The demo station by Rirkrit Tiravanija is a stage-like sculpture that invites people to „demonstrate“ something. Tiravanija understands the term in a double sense – as political protest or as a demonstration of something that someone particularly excels at or enjoys. Throughout the duration of the exhibition, the demo station offers daily space for public performances.

During the event, photo and video recordings may be made, in which you may appear. By attending, you consent to these recordings being used for the communication of the event or exhibition.

The Rickenbackers Pro Jam Session takes place every 2nd & 4th Tuesday at ART Stalker. It is led by Jürgen Bailey.

Onlookers, professionals, newcomers, and music lovers are all welcome. There are no limits musically, it's all about playing what is enjoyable.

ART Stalker - Art+Bar+Events - Kaiser-Friedrich-Str. 67, 10627 Berlin / art-stalker.de / mail@art-stalker.de / Office 10 - 4 PM: 0163 7374 229 / Office (EN) 10 AM - 4 PM: 0152 2644 2625 / Bar from 7 PM: 030 - 220 529 60 / current bar opening hours: WED - THU 7 PM - 12 AM / FRI + SAT 7 PM - OPEN END

6:30 PM

Is it a dream or reality? Why not both at the same time? In Tchaikovsky's classic "The Nutcracker," reality and vision blend into a magical interplay of sensual movements. Especially during the Christmas season, the dance fairy tale radiates its extraordinary charm - and has been doing so for decades. Since its premiere on December 18, 1892, at the Mariinsky Theater in St. Petersburg, E.T.A. Hoffmann's masterpiece has captivated young and old alike.

A beloved tradition during the pre-Christmas season from November 26, 2024, to January 23, 2025. In theaters nationwide, the talented ensemble brings the Christmas story to life. Their graceful movements, enchanting sounds, and dreamy sets transport you out of the here and now. Visit us and immerse yourself in a wonderful Christmas season.

Join the little Marie for an exciting Christmas evening. As soon as she receives a pretty nutcracker from her Uncle Drosselmeier, the great adventure begins. In a dream, she joins the Nutcracker's realm and, together with his soldiers, battles against the Mouse King. With united forces, they defeat the feared ruler. After the glorious victory, the Nutcracker transforms into a charming prince who, in gratitude, takes the brave little heroine to the realm of sweets. Follow Marie into a colorful, sparkling fairytale world full of magic and playfulness.

And who could narrate the story more beautifully than the Grand Classic Ballet? The ensemble of talented artists performs in the most famous theaters in the world - even in the renowned Bolshoi and Mariinsky Theaters. From China to Israel to the USA - artists float across the stage worldwide. With timeless elegance, emotional perfection, and sparkling crystals in the set design, the Grand Classic Ballet creates a breathtaking winter wonderland. If this isn't the perfect herald of Christmas.

Art of classical ballet.

Ballet has the power to conquer all hearts and penetrate into the depths of the human soul. It can bring joy, tears, empathy, capture the viewer's thoughts. He learns what he thought, what he admired, or was horrified - this is the art of classical ballet. Ballet is part of the overall choreography, the jubilation, the excitement of the individual, their team, and the audience. The instrument of this jubilation is dance. Life unfolds on the ballet stage in a fairy-tale environment that brings danger, twists of fate, intrigues, charm, and disappointment to people. Sometimes death appears in ballet, and sometimes even a graveyard. However, sadness and joy do not appear in the coarse forms of everyday life but in ceremonial garb. They are veiled in jubilation, where sadness fades, and joy becomes pensive. Yet, the true essence reveals itself in the dances. Thus, A.L. Volinski, ballet critic and philosopher of classical dance, characterizes this art. Doors open at 6 pm

Live, Bargeld and Teardo share the stage with solo cellist Laura Bisceglia and Gabriele Coen on bass clarinet, who, supported by a string quartet, will perform pieces from their meandering work influenced by philosophy and art history. But there will also be new pieces to hear, which are currently developing into the mentioned and yet untitled EP: BISOGNA MORIRE, also known as HOMO FUGIT VELUT UMBRA (One flees like a shadow), a passacaglia and a sort of danse macabre, then the piece STARKREGEN, RIMANGONO (translated: "Stay behind!" - a greeting from the post-war era) that was already created before the pandemic, and DEAR CARLO, which Blixa wrote in correspondence with an Italian astrophysicist, with whom he exchanges thoughts – not without humor – on the nature of the universe. First impressions promise: the space created between Bargeld's multifaceted voice, his incomparable text work, and Teardo's complex arrangements has gained even more depth.

