Cee Cee is a weekly email magazine with hand-selected recommendations for Berlin and beyond. Every now and then you’ll find paid posts as part of the newsletter, marked as “Sponsored Posts”. Subscribe here to receive Cee Cee every Thursday and follow us on Facebook and Instagram for more tips!
page-template-startpages
On the sunny corner where Kastanienallee and Oderberger Straße meet, you’ll find Zacharias Tagesbar. The venue opened a few weeks ago, yet it feels as though it’s always been a fixture. Perhaps it’s the timeless design: inside, dark wood meets polished metal accents and a Mediterranean palette of terracotta and olive green. Zacharias draws inspiration from Italian coffee and aperitivo culture. Stop by in the morning for a quick espresso, or linger in the evening over a Negroni and a selection of small Mediterranean snacks. Owners Johannes Knötig and Joel Rudischhauser come from the specialty coffee scene and have already made a name for themselves in the neighborhood with Zacharias Kaffebar, which opened in 2021. While drinks remain the focus at the new location, the Tagesbar introduces an entirely new concept. During the day, enjoy freshly brewed coffee made with beans from 19grams and a rotating selection of filter coffee specials, alongside freshly baked croissants, toasted banana bread, and small snacks. In the afternoon, the Tagesbar transforms into a destination for aperitivo. The menu features three excellently curated house wines — approachable, balanced, and the perfect match for any evening.
Those seeking something more experimental can choose from three ever-changing wines: rosé, cava, and other bottles available by the glass or for sharing. But the real highlight is the Negroni, a signature drink perfected over time. The two owners are confident it’s among the best in Berlin. To accompany your drinks, order chips, lemon olives, cheese, cold cuts, marinated vegetables, and fresh bread throughout the evening. Outside, around 80 seats invite you to soak up the sun, while inside, the bar transitions gently from day to night, with future pop-ups and listening sessions designed to bring the community together.
Text & photos: Robyn Steffen
Zacharias Tagesbar, Oderberger Str. 7, 10435 Berlin–Prenzlauer Berg; map
@zacharias.tagesbar
As the days grow darker and the air gets crisper, one can’t help but reach for that favourite blanket to cozy up with. Perelic Woolen Goods not only offers unique blankets but also textured and vibrant rugs. Perelic is a Bulgarian rug and blanket shop where no one design is the same, but every design brings traditional Bulgarian kilim weaving to Berlin. After spending five years in the film industry, Denitsa Popova found inspiration through her grandmother’s roots, where, in the small town of Kotel, kilim weaving thrives. There, she educated herself on blanket weaving, resulting in endless variations and styles while maintaining the feeling of warm and weighted spreads. Perelic is named after the highest peak in Bulgaria, surrounded by some of the oldest textile traditions in the region. This is where Denitsa spent time collecting some of the most unique and almost extinct textiles. When you step into Perelic, your eyes can’t move quickly enough to take in all the colours and textures. Greeted by Denitza, Denitsa’s colleague, she shows us around the shop, pulling out and displaying different rugs for us to touch and even walk on (shoes off, of course!). There, you can engage with each piece authentically, making the process of selecting a rug fun and easy. Like the practice of kilim weaving, moving around the shop is done slowly and with care, taking in every detail, because it’s true, every piece is completely different and requires the time of observation, as though you’re at an exhibition. To be able to take one of these pieces home would not only make a statement but add peak (pun intended) coziness to your apartment.
Text & photos: Ruby Watt
Perelic Woolen Goods, Pückler Str.17, 10997 Berlin-Kreuzberg; map
@perelicwoolengoods
The stage is bathed in pink. On a pale pink carpet stands a large hotel bed draped in ruffled satin, where a blonde woman in a pink velour tracksuit sits. Blood stains the floor, and a man’s body lies under the bed. Call me Paris by Yana Eva Thönnes begins at the Schaubühne Berlin. Everyone knows Paris Hilton. Even 15-year-old Julia (Alina Stiegler), whose story unfolds alongside that of the It girl. In 2004 Los Angeles, Hilton’s ex-boyfriend released a sex tape without her consent. “1 Night in Paris” became one of the most viewed porn videos of the 2000s. Hilton fought for years to reclaim her image rights. Meanwhile, in Bergisch Gladbach, newly arrived and blonde, Julia is immediately nicknamed “Paris” by her classmates. Every millennial woman who spent her teenage years in provincial Germany during the 2000s will recognize something of herself in Julia’s memories. Whether it’s the rhinestone on her friend Kathi’s canine tooth, the low-rise Miss Sixty jeans, the white Deichmann boots (like J.Lo’s), or the family PC in her father’s study that enabled her first exploration of the internet.
