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

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 Bernhard is about to kill himself, there is a knock at the door. A man with a mustache, turtleneck sweater, and gun stands there aiming at the taken-aback Bernhard. It is Death personified, who is having his first day on the job in this role and wants to pick up Bernhard. Unfortunately, Death has made an error in the floor. And otherwise, he is anything but a professional...

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

The earnest effort to be silly

Two humor workers read their favorite satires and chat

One is among the most popular TV and film actors in Germany. The other is a best-selling author and cabaret artist. And both have many things in common: They love fine satire, quick changes of roles, and Loriot. On this exclusive evening, they not only chat about their passion for intelligent humor – they also give the audience plenty of samples of satirical writing culture: be it sketches by a certain Vicco von Bülow or an apology letter that Herbst wrote to his religious teacher as a student; be it sarcastic texts from Netenjakob's pen or live excerpts from Herbst's favorite audiobooks; be it scenes from Netenjakob's successful novel "Macho Man" or from the cult series "Stromberg". When Germany's most successful audiobook narrator (Herbst) joins forces with a "talented parodist" (Kölner Rundschau about Netenjakob) at the microphones, a variety of voices and humor colors can be expected, which in this combination are certainly unique.

Doors open at 7:00 pm

Over 57 million people worldwide have already visited the exhibition. Starting January 30, 2026, plastinator Dr. Gunther von Hagens and curator Dr. Angelina Whalley will showcase their current exhibition about the human body in the cycle of creation and decay in Chemnitz: KÖRPERWELTEN & Der Zyklus des Lebens.
A variety of unique preparations, including many whole-body plastinates, guide us through the human body and clearly explain the individual organ functions as well as common diseases. The focus is on the human body and its changes over time, from conception to old age. KÖRPERWELTEN vividly demonstrates what each of us can do to maintain our health and high quality of life for as long as possible. There are only a few events that can change our perspective on ourselves so profoundly!
All specimens displayed in the exhibition are real. They come from individuals who, during their lifetime, stipulated that their bodies should be made available for the training of doctors and interested laypeople after their death.

Last admission: 5:00 PM

Heinz Strunk invites us again into a world full of wonders and laughter, even though it is, on the whole, full of pain and dread. The stories tell of rather strange illnesses, disturbing happenings in the neighboring house of the suburban settlement, and deeply miserable family tales and couple tragedies. Gathered household robots attentively attend a puppet theater, a woman wants to get her nose fixed and ends up with the completely wrong plastic surgeon, and at the fish buffet in the luxury resort in Maspalomas, retired couples wage war against each other in the off-season.

"The Frankfurter Allgemeine Zeitung called for the Büchner Prize for Strunk on the occasion of 'Kein Geld, Kein Glück, Kein Sprit'. This fits well because Georg Büchner also dedicated his short life to short texts. A master of the pamphlet, the drama fragment, the manifesto. However, if the success of Heinz Strunk's short stories should lead to some authors, who have not yet written bestsellers, daring to convince their potential publishers that this or that beautiful miniature does not necessarily need to be boiled down to a watery soup of letters to make it suitable for publication: Then one should rather posthumously award Georg Büchner the Heinz-Strunk Prize. Only in this way would the lifetime achievement be sufficiently honored." Süddeutsche Zeitung

Entry 19:00 Uhr

The permanent exhibition on the life and work of Erich Maria Remarque offers a detailed look into the life, work, and thoughts of the famous writer through numerous photographs, documents, and manuscripts. The exhibition is bilingual, presented in German and English throughout.

Divided into seven sections covering his youth in Osnabrück (1898–1921), the years in Hanover and Berlin (1922–1928), the discussion around All Quiet on the Western Front (1928–1930), his exile in Europe (1931–1939) and the USA (1939–1948), his political works in the 1950s, and the 1960s leading up to his death on September 25, 1970 in Locarno, the exhibition attempts to highlight the ruptures, contradictions, and controversies in Remarque's life while emphasizing their productivity for his work. It illustrates Remarque's numerous psychological conflicts, aiming to resolve the apparent contradiction between the "bon vivant" and the "militant pacifist," and provides insight into his acquaintances, friendships, and marriages. Numerous originals such as the death mask or Remarque's original desk complement the presentation.

Another focus of the exhibition is the worldwide, often highly controversial reception of Remarque's works, which have been translated into at least 60 languages and continue to attract a global audience of millions.