7:00 PM

Remaining tickets available at the box office

New Year's Eve: The secret magic council Beelzebub Irrwitzer and his aunt, the money witch Tyrannja Vamperl, have only this one night left to fulfill their quota of annual misdeeds. They were not lacking in evil intent, but the fact that the High Council of Animals has set two agents in their house made it difficult for them to meet their contractual obligations. So aunt and nephew devise a brilliant yet devilish plan: they brew a wish punch that has the power to turn all wishes into their opposites. And with the two spying animals as witnesses to their good intentions, no one would catch on to them. But the cat Mauriziodi Mauro and the raven Jakoba Krakel see through the plot and do everything they can to save the world from the evil spell.

Michael Ende's beloved story tells of togetherness and friendship. It is full of adventures and magical mishaps.

Direction: Michael Böhnisch
Stage & Costumes: Juan León
Music: Achim Gieseler

In the anniversary program 75 years of Stachelschweine “Ich hab´noch einen Tesla in Berlin” by Frank Lüdecke and Sören Sieg, a vision of the future year 2029 is told.
The new Federal Chancellor Sahra Wagenknecht is increasingly under pressure as state debt is advancing uncontrollably.
The cheese roll costs 14 euros, BASF and Bayer have emigrated to Asia, VW and BMW belong to Tesla. The creditworthiness of the Federal Republic has been downgraded to BB, and half of the taxes go towards interest payments.
Then the Federal Chancellor has an idea. With a single measure, she calculates, all her election promises can be financed: retirement from 55, free public transport, and a rent cap at the level of 1989. It is the "Secret Plan Berlin." The capital is to be sold as Germany's silverware. An electric car manufacturer, operator of voice message services, Mars rockets, and brain implants strikes immediately...

For the 75th anniversary, DIE STACHELSCHWEINE present a program that elegantly combines black humor with Berlin calmness. When everything is in a panic, we know: No one intends to sell Berlin!

With Santina Maria Schrader, Mirja Henking, Sebastian Stert.

Outside, the snow is falling, and cult travesty star MEGY B. is slowly bringing us into the Christmas spirit as she does every year. She takes us into a musical enchanted winter forest.

With gingerbread and mulled wine, MEGY talks about the "meaning" (and nonsense) of life...

...and she manages, in a loving way and with the necessary pinch of humor in her suitcase, to hold up a mirror to the world, especially in this (quiet) time...

At the beginning of September 2024, the exhibition HAPPINESS IS NOT ALWAYS FUN by the artist Rirkrit Tiravanija will open at the Gropius Bau. Tiravanija has expanded the conventional concept of art with his practice, creating situations where social interactions and sensory experiences are negotiated. Since the early 1990s, Tiravanija has partly lived in Germany and has repeatedly developed artistic works that address cultural peculiarities, migration, and the political present of the country. HAPPINESS IS NOT ALWAYS FUN is the first to bring together these works, which also demonstrate the significance of Berlin and Germany as a site of artistic production for Tiravanija. The title of the exhibition is taken from the opening credits of Rainer Werner Fassbinder’s film Fear Eats the Soul from 1974, whose depiction of anti-Arab racism against the so-called guest worker Ali is disturbingly relevant today, 50 years later. The extensive exhibition includes works on paper, sculptures, photographs, multiples, and a selection of rarely shown Super-8 films, as well as regular activations of central ephemeral and participatory works by the artist from the 1980s to the present day. The explosive power of his practice remains the focus: institutional boundaries and categories are tested; it gets loud, cooking, eating, and playing happen.

Curated by Jenny Schlenzka, Yasmil Raymond, and Christopher Wierling

Monday 12:00–18:00 Tuesday closed Wednesday 12:00–18:00 Thursday 12:00–18:00 Friday 12:00–18:00 Saturday 12:00–18:00 Sunday 12:00–18:00

The glamorous Christmas show with drag star MEGY B.

