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THE ART OF WITHDRAWAL — “HANNAH ZABRISKY TRITT NICHT AUF” AT THE SCHAUBÜHNE

THE ART OF WITHDRAWAL — “HANNAH ZABRISKY TRITT NICHT AUF” AT THE SCHAUBÜHNE

Luckily, she’s performing! Hannah Zabrisky tritt nicht auf is the title of Falk Richter’s new play. It offers a glimpse into the heart of the theater world — its vanities, its pressure on aging women, its longing for significance. To begin, the revolving stage dictates whether we are in the middle of a rehearsal or already in the performance. Later, only Jule Böwe, in the role of Hannah Zabrisky, determines this. Nina Wetzel’s stage design is a theater carousel: a collection of rehearsal stages, backstage areas, and back rooms that are constantly rearranged. Wandering through this landscape is an ensemble that is, in the best sense, almost too capable. There is the ambitious author desperately trying to impose order, her partner who knows her way around social media and awareness in the theater, the colleague who already understands how the business works and how exhausting it can be, and those who must assert themselves somewhere in between. They all orbit a character who doubts the material that seems so perfectly tailored to her: the celebrated actress Hannah Zabrisky. Hannah Zabrisky Doesn’t Perform offers a look behind the scenes of theater — its vanities and struggles. The play sheds light on the reality for women in the theater.

It’s about aging women realizing how quickly their roles crumble away, while new expectations continuously grow around them. And then there is the outside world, which always finds its way in: crises, conflicts, the collective sense that something is tipping. The play attempts to process all of this, and sometimes fails in a touching way, sometimes in a comical way. Every now and then, I wonder why this topic, of all things, wants to hide behind a shield of irony, until Jule Böwe comes on stage, smoking and drinking whiskey, and makes it beautifully plausible again. The production oscillates between comedy, melodrama, and musical. At times elegant, at times deliberately awkward. Yet it lands perfectly. The evening becomes so delightfully absurd that you catch yourself remembering why you’re sitting in a theater and not in front of a screen. (Although there are screens where Chris Kondek shows the actors, previously recorded, artificially aged, and also live.) Be sure to come to the Schaubühne for an evening of enjoyable entertainment and the performance of Jule Böwe, who seems to hover above it all. And who, luckily, does perform.

Text: Emma Zylla / Photos: Gianmarco Bresadola

Schaubühne, Kurfürstendamm 153, 10709 Berlin–Charlottenburg; map
Hannah Zabrisky tritt nicht auf 

@schaubuehne_berlin

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FOR EARLY BIRDS & NIGHT OWLS: TU LIBRARY WELCOMES THE CURIOUS AROUND THE CLOCK

FOR EARLY BIRDS & NIGHT OWLS: TU LIBRARY WELCOMES THE CURIOUS AROUND THE CLOCK

Studying can be a grind — deadlines, citations, endless research. But for anyone seeking a quiet place to enjoy a book or expand on their knowledge, TU library welcomes a “come one, come all, come anytime” approach. Open 24/7 to the public, it’s a space to get in the zone, whether you’re an early-bird reader or a midnight researcher. Located behind Zoologischer Garten, TU, with a 20-year history, it stands six stories tall and is committed to diversifying the space and expanding opening hours to welcome a higher volume of people. Its doors have stayed open around the clock since May 2025. So whatever study or research habits you might have, be sure to maximize your workflow here. TU is open to any curious mind in search of deepening their knowledge. The library offers online and offline collections of books, journals, e-books, architectural drawings, and plans. Publications can also be found on their portal with thousands of articles, academic publishers, films, audio materials, sheet music, and journals. Grab a coffee on the ground floor and utilise the multiple work spaces — from community desks, private rooms, study pods, sofas, and beanbags, all naturally lit through framed windows. The library is self-sufficient with its own cafeteria, self-service collection area, as well as digital and print literature.

The library’s modern, airy design invites guests to move freely and settle anywhere. The space buzzes with focused energy, creating a motivating, distraction-free atmosphere. TU Library welcomes anyone from the general public and it also hosts special events. In November, there will be a campaign for food wastage where anyone can take part and get involved. It will run for a week starting from 29.11.2025.