An information terminal allows visitors to delve deeper into specific questions about Remarque's life and work. Another terminal provides access to over 2,000 photographs spanning all stages of Remarque's life, his residences, contacts, and the film adaptations of his works.

The exhibition is open for free visits on Tuesdays to Fridays from 10 am to 1 pm and from 3 pm to 5 pm, and on Saturdays and Sundays from 11 am to 5 pm. Guided tours for school classes and other interest groups can also be arranged outside regular opening hours. Tours can be scheduled with Mr. Martin Siemsen (siemsen.m@osnabrueck.de) by phone at 0541/323-2109 or fax at 0541/323-4355.

A shop on-site offers materials related to Remarque's life and work for sale.

The castle with a lot to offer: "HerrschaftsZeiten! Erlebnis Cadolzburg" from June 24, 2017 at the Cadolzburg - the new highlight of the Nuremberg Metropolitan Region

A powerful castle - the setting of the illustrious history of a ruling family that has achieved great success: this was and is the Cadolzburg. The rulers were the Hohenzollern family, who ruled over Franken and later Brandenburg, also gaining electoral dignity in the 15th century. Later on, they even became Prussian kings and German emperors.

The Cadolzburg derives its radiance not only from its role as the starting point of a significant career in the Holy Roman Empire - the impressive structure itself reflects this golden era of the Hohenzollerns. The new museum "HerrschaftsZeiten! Erlebnis Cadolzburg" of the Bavarian Administration of State Castles will make this time - the late Middle Ages - exciting and informative for visitors through innovative communication concepts. While walking through the castle, visitors can learn not only about the architectural history, wars and peace, daily life, and governing tasks of the princely castle residents. There is much to discover here through interactive and sensory means:

Visitors can experience the castle through their sense of smell, there are tactile stations, sounds and dialogues, vivid models, and invitations to try things out. Exciting or challenging games, medieval Hohenzollerns in their own words, and the jester Contz who guides visitors through the castle bring the Middle Ages to life. Visitors can also expect to see several original medieval artifacts such as swords, maces, or a magnificent treasure chest. Other objects were specially crafted for the museum based on extensive research in historical techniques, such as the gilded armor of the famous General Albrecht Achilles, or textiles dyed according to original recipes. The Bavarian Administration of State Castles also made significant contributions to experimental historical research, like creating a breastplate from boiled leather, in line with the ambition of creating one of Germany's most important castle museums.

The cultural communication of the Bavarian Administration of State Castles also offers a diverse program of accompanying events, making this exciting history even more intriguing - for the young nobleman as well as the castle enthusiast.

Not only the Middle Ages but also the Cadolzburg itself now comes back to life. After the extensive damage of World War II, original medieval rooms and successful architectural creations of the 21st century can now be experienced. The modern buildings completed in 2017 bridge the medieval era with our present time.

You can expect very special experiences here - it truly is THE CASTLE WITH A LOT TO OFFER.

 

 

The Romantic era was a particularly brilliant period for portrait miniatures, reaching its peak and at the same time signaling the end of this special painting technique. Countless artists created portraits with great empathy and astonishing technical perfection. More people than ever collected small portraits of their loved ones to carry with them or to gather at home as a pictorial family album. 142 masterpieces from the renowned Tansey collection illuminate the heyday of an art that had to make way for photography during the 19th century.

Accompanying the exhibition is a catalog that, in addition to the annotated reproduction of all works, is distinguished by essays by various experts on aspects of miniature painting during this time. Hirmer Verlag, bilingual German/English, 432 pages, 208 color illustrations.

Tue - Sun 11am-5pm

»Sometimes I think the sky is made up of uninterrupted, never-tiring reading.«
(Virginia Woolf)

Due to high demand, we will again offer the popular 5+1 subscription starting August 1, 2024.

This also applies to discounted tickets (discounts are available upon proof for students, refugees, people with disabilities, and Munich Pass holders). Pay the price for 5 events and attend 6 (Euro 50.- instead of Euro 60.- for 6 events).*

With the promotional code included in the 5+1 subscription, you can then book 6 events of your choice (of course, already sold-out events are excluded). / The code can be redeemed for a maximum of 6 selected events (also in several stages if desired). / PLEASE NOTE that you can only use the code once per event, as the subscription is valid for one person only. / A service fee of 2.- EURO will be charged for each online booking with the promotional code via Reservix.

