Archives collect, order, and preserve testimonies of the past in the form of documents, images, voices, objects, and data. Every decision about what is kept is also a decision about what is carried forwards into the future. Archives do more than just administer the past, they shape the very conditions in which history can be remembered, narrated, and interpreted.
Artists in Future Archives / Archive Futures take this temporal entanglement as a starting point, seeing archives as infrastructures of possible futures. They explore how the conditions of archiving are changing and what other forms of remembering, transmission, and knowledge production might emerge from the shift.

Kunstverein Tiergarten in residence at the rk – Galerie für zeitgenössische Kunst
https://kunstverein-tiergarten.de/

The Mies van der Rohe Haus presents works by New York based Matt Browning (b.1984) dating back to 2013. For his sculptures, Browning works a single, continuous piece of Douglas Fir into moveable yet inseparably connected chain links. The works form a system of units that arranged like words, becoming context specific through their placement in spaces. The exhibition builds on Browning’s spring 2026 show at Kunstverein München, allowing the relationship of the works to space to be experienced anew under changed conditions.

Lili Yuan’s art is defined by three significant characteristics: a deep-rootedness in tradition, a combination of East Asian and Western influences, and an independent, contemporary facility for innovation. In her work, she preserves the spiritual core of Chinese ink painting while developing a new inter-cultural visual language.  

Four artistic approaches are brought together in Unschärfen der Ordnung, each working in their own way with structures, rhythms, and systems while simultaneously calling them into question. Together, the works unfold a multifaceted picture of order as a mutable concept: experienceable via the senses, formally precise, and open to ambiguities.
Jürgen Kellig is known for large-format drawings that condense into, or dissolve within, geometric-technical looking structures. Udo Klenner’s acrylic paintings have the character of a palimpsest. Bettina Lüdicke contributes a three-dimensional element with her bronze and copper wire sculptures and also presents works on paper. Andre Putzmann works in multicoloured woodcut and painting. The artists are connected by a precise eye for the beauty of the indeterminate.

Detel Aurand, Nicole Wendel, and Saskia Wendland work with drawing, painting, and performance. They are connected by a shared attitude and curiosity to fathom the elusive and intangible through sensory, aesthetic techniques.
For these artists, aesthetic inquiries are always inseparable from questions about the essential nature of things. They touch on such fundamental themes as the body, materials, movement, and the human relationship to internal and external space. 
The artist’s works are their vehicles, their interfaces for understanding and communicating. Movement, play, the unknowable, and beauty are words that conceptually orbit all the works that are brought into dialogue with each other in the
Dear Spaces exhibition

How we remember and forget is undergoing a process of transformation. Memory has become a contested terrain being co-opted by reactionary movements, capitalist corporations, and geopolitical interests. Digital technologies are accelerating these developments with the spread of disinformation, data extraction, and the algorithmic narrowing of perspectives while at the same time opening up new paths for memory as an act of resistance. After Memory is an international group exhibition engaged with the subversive potential of memory, exploring the ways we will remember and forget in the future.
 
Curated by Lisa Deml, Nathalia Lavigne and Víctor Fancelli Capdevila.

The ifa exhibition Träumen: Annemirl Bauer and Bärbel Bohley brings together the shared terrain of two extraordinary personalities and political voices. Both understood themselves as artists and political activists. Both unwaveringly resisted the DDR regime. Presenting works by Annemirl Bauer and Bärbel Bohley in dialogue with photographs by Borchert, Jürgen Graetz, and Barbara Klemm, Galerie am Turm seeks with this exhibition to close the gap and make amends at the very site that deliberately excluded these two artists.

Exhibition opening: 23.9.2026, 18:00

Herbert Nauderer pulls us into a powerfully evocative fantasy world that draws on historical events, current affairs, and conspiracy theories. He creates dark dream sequences and enigmatic narratives that are simultaneously mysterious, absurd, comic, and menacing, but also extremely intense in effect.
His drawing cosmos has been expanding over the past several years. In large-scale work cycles “Mausmannsland,” “Das Haus des Erfinders – die Expedition”, and “Parasite Island” have included object installations, photo composites and video loops. He has also been producing independent film projects since 2016, including the short film “Parasite Island” with Sibylle Canonica and Josef Bierbichler.

Exhibition opening: 24.9.2026, 18:00

GEDOK Berlin has been supporting and promoting women in art for 100 years. To mark this major anniversary, 15 jury-selected artists, all GEDOK Berlin members, have created original pieces for the “Women support Women” exhibition. Through painting, photography, video, installation, performance, and sculpture, the artists look back at the history of the association, examine key figures such as founder Ida Dehmal, reflect on their own position as women artists in a patriarchally structured society, and explore new ways to increase the visibility of women artists. The comprehensive show extends across two spaces: Kommunale Galerie presents results produced over the course of a year, while GEDOK Galerie reconciles the processes of creation behind the development of each artwork with the association’s storied history.

Basement’s Wir kommen wieder. is an exhibition focused on the complex phenomenon of tourism, examining it through a range of contemporary artistic perspectives as a subject for critical and reflective inquiry. The title sets out the exhibition’s agenda: “We’ll be back” can express enthusiasm or threat — perspective dictates whether it is read as a promise or a warning. Tourism creates societal tension that combines economic dynamics, cultural exchange, ecological consequences, and social conflict. It is a global economic sector that shapes infrastructure, living spaces, and cityscapes. It accelerates displacements, overuse issues, and gentrification. The exhibition opens multi-perspectival approaches to an inherently contradictory phenomenon: something that promises rest and relaxation while simultaneously deepening social and ecological rifts.