Part I: May 9 – June 8, 2025
Erez Israeli, David Krippendorff, Joachim Seinfeld
Opening: Thursday, May 8, 2025, 7:00 PM

Part II: June 20 – July 13, 2025
Sharon Paz, Hadas Tapouchi, Simon Wachsmuth
Opening: Thursday, June 19, 2025, 7:00 PM

Curator: Bernhard Draz
Public Relations: Bluhm PR, Sylke Bluhm

Exhibition Hours: Thursday to Sunday, 2 PM – 7 PM

Special Event:
The Middle East Conflict – A Divided Art World?
Lectures followed by a discussion (in German)
with and by Saba-Nur Cheema and Meron Mendel
Moderation: Joachim Seinfeld
Sunday, May 25, 2025, 5:30 PM

ALIENS ANYWHERE offers a forum for international Jewish artists from Berlin and engages with themes of German history, migration, memory, and identity in the visual arts. Complementing the exhibitions, a special event featuring Saba-Nur Cheema and Meron Mendel will address current controversies in the art world concerning Israel and Palestine.

David Krippendorff’s film Kali transposes Brecht’s Pirate Jenny into Arabic, performed by Palestinian actress Hiam Abbass. In Silent Prayer, he transforms Ravel’s Kaddish into a minimalist score of ink droplets—symbols of mourning and loss.

Erez Israeli’s The Pretzelman Cathedral Project presents hybrid sculptural-sacred icons, probing the notion of Germanness as a site of projection. His photo series Human and the Sun deconstructs the aesthetics of the body under National Socialism.

Joachim Seinfeld’s project Souvenir Photograph questions the uncritical taking of tourist snapshots at the entrance to Auschwitz-Birkenau. In his docufiction When Germans Are Funny, he digitally inserts himself satirically into archival imagery, portraying both perpetrator and victim. Save the Day deconstructs the masculine-dominated cult of genius.

Sharon Paz’s interactive video installation Dare to Dream explores fascist propaganda in the context of the 1936 Olympic Games. Her video piece Homesick, inspired by Borchert’s The Kitchen Clock, weaves together war trauma and contemporary humanitarian crises.

Hadas Tapouchi’s work series Memory Practice: Berlin Transforming maps the material traces of forced labor camps in Berlin and Brandenburg through photography.

Simon Wachsmuth’s I work, I rob day and night links the existential anxieties of Kleist and Lasker-Schüler in a performance combining sleep and text.
His frottages of gravestone inscriptions from the Thirty Years’ War culminate in the Meinblau Project Space as a poetically condensed “forest of terms” made of black metal steles.

Supported by the Capital Cultural Fund, the Pfefferwerk Foundation, and the Senate Department for Culture and Social Cohesion.