To experience art is usually to experience an encounter with works. But often we do not encounter the works directly, but rather mediated by formats. As a form of organisation, …

von Thomas Oberender

A List of Formats and Format Inventions

On the stage of an empty concert hall, the Austrian-born composer Peter Ablinger sits in a chair and begins to tell the time. “At the third stroke, it will be …

von Alex Ross

Dear colleagues, I’ve been asked to provide food for thought for you here today. I have the honourable task of encouraging you to be excessive. At times like these I …

von Signa Köstler

“Success Is Always a Disaster”

von Christiane Peitz und William Kentridge

The Exhibition as a Film Without a Camera

von Emanuele Coccia, Philippe Parreno und Thomas Oberender

Modes of Addressing and Economies of Attention in the Visual and Performing Arts

von Dorothea von Hantelmann

The Planetarium as a Gallery of the Future

von Thomas Oberender

In his book Kultur der Digitalität (published in English under the title: The Digital Condition), Felix Stalder describes how shortly after Conchita Wurst won the Eurovision Song Contest, Facebook increased …

von Thomas Oberender

How has the internet become a race for domination? Where did this centralism suddenly emerge from? Why, just a few years after a world of transparency and participation seemed possible, …

von Frank Schirrmacher

In the beginning, there was him: HE. Man as the measure of all things, made to rule over the fish in the sea and the birds in the sky, over …

von Susanne Kennedy

In the beginning I was an elephant. My first play-through of David OReilly’s computer game “Everything” started inside the skin of a trunked animal. Shortly after that I slipped into …

von Stephan Schwingeler

When I started developing video games as an extension of animation, I realised that this new medium works according to a completely different set of rules. Video games are about …

von David OReilly

Five Areas of Identity Politics in Ten Years of Festival Programming

von Thomas Oberender

I think for me one of the key meanings of “decolonizing time” is a coming to inhabit multiple temporalities, coming to inhabit enfolded and entangled times that are ontologically complex—a …

von Donna Haraway

What Do Migrants and East Germans Have in Common?

von Naika Foroutan

“I Wanted to Change the Image”

von Gabriele Stötzer und Thomas Oberender

“Dear Necati, thank you for the invitation to write about ‘unlearning’ for Theatertreffen’s magazine, and yes, it sounds very interesting and I will be happy to do it. Would you …

So What Can Jazz Do? or If Jazz Died in Berlin Could Berlin Also Be a Point of Revivification

von Bonaventure Soh Bejeng Ndikung

“Politics proposes to make us better, but we were good already in the mutual debt that can never be made good. We owe it to each other to falsify the …

von Robert Maharajh

A lot has changed at Gropius Bau in the last four years, and we have been able to change along with it, adapting to new artistic themes. Together we have …

von Stephanie Rosenthal

A lot has changed at Gropius Bau in the last four years, and we have been able to change along with it, adapting to new artistic themes. Together we have …

von Jens Bisky

It is hard to know which came first—a new worldview, that is, one that was at least seen as contemporary, formed along with the emergence of a digital age at …

von Lucien Strauch

Worlds Without Exteriors. Immersion 2016–2021

von Thomas Oberender und Nancy Pettinicchio

Cave About 45,000 years ago, a new consciousness of humanity began to manifest itself in the form of drawings on the walls of caves. The ability to project inner images …

von Markus Selg

Opening a Possible Wound

von Ed Atkins, Bastian Zimmermann und Rebecca Saunders

Infinite Music

von Brian Eno und Thomas Oberender