Text & Photos: Ruby Watt

University Libraries TU Berlin & UdK Berlin, Fasanenstr.88, 10623 Charlottenburg–Berlin; map

@tu_berlin

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AN EXHIBITION AGAINST LOOKING AWAY: GLOBAL FASCISMS AT HKW
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AN EXHIBITION AGAINST LOOKING AWAY: GLOBAL FASCISMS AT HKW

“You can say it, I don’t mind,” the President of the United States comments in response to a journalist asking New York’s new mayor whether he considers Trump a fascist. He almost seems proud of his own image. Around the world, a movement toward the darker side of power is becoming increasingly visible. Fascism is becoming more and more socially acceptable. Yet there is a reluctance to talk about this shift. Whether as a coping mechanism or blatant denial, one thing is clear: we must confront the topic to resist it. The exhibition Global Fascisms at the Haus der Kulturen der Welt takes on this challenge. But how do you visualize fascism? Where do power structures become visible? And how much aesthetics are involved? Since early September 2025, the group exhibition has explored these questions, bringing together artistic positions that trace the rise of authoritarianism in our time: the bodies it shapes, the technologies that drive it, and the psychological landscapes it leaves behind. The show features work by 50 international artists grappling with the growing influence of fascist ideologies. Contemporary painting, film, performance, discourse, and digital art sit alongside historical works that feel eerily familiar. A recurring theme: the seductive aesthetics of fascist systems and their analysis. And the technological and technical advances: what role, for example, do artificial intelligence and its associated (often aesthetic) pigeonholing play in the rise of fascism?

Artist Josh Kline shows how AI, automation, and political right-wing shifts hollow out work environments and make people replaceable. Jane Alexander’s sculptures (Council with Emblem) oscillate between the familiar and threatening, suggesting authority without a clear message and challenging us to question our prejudices. Eli Cortiñas dissects the image politics of the surveillance society and envisions counter-images of hybrid, resistant bodies. Hou Chun-Ming weaves queerness, mythology, and political history into a multilayered commentary on desire and repression. Anna Maria Maiolino demonstrates how migration, military dictatorship, and censorship shape artistic language without diminishing clarity or power. And Fuyuhiko Tanaka, with Japan Erection, delivers a bawdy yet painfully sharp commentary on the destructive drive and potential of patriarchal power structures. Global Fascisms is on view until 07.12.2025, with free entry on the final weekend. It’s an invitation to face hard truths.

Text: Inga Krumme / Credits: Gülsün Karamustafa, Soldier (1976), Courtesy Gülsün Karamustafa,  BüroSarıgedik.Salt Research and Gülsün Karamustafa Archive; Jane Alexander, Council with emblem (2025), Monitor (2023), Representative in law enforcement jacket, (2006,14), Bird in Step Out tunic (2024), Beast (2003), Emblem (2025), Courtesy Jane Alexander; Exhibition View Global Fascisms, Haus der Kulturen der Welt (HKW), 2025, Photo: Hanna Wiedemann/HKW

Haus der Kulturen der Welt (HKW), John-Foster-Dulles-Allee 10, 10557 Berlin–Tiergarten; map

Global Fascisms 13.09.–07.12.2025. Find the full program here.

@hkw_berlin

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24 HOURS AT THE NEUE NATIONALGALERIE: MARCLAY’S FILM MONTAGE “THE CLOCK”
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24 HOURS AT THE NEUE NATIONALGALERIE: MARCLAY’S FILM MONTAGE “THE CLOCK”

At the 2011 Venice Biennale, artist Christian Marclay demonstrated just how exhilarating it can be to watch the clock. For The Clock, he constructed a 24-hour montage from cinematic fragments — from classics to forgotten productions — each centered around a different ticking clock. His idea was as simple as it was compelling, earning him not only the Biennale’s Golden Lion but worldwide fascination. Now Berlin can fall under the spell of his timepiece. Alongside Marclay’s exhibition, the Neue Nationalgalerie is screening The Clock in its entirety outside regular opening hours. From 05.12.-06.12.2025 and 02.01-03.01.2026 (from 20–10h), wander through the night with film stars and lose yourself in the tempo and rhythm of time.