“Megy B. has audacity and elegance alongside a healthy dose of cheekiness that one can never hold against her.” (Berliner Morgenpost)

Outside, snow is gently falling, and cult drag star MEGY B. slowly brings us all into the Christmas spirit. She takes us into a musical enchanted winter forest. With gingerbread and mulled wine, MEGY talks about the “sense” (and nonsense) of life... and she manages, in a loving way, with just the right sprinkle of humor in her suitcase, particularly during this (silent) time, to hold a mirror up to the world...

7:00 PM

Admission: 6:00 PM

Opportunity creates love, thinks State Minister Richard Willey and arranges a tête-à-tête with the secretary of the opposition in a suite of a luxury hotel, instead of being present in Parliament.

When a corpse is suddenly discovered in the hotel suite, George, the minister's secretary and jack-of-all-trades, must be called in.
But the events escalate as some unexpected additional guests arrive: the jealous husband, a money-hungry waiter, a determined nurse with romantic feelings, the very meticulous manager of the hotel, and last but not least, the minister's wife. As the corpse also shows signs of resurrection, the situation increasingly spirals out of control.

Ray Cooney's comedy is British humor at its finest. Virtuosic, with plenty of slapstick and precision for turbulence, the author absurdly leads the everyday disasters and scandals at breathtaking speed. The characters have no choice but to slide from one compromising situation to the next. It is a delightful pleasure to watch them.
AUßER KONTROLLE premiered in London in 1990 and was awarded the best English comedy of the year.

About people who take the risky path across the Mediterranean, hoping to find safety in Europe.

Subtitles in Arabic, English, and French

The Mediterranean Monologues are documentary theater. Author Michael Ruf (Word and Heartbeat) conducts interviews that last several hours, sometimes several days. These interviews are then merely shortened and condensed. Nothing is invented in the process, and the linguistic expression is retained. Verbatim, literal theater. Inspired by these interviews, Michael Ruf also wrote song lyrics that were musically implemented in collaboration with composers. This led to "Tons of Water" (composition: Marlène Colle), "We fall into silence" (composition: Torsten Knoll), and "The Memories always return" (composition: Peer Kleinschmidt). Since December 2021, these songs have been an integral part of the Mediterranean Monologues.

The Mediterranean Monologues tell the stories of people who take the risky path across the Mediterranean, hoping to live safely in Europe - about Libyan coast guards, Italian rescue services, and German authorities who prevent this, and about activists who are countering the deaths in the Mediterranean. These activists convince the coast guards, as volunteers at Alarmphone, to rescue people in distress at sea or learn at Sea Watch how to save people from drowning - in short, they do what should be the most natural thing: saving human lives!

It is as if the actors speak directly to the people in the audience, reaching out a hand and pulling them into a world that will no longer leave the viewers cold: entangled, intertwined, connected and networked with the protagonists of the Mediterranean Monologues, the audience anxiously follows the paths of the told stories. When the actors whisper, fall silent, delicately throw a word into the room, occasionally become louder, raise their voices demanding or angrily, and once nearly scream, the sounds do not reach the audience abstractly; instead, the audience is directly and physically touched by what is said. When the actress looks at the audience, they are included in the events that they know and believe happened in reality.

Followed by audience discussions with activists

With English, Arabic, and French subtitles

Possibly remaining tickets at the box office

Playing, laughing, being loud, romping, doing nothing – and that in an exhibition house! From September 4, 2024, BAUBAU invites exactly that. In the play space for children designed by artist Kerstin Brätsch, more is allowed than forbidden. Colorful wallpapers, structures, objects, and a range of “Loose Parts” form spaces on the ground floor of the Gropius Bau that do not impose fixed guidelines but are determined by the activities of the children. They dictate the direction and form of what happens here. Thus, this place becomes a space of possibilities that can change day by day.

BAUBAU will launch in September 2024 in a prototype version and will continue to develop and grow over the coming years both inside and outside the Gropius Bau – in close exchange with the children and their wishes, as this is their place.