*This currently only applies to events with an admission price of EURO 16.- (regular price) as well as reduced EURO 10.-.

With the exhibition »The Story That Never Ends. The Collection of the ZKM«, the ZKM | Karlsruhe provides a comprehensive insight into its own collection, which, with around 12,000 works, is among the largest and most significant collections of media art in the world. The exhibition tells not only of the intertwined stories of art and technology but also of the challenges that fast-paced technological media bring to museums worldwide.

The history of media art from the 1950s to the present

Electrification and digitalization have changed the world. This transformation has not only affected our daily lives but has also impacted artistic creation. 

Since the beginning of the 20th century, artists have been using these rapidly evolving technologies and constantly expanding the expressive possibilities of art: The spectrum ranges from video, light, and sound works to motor-driven kinetic objects, as well as computer-based interactive installations or works created with the help of artificial intelligence. 

With about 100 works, »The Story That Never Ends« traces these developmental lines of the apparatus arts and their openness to the categories of space, time, and movement as well as interaction and participation – from the 1950s to the present. A selection of important key works that represent significant moments and milestones of media art illustrates the diversity and impact of these technological developments. Marie-Jo Lafontaine's monumental video sculpture »Les larmes d’acier« (1987), which ironizes the complex conceptual constellations of "man, machine, power, and sexuality," as well as Bill Viola's video-sound installation »Stations« (1994), which unites central aspects of his artistic work along with fundamental themes of human existence, or Jeffrey Shaw's »Virtual Sculpture« (1981), representing early experiments in augmented reality, form a small selection of examples here. 

At the same time, the exhibition also makes the socio-political context in which the works were created comprehensible, allowing for deductions and connections to the pressing questions of our time: Feminist works by earlier (media art) pioneers, such as pezoldo (aka Friederike Pezold), Lynn Hershman Leeson, Kirsten Geisler, or Rebecca Horn, are just as noteworthy as works reflecting the impacts of mass media like television (Nam June Paik, Wolf Vostell), the connection between technology and the military, borders and surveillance, or violence in the digital space (Paul Garrin, Hanna Haaslahti, David Rokeby) or natural ecosystems (Justine Emard, Claudia González Godoy). Artists repeatedly question the possibilities and effects of new media, rethink and redesign them, thus bringing forth new social and cultural narratives that shape the discourse about our relationship with technology. 

We perceive art, as the exhibition title suggests, as a story that will never end as long as there are people. The fact that we do not know what form it will take in the future is something it shares with technology. Our knowledge of the past and present influences how we shape the future and value what is yet to come.

The restoration of media art

„The Story That Never Ends“ not only refers to artistic development but also to the challenges museums face when collecting media artworks: Technical devices are not made for eternity, data carriers deteriorate, software standards become obsolete very quickly, and media formats are no longer readable after a few years. This means that works must continuously be monitored and technically updated by conservators. What impact does this have on art and our cultural memory? What skills do we need to develop to not only have a future but also a past?

The ZKM has an internationally recognized expertise in the conservation and restoration of media art. However, since these conservation and restoration activities mostly happen behind the scenes, »The Story That Never Ends« takes a radical step: The decision about which key works from the collection are shown in the exhibition has been entrusted to the conservators of the ZKM. In doing so, they bring hidden treasures to light that have, due to elaborate preservation measures, often not been publicly visible for decades. Since the works themselves do not necessarily reveal the complexity of their technology and the challenges of their preservation, the exhibition also provides an introduction to the history of technology and conservation strategies for this type of works.

The view from the past into the future

»The Story That Never Ends« thus not only tells the fascinating story of media art through the unique collection of the ZKM. It also highlights the fragility of our electrified and digitalized civilization. The exhibition allows for an in-depth insight into the art and technology history of the 20th and 21st centuries and shows how history sharpens the view of the present and stimulates the imagination of possible futures.

Wed to Fri: 10 am to 6 pm
Sat, Sun: 11 am to 6 pm

Over 30 years ago, the England-born comedian Don Clarke moved to Germany and still marvels at the peculiarities of the German language. For Britons, for example, the letter combinations "ie" or "ei" are hard to distinguish. Generally, that's not a problem unless you want to join the Lauenburg shooting club. The "Natural Born Comedian" vividly describes stories that are drawn from real life, paired with a hefty dose of (British) humor.

Program: Ein Abend mit Don Clarke
The man. The legend. The Don!

