We work closely with organisers, curators and institutions, presenting events as part of our programme, collaborating on communications, and bringing our communities together around shared work.
Exhibitions, talks, performances, screenings, literary launches, readings and more – if there is a project in mind, get in touch and tell us what it is.
Group exhibition, panel talk and book club
November–December 2024
Exploring how intimacy functions as currency in art world economies: between artists, audiences, curators, and collectors. The official launch exhibition of MV-B Berlin, accompanied by a panel talk moderated by arts writer Madeleine Pollard, and a book club evening centred on Poor Artists by The White Pube.
© Photos by Studio Flemma
© Photos by Studio Flemma
© Photos by Studio Flemma
Group exhibition
20 – 16 November, 2021
A Piece of Furniture is an online platform created in 2020 by Italian Berlin-based artists Davide Zucco and Federico Maddalozzo. Born out of a common interest in the practice of many artists making their own furniture (for their homes, studios, as a hobby, as part of their practice or as the practice itself), the project focuses on investigating how art and furniture influence and inform one another.
The exhibition Act 1, launched at the outset of the pandemic, presents our research to the public and traces the community that has developed around the project.
© Photos by officialrichiephotography
© Photos by officialrichiephotography
© Photos by officialrichiephotography
FAshion Show
Featuring @situveuxnyc @doctrinedenim @shabazzbrothers @smoothchild
Produced by @revivefashionweek
Presented by @themusashowroom
© Photos by Valentin Giebel
© Photos by Valentin Giebel
© Photos by Valentin Giebel
Exhibition
December 2025, January 2026
In a time marked by war, fragmentation, distrust, and geopolitical disorientation, Scarlet Horizon takes shape at the fault lines of a world undergoing profound rupture. Rooted in the ongoing war in Ukraine and the shifting architecture of global security, the exhibition reflects a wider erosion of political structures and shared truths.
Linking Kyiv and Berlin – cities bound by a century of artistic exchange – Scarlet Horizon gathers artists whose practices navigate rupture, displacement, and the search for new atmospheres of solidarity.
Artists
The Ambrozia Project (Igor Kanivets & Margarita Sherstiuk), Apl315, Norman Behrendt, Yulia Beliaeva, Anatoliy Belov, Nazar Bilyk, David Chichkan (1986-2025), Sasha Dolgyi, Ossian Fraser, Sofia Holubeva, Fabian Knecht, Tetiana Malinovska, Maria Matiashova & Dima
Photo courtesy of the artist
Photo courtesy of the artist
Photo courtesy of the artist
Group Exhibition
13-15 February 2026
Borrowed from the language of banking, dispo refers to an overdraft, a momentary extension beyond what is immediately available. Across two floors, 28 works unfold through painting, printmaking, photography, drawing, ceramics, and installation, activating the building’s architecture as a former bank, a site of transactions and contingency.
The exhibition brings together artists working within the context of Klasse Kempkes at the Berlin University of the Arts, where they will be exhibiting together for the first time.
Artists from Klasse Kempkes UDK
Erjon Alija, Sophia Ashraf, Sarah Luise Bendiek, Paulina Bienioschek, Zeljka Budimir, Meggy-Lee Claußner, Ana Maria Draghici, David Ernst, Maria Eglau, Ana Nora Geffert, Oljanna Haus, Hope Kuraeva, Marietta Krampitz, Kristin Kühne, Lucia Leonhardt, Julia Linden, Yuqing Liu, Pooja Marske, Tobias Molitor, Maria Mühlbauer, Jacintha Nolte, Roxana Hediye Öztoprak, Jonna Richter, Julia Schmidt, Satu Soininen, Clemens Tebarth, Laura Noelle Wilken, Sarah Wilhelm
© Photos by Jan Tabaczynski
© Photos by Jan Tabaczynski
© Photos by Jan Tabaczynski
Book Launch & Exhibition
Created by Siena Powers in collaboration with the Munich-based gallery Knust + Kunz & Maison Marcelle
21 – 25 January 2025
This publication traces the evolution of a remote hamlet in the hinterlands of the Côte d’Azur, and a selection of artists that worked there: Edie Monetti, Jonathan Drews, Philipp Fürhofer, and Thomas Kiesewetter. The essays, written by Siena Powers, offer glimpses into the landscape, the studio, and the inner turnings of their work.
