Exhibitions 2026

Peter Hujar / Liz Deschenes: Persistence of Vision

19 March to 28 June 2026

Bringing together the works of Peter Hujar and Liz Deschenes, Persistence of Vision opens an intergenerational dialogue on photography. Working in New York City between the Stonewall uprising of 1969 and the onset of the AIDS crisis in the 1980s, Peter Hujar captured a pivotal cultural moment in piercing black-and-white photographs. In the exhibition, Hujar’s photographs are interspersed with contemporary works by New York City-based artist Liz Deschenes. These interludes invite viewers to pause, slow down and consider Hujar’s work in a new light.

A black-and-white photograph of a person in a room with four windows, armchairs, and carpets, jumping into the air while holding one hand on their hip and the other on their head.

Peter Hujar, Self-Portrait Jumping, 1974

© The Peter Hujar Archive / VG Bild-Kunst, Bonn 2025

Marina Abramović: Balkan Erotic Epic. The Exhibition

15 April to 23 August 2026

One of the most influential performance artists of all time, Marina Abramović presents Balkan Erotic Epic. The Exhibition at Gropius Bau in spring 2026. The show traces her ongoing engagement with ritual, eroticism, death and the body as a site of political resistance. Drawing on the folklore of Abramović’s native Balkans, the exhibition weaves together filmic and sculptural installations with live performance to explore eroticism as an offering that binds life and death, the self and the cosmos.

A person perceived as female, wearing a black headscarf, is standing outdoors and is massaging her naked breasts.

Marina Abramović, Women Massaging Breasts II from the series Balkan Erotic Epic, C-Print, 2005, Serbia

© Marina Abramović. Courtesy of the Marina Abramović Archives

Gabriele Stötzer: Dabei sein und nicht schweigen

19 June to 6 December 2026

For more than five decades, Gabriele Stötzer has been grappling with questions of justice, gender and self-determination. Her own body often plays a central role in her work – not as an object, but as a site of resistance and feminist self-assertion. Opening at Gropius Bau in June 2026, Dabei sein und nicht schweigen will be the artist’s largest institutional solo exhibition to date.

A self-portrait by Gabriele Stötzer, painted with black patterns, capturing herself in the mirror with an analog camera.

Gabriele Stötzer, Mir gegenüber – Selbst im Spiegel, 1985

© VG Bild-Kunst, Bonn 2025

Kreuzberg (WT)

10 September 2026 to 17 January 2027

Nowhere were the social and cultural changes of 1960s and 1970s West Germany more powerfully manifest than in Berlin’s Kreuzberg neighbourhood. Here, the broader transformations reshaping life in the Federal Republic through labour recruitment agreements with countries including Italy, Greece, and Turkey became visible at the local scale. Opening in autumn 2026, the group exhibition Kreuzberg (working title) focuses on the diverse and largely overlooked cultural production on the topic of labour migration and on how artists in the neighbourhood have responded to the tensions and issues of their time.

A worn lace-up leather shoe on a white table, its heel supported by two black wheels. A piece of string is attatche to the front of the shoe.

Vlassis Caniaris, L’émigrant, 1972

Courtesy the Estate of the Artist and Galerie Peter Kilchmann, Zurich, Paris, photo: Hafid Lhachmi

Christoph Schlingensief: ES IST NICHT MEHR MEIN PROBLEM, MACHT EURE SCHEISSE ALLEINE (WT)

9 October 2026 to 17 January 2027

Over the course of his artistic career, Christoph Schlingensief relentlessly confronted the absurdities of the present. In autumn 2026, Gropius Bau presents his visionary work with ES IST NICHT MEHR MEIN PROBLEM, MACHT EURE SCHEISSE ALLEINE (working title), an exhibition that spans the range of his œuvre from sensational political actions to radical stage productions and the coalescence of performance and visual art.

Christoph Schlingensief is standing in front of a white wooden chapel. Behind him are two people, all of them wearing T-shirts with the letters “COF” printed on them.

Christoph Schlingensief, Church of Fear, Biennale Venedig, 2003,

Courtesy of Christoph Schlingensief Estate, photo: Edzard Piltz