The Play
All children have the urge to play. This is how they learn to understand themselves and the world. Especially open, self-determined play is of great significance for emotional and social development. The educational concept for BAUBAU is therefore based on the principles of free play: Here, there is time, space, and permission for children to follow their own needs and interests. They are accompanied by playworkers – trained staff who create a safe and supportive environment where children can play freely.

 
The Art
BAUBAU playfully questions what a museum or an art institution should be. The comprehensive spatial design developed by Kerstin Brätsch is full of references and inspirations: elements from her previous works, such as marbling, paintings, or stucco marble work, reappear here in altered forms and materialities. The wallpapers, curtains, fabrics, seating furniture, and climbing structures are inhabited by dinosaurs, fantastical beings, termite mounds, and abstract elements. With their strange, funny, and perhaps a bit eerie shapes, they create an open framework for free play.

Kerstin Brätsch's practice is designed to allow and incorporate influences from outside. While she has previously collaborated with artists or artisans, she now does so in a completely different way with children: She invites the children to reshape and further develop the space according to their own ideas and visions, without the influence of the artist in unpredictable ways.

Mon, Wed, Thu, Fri 12:00–18:00
Sat, Sun 11:00–18:00
Tue closed

When it is soon again said: "Poverty for all!",
then we old white East Germans can only smile gently – “We know it all already, we’ve been through it!”

To all those born too late and true citizens of the Federal Republic, it should be said, you don’t need to be afraid at all – except for the usual seasonal fears, of course. Spring: storm fear, summer: climate fear, autumn: corona fear, winter: Putin gas fear.

When woke race experts, linguistic re-educators, and ideological police are in charge, well then, we’ll just whisper again. Who wants to be suspected of being anti-democratic or anything-phobic?

And even on a cargo bike, you can have good parking lot sex. How? That would exceed the limits here – after all, there are 60 recognized genders.

Spend your soon-to-be-worthless money on two hours of Ranz and May! They will tell you how to stay happy – as long as they still remember…

Das weltweit erste Museum der KÖRPERWELTEN öffnete 2015 seine Pforten in Berlin. Es ist am Alexanderplatz direkt im Berliner Fernsehturm beheimatet. Seitdem haben die Besucherinnen und Besucher die Möglichkeit eine Vielzahl einzigartiger Plastinate zu bestaunen. Diese geben einen tiefen Einblick in das hochkomplexe Innere des menschlichen Körpers. So erhalten Interessierte ein detailliertes Wissen über Organfunktionen und häufige Krankheiten, all das leicht verständlich vermittelt. Durch die lebensnahen Posen wird ein unmittelbarer Bezug zu den Betrachtenden hergestellt.

Was verbindet uns, was hält uns aufrecht und in Bewegung, was lässt uns lachen und lieben? Bei den KÖRPERWELTEN erhalten Sie Antworten auf diese und viele weitere Fragen. Machen Sie sich auf eine tief berührende und inspirierende Begegnung mit dem Leben bereit. Lassen Sie sich einen Besuch nicht entgehen und erleben Sie die Faszination der Plastination.
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Letzter Einlass 18:00 Uhr

Jerusalem is fiercely contested: Christians, Jews, and Muslims claim the city for themselves. One night, the young crusader Kurt wanders aimlessly when he suddenly discovers a burning house. Brave, he rushes into the flames and rescues Recha, the daughter of the Jew Nathan, from the fire. A tender love develops between the two, as Recha manages to dispel Kurt's prejudices and open up to him. However, their love is not under a good star in this city ravaged by violence. The bishop tries to persuade Kurt to kill the sultan; in turn, the sultan prepares for battle against the bishop and seeks Nathan's financial support for this. When Kurt learns that Recha is not Nathan's biological daughter, but possibly a Christian child, he confides in the bishop – with almost catastrophic consequences. In the cheeky adaptation of Lessing's famous classic, Ulrich Hub places Recha and Kurt at the center of the young generation's struggle for tolerance and peace. The award-winning author received the "Mülheimer Kinder StückePreis 2010" for "Nathans Kinder."

[strong]Possible remaining tickets on the evening box office[/strong]