But she recognizes herself most clearly in the shameless objectification that women of that era were subjected to. Three leading actresses tell the story. Paris Hilton (Ruth Rosenfeld) offers advice on self-presentation, perfection, and what it takes to be an “It girl”. Julia’s mother (played by Jule Böwe, with glittering butterfly earrings, small braids, a craving for attention, and a dysfunctional marriage) has plenty to say about her daughter’s body, but little about the photos that the much older small-town hairdresser takes of the underage girl. Julia speaks about him, and about his film “1 Night in Paris”, in which she suddenly finds herself playing the leading role against her will. Actor Holger Bülow plays all the men in the production: the taciturn, alcoholic father and the abusive hairdresser. Twenty years later, Julia meets the latter again in a hotel room to talk about the tape. The encounter ends brutally, bloodily, and with devastating honesty. And while Y2K — with its skinny brows and lip-gloss aesthetic — has recently been glorified and revived, Call me Paris exposes something else: disturbingly intimate yet strangely detached, the pink light falls mercilessly on its own shadows.
Text: Inga Krumme / Photos: Philip Frowein
Call me Paris at Schaubühne, Kurfürstendamm 153, 10709 Berlin–Charlottenburg; map
@schaubuehne_berlin
When South Korean choreographer Eun-Me Ahn’s Post-Orientalist Express rolls in, you let yourself be swept along — and be prepared to leave your baggage behind. In her latest work, which will celebrate its European premiere on 15.11.2025 at the Haus der Berliner Festspiele as part of the Performing Arts Season 2025/26, Eun-Me Ahn explores the legacy of Orientalism. She deconstructs the stories that the “enlightened West” tells about the “mysterious Orient” and asks: Who is speaking about whom — and how? Together with her ensemble, she searches for hybrid choreographic identities that move beyond internalized stereotypes. On a stage that merges traditional cultural forms with neo-traditional remix elements, Ahn demonstrates that “tradition” and “modernity” are no longer separate categories but exist in continuous dialogue, often through contradictory images. These tensions are visible in the 90 costumes, all designed by Ahn herself. Her questions remain pressing: How do orientalist perspectives continue to shape the work of Asian artists today? What role does the memory of colonial regimes of the gaze still play? And how can encounters between East and West be reimagined? The Post-Orientalist Express doesn’t simply travel from A to B, it traverses spaces, ideas, and attributions, inviting audiences to climb aboard and dive in deeply.
Continuing this exploration of deconstructing clichés and inherited images, Gisèle Vienne and Étienne Bideau-Rey’s Showroomdummies #4 premieres on 05.12.2025. Here, dolls meet performers, and the boundaries between body and object become disturbingly interchangeable. Vienne and Bideau-Rey work with the tension between attraction and repulsion, drawing on references that range from masochism to Japanese horror. The result is a piece that lays bare desire, the staging of femininity, and the mechanics of the gaze. The dolls are not mere props; they form an integral part of a dramaturgy of withdrawal and suggestion. While Ahn interrogates questions of identity and attribution, Vienne and Bideau-Rey examine attribution itself as a physical and theatrical pattern. Together, both productions transform the stage into a laboratory of perception, standing as emblematic examples of the radical, playful, and critical international dance, theater, and performance works that the Performing Arts Season will bring to the Haus der Berliner Festspiele through early 2026.
Text: Laura Storfner / Photos: Credit: Jean-Marie Chabot, Hervé Véronèse, Sukmu Yun & Jiyang Kim
Haus der Berliner Festspiele, Schaperstr. 24, 10719 Berlin-Wilmersdorf; map
Performing Arts Season 2025/26 until 25.01.2026. Info and tickets can be found here.
@berlinerfestspiele
Sometimes, art emerges in the spaces where people come together. In this case, it happens in Anna Lukashevsky’s classroom in Schöneberg. Since moving to Berlin a year ago, the artist has been organizing painting classes for immigrants and Germans with foreign roots, to build community, she says. And to earn a living as she works to reestablish herself as an artist in her new city. Together, her students paint portraits of different models, most of whom are also immigrants, with stories that often mirror those of the painters themselves. The class is a lively mix. Participants speak Italian, Russian, Hebrew, and Georgian all at once. The results of these classes, “political-psychological portraits”, as Anna Lukashevsky herself calls them, will be shown for the second time this week (08.11.2025) under the title “Immigrants Paint Immigrants”, in the rooms of a psychoanalysis practice on Tempelhofer Ufer. Visitors can expect art in an unusual yet perfectly fitting setting, and portraits that reveal as much about the painters as they do about their models.
Text: Inga Krumme / Photos: Anna Lukashevsky
Praxis Gallery, Tempelhofer Ufer 1A, 10961 Berlin–Kreuzberg; map
Immigrants Paint Immigrants pop-up exhibition 08.11.2025
@praxis.gallery
ANMELDUNG