of the artists who show at Von Ammon Co. have a love-hate relationship with contemporary American advertising and marketing. Timur Si-Qin shares their fascination, but not their cynicism. His “Take Me, I Love You” borrows Madison Avenue’s tools to make a pitch that’s earnest and even cosmic. The New York-based artist’s photography and sculpture show touts “New Peace,” billed by the gallery as “a new form of spirituality in the face of global pandemics, climate change and biodiversity collapse.” Read more on The Washington Post.

Seeking sanctuary

New-wave artist Lu Yang from Shanghai invites visitors to explore heaven and hell in the video game The Great Adventure Of The Material World. This digital fantasy features cyberpunk noir, mind-bending technologies and neuroscientific religion in finding the way to nirvana. Read more on Bangok Post.

Best Practices: Lu Yang’s Otherworldly Avatars Imagine New Possibilities for the Body

Five years ago, Lu Yang made a genderless rendering of himself the protagonist of Lu Yang Delusional Mandala, a 2015 video in which the artist’s avatar wears a baseball cap and dances through a computer-generated version of outer space. Not that the figure is carefree. The viewer is given to understand that there is a tumor in the avatar’s brain, and at times it seems to be in pain. At various points in the 16-minute piece, it is probed by diagnostic machines. The avatar dies and lives again numerous times, and ultimately ends up suspended in an enormous mandala. Read more ARTnews.

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