Artists
Thomas Kiesewetter, Philipp Fürhofer, Edie Monetti, Jonathan Drews
© Photos by keremsview
© Photos by keremsview
© Photos by keremsview
Group Exhibition
24 – 26 March 2023
A group exhibition with live performances in aid of victims of the earthquake in Turkey and Syria in 2023.
Artists
Nevin Aladağ, Joachim Bosse, Lennart Brede, Leman Darıcıoğlu, Johanna Dumet, Esra Gülmen, CB Hoyo, Navot Miller, Christoph Niemann, Ahmet Öğüt, Serkan Sarıer, Sucuk&Bratwurst, Ivana de Vivanco and Gamze Yalçın
© Photos by sasaflorenxe
© Photos by sasaflorenxe
© Photos by sasaflorenxe
Exhibition
2 – 4 May 2025
The presented touch is a group exhibition featuring 23 artists and bringing together artistic positions from different media, including live performances throughout the weekend.
The unifying element is the theme of the surface: as a physical structure, as a visual phenomenon, as a boundary between inside and outside – as a metaphor for what is visible and what remains hidden. What remains on the surface – and what lies beneath?
Artists
Josefina Ahumada, Gloria Viktoria Regotz, Zelal YeŞİlyurt, Lara Rocho, Clara Pistner, Jonathan Joosten, Katya Quel, Marlene Kargl, Andrzej Rafałowicz, Lee Everett Thieler, Aura Roig, Louisa Frauenheim, Ivanna Heredia-Torres, Sally Craven, Seweryn Jański, Philipp Pusch, Jan Herdlicka, Ilgın Uçar, Getsay, Anna Zachariades, Melis Soleil Kiran, Linda Herrmann, Rizal Nugraha, Lauriane Daphne Carl, Olga Hohmann, Yulia Katan, Kat.lysa
© Photos by Christopher Haering
© Photos by Christopher Haering
© Photos by Christopher Haering
Group Exhibition
12 – 20 September 2024
“The Exhibition is a rare opportunity to present to the German public four generations of artists from prestigious Senegalese art schools, the first of which was founded just after Independence in 1960 by President Léopold Sédar Senghor.
Théodore Diouf (born in 1949) Viyé Diba (born in 1954), Soly Cissé (born in 1969) and Aliou Diack (born in 1987) have all emerged from this formal and academic education to embody, each in his own time, the revival of an African aesthetic that today goes beyond the borders of Senegal and shows the world a globalized African art scene with deep roots in their countries of origin (…)” Extract from the text written by Charlotte Lidon.
Artists
Soly Cissé, Aliou Diack, Viyé Diba, Théodore Diouf
Reading & Discussion
16. Mai, 2025
A discussion with the author of The Rebel’s Clinic: The Revolutionary Lives of Frantz Fanon, Adam Shatz; writer and founder of the Berlin Center of Intersectional Justice, Emilia Roig; and historian Joseph Ben Prestel.
On May 8, 1945, as the war ended in Germany, revolts broke out in Sétif, Guelma and Kherrata-marking the beginning of Algeria’s long war for independence. At seventeen, Frantz Fanon had fought for a free France. Soon, he would practice “radical psychiatry” in French Algeria, before joining the FLN in its struggle against colonial rule.
How did Fanon’s writing become so foundational to decolonial movements worldwide? Why has his theory and defense of violence remained so contentious until today?
And what might be ongoing struggles for decolonial justice still learn from the case of Algeria?
photo courtesy of the artist
photo courtesy of the artist
photo courtesy of the artist
Exhibition
April 27–30, 2023
Artists
Charlene Hahne, Lisa Seebach
© Photos by Malte Siedel
© Photos by Malte Siedel
© Photos by Malte Siedel
Readings, Screening and Discussion
27 November 2025
Entrenchment is a military term, but it increasingly describes how we speak, read, and think - even beyond the battlefield: Fight or be crushed; arm or be harmed.
A panel on violence, militarization, and pathways to justice, featuring two voices from epicentres of war – Ukraine and the Middle East.
Panelists
Yevgenia Belorusets, Tobias Haberkorn, Adam Raz, Dr. Nahed Samour
Oranienstrasse 58,
10969 Berlin
Get in touch at
contact@salonammoritzplatz.de
The building at Moritzplatz has had many lives. A bustling bank in the 1920’s, still standing after Moritzplatz was a target for allied attacks in WWII, home to the Junge Wilde in the 1970s, and known for it’s cultural and urban projects in the 1980s. As Berlin moved through substantial changes, this space became a beacon for those looking for rebellious expression, wild experimentation, and belonging.