Experience an evening full of laughter and good cheer with the legendary stand-up comedian Don Clarke! The comedian is known for his British humor and a distinctive stage presence that continually delights the audience.

He serves as a role model for many comedians. Some were inspired by him to even step onto a stage. Because he is the Don of comedy. Thousands of performances worldwide prove that.

An evening with Don Clarke is unforgettable. And if you've ever had the luck to see the charming Englishman live, you'll remember it. With his charming, witty perspective on everyday life, he allows us to see the little things in life in a different light, until we are moist with laughter. Don is a proud father of five children and a grandfather of ten grandchildren. He has aged a bit, but – fortunately – only minimally wise. Arrived in his third midlife crisis, there is much to tell. Even if there are more and more spare parts for his body: with his new hearing aid, he feels like a true superhero!

Don Clarke is a guarantee for good entertainment: British humor meets German thighs.

With his program "Ein Abend mit Don Clarke," the exceptional comedian fulfills a long-held wish: to take the stage and give his fans an unforgettable evening. Fresh, spontaneous, and “a little bit crazy,” every “evening with Don Clarke” will be a unique experience. Whether beloved classics or new wonderfully absurd stories. Don loves what he does. And everyone loves Don.

If there are still tickets available, you have nothing better planned than "Ein Abend mit Don Clarke"!
Photo @Andre Gleisberg

Doors open: 6:45 PM

Over 57 million people worldwide have already visited the exhibition. Starting January 30, 2026, plastinator Dr. Gunther von Hagens and curator Dr. Angelina Whalley will showcase their current exhibition about the human body in the cycle of creation and decay in Chemnitz: KÖRPERWELTEN & Der Zyklus des Lebens.
A variety of unique preparations, including many whole-body plastinates, guide us through the human body and clearly explain the individual organ functions as well as common diseases. The focus is on the human body and its changes over time, from conception to old age. KÖRPERWELTEN vividly demonstrates what each of us can do to maintain our health and high quality of life for as long as possible. There are only a few events that can change our perspective on ourselves so profoundly!
All specimens displayed in the exhibition are real. They come from individuals who, during their lifetime, stipulated that their bodies should be made available for the training of doctors and interested laypeople after their death.

Last admission: 5:00 PM

Selected songs by Franz Schubert

Starting from Schubert's well-known songs, a fascinating project emerged. Father and son bring the improvisational element back into the music of a time when the written word or the written note was practically sacred.
"Above all, we had an encounter with the complexity of Schubert's song creation in mind. We want to show that boundaries overlap," says Julian Prégardien. And they do so here – whether the songs were originally conceived as a duet or the rearrangement allows for the emergence of one of the music's inherent "other selves, a multi-voiced being." The result is very delicate, thoughtful, improvisational, and communicative arrangements for two voices of similar timbre, in which the idea of one, universal human voice seems to manifest with special intensity.
Selected songs by Franz Schubert will be performed.

Christoph Prégardien – Tenor
Julian Prégardien – Tenor
Michael Gees – Piano

Photo (c): Marco Borggreve

Admission: 7 PM

Children's theater for ages 6 and up based on the book of the same name by Ulf
Blanck and Boris Pfeiffer inspired by motifs from Robert Arthur

Uncle Titus has auctioned an old standing clock. As soon as it is on the
junkyard, suddenly a lot of people are after it. The three
??? quickly realize that the clock holds a secret. A singing
ghost poses a lot of tricky puzzles for the three detectives and
leads them on a dangerous trail…

Doors open at 15:30. The bringing of coats into the hall is not allowed.

Dessauer Jazznights #3

The season ticket is valid for all main round games of BBC Bayreuth in the BARMER 2. Basketball Bundesliga at the Oberfrankenhalle.

The following advantages come with a season ticket:
- free entry to a preparation game
- right of first refusal for potential playoff home games
- a discounted day ticket (-50%) for the first season game in the Basketball Bundesliga
- use of the ticket secondary market
- free use of the cloakroom
- and much more.

For the upcoming season, your season ticket will be digital! This is not only convenient but also an important step for the environment.
You can access your season ticket on your Reservix account after purchase.

Do you want to hold your season ticket as a card in your hand?
No problem! For an additional fee of €10 per card, the season ticket can still be ordered as a physical card.
Send an email to geschaeftsstelle@bayreuth-basketball.de for that.