In the 1970s, with the Wall to the east drawn blocks away, the artists who would become known internationally as the Junge Wilde settled in the rear building, part of the same Kreuzberg scene that Blixa Bargeld and Nick Cave moved through.
Originating in the 15th century courts of Italy, by the 1900’s, the salon had become one of the defining institutions of European intellectual life, particularly in Paris and Berlin, defined by open conversation across disciplines and social boundaries.
A space where ideas were tested and where people who would not otherwise meet found themselves in the same room – hierarchy flattened.
Heine and Hegel attended the salon of Rahel Levin Varnhagen on the edge of what is now Kreuzberg. Henriette Herz ran a double salon nearby, where natural science and literary philosophy shared the same building and occasionally the same conversation.
The salon was pre-political in the most precise sense: it created the conditions for a critical public sphere before such a thing had official space to exist. It favoured discourse and exchange over pure performance and broadcast. That tradition is what this space takes its name from.
The building at Oranienstraße 58 belongs to the last generation of 19th century structures built to fit Peter Joseph Lenné's urban vision for the former Luisenstadt. In 1842, Lenné designed the axis that still runs through Kreuzberg today, connecting Heinrichplatz, Oranienplatz and Moritzplatz in the French manner, with the roundabout as civic anchor.
By the 1920s, Moritzplatz was a central traffic hub surrounded by the Wertheim department store, theatres, coffee houses and shops, and was one of the liveliest intersections in Berlin, a rival centre to the Kurfürstendamm and Leipziger Straße. The building at Oranienstraße 58 housed a bank among its occupants. The glass front and the vault downstairs are original to that era.
The U8 station directly below the roundabout bears its own strange testimony to the period. It was routed through Moritzplatz to feed directly into the Wertheim department store, following the model of the Karstadt at Hermannplatz.
Much of the buildings at Moritzplatz were destroyed in the war, but Oranienstrasse 58 survived. The Berlin Wall was drawn through Heinrich-Heine-Straße shortly afterwards, and completed the area's transformation into something between a periphery and a no-man's-land.
It was into this emptied landscape that the artists arrived. In the 1970s, a group of young painters from the Berlin Academy of Arts settled in the rear buildings along Oranienstraße and founded the Galerie am Moritzplatz, an artist-run self-help gallery that became the nucleus of the movement that would be known internationally as the Junge Wilde. Rainer Fetting, Helmut Middendorf, Salomé and Bernd Zimmer – the so-called Moritzboys – showed large-format expressionist paintings in fierce colours, in direct rebellion against the minimalism and conceptual art that dominated the era. Their ambition was in favor of a new, subjective, and “wild” form of expression.
Moritzplatz evolved at the centre of one of the most concentrated bursts of artistic energy in postwar European history, drawing international inspiration.
The scene that formed around Moritzplatz and the streets immediately surrounding it in those years was defined less by individual ambition than by collective experiment. Painters made music. Filmmakers played in bands. The question was not whether you were accomplished but whether you were willing to try something. Bowie recorded Heroes a short walk away at Hansa Studios. Nick Cave wrote around the corner on Dresdenerstrasse. Blixa Bargeld rehearsed nearby. Christoph Dreher, whose loft on Dresdnerstraße became an informal headquarters for much of this activity, described it simply as a time of daring and doing and the excitement of the moment and the shared experience.
The history of this block is defined by the people who showed up when the area was overlooked and made something of it. The work they brought with them changed in the presence of an audience – and the audience changed with it.
Today, we continue in that same spirit, showcasing projects that allow for a multi-directional conversation between the viewers and the artists. That is the tradition we are working in.
In 1983, as part of the International Building Exhibition, residents and architects came together in this building to map the history of Moritzplatz and argue for its future. It was the community itself asking the question: what should this area become?
At the end of the 1980s, the architect Otto Steidle moved his office into the premises. Steidle was one of the defining figures of postwar German architecture, known for projects that took seriously the relationship between built space and the people who inhabit it – among them the Ufa-Fabrik in Berlin, housing developments in Munich and Hamburg, and cultural buildings across Europe. He brought the space into use as part of a university project, at a moment when the building was scheduled for demolition to make way for a road. This road was fortunately never built, so the building still stands.
Now a cultural space with traces of its past still visible today, Salon am Moritzplatz has been running here for thirteen years.
The question of what this area should become is still not fully answered but we are part of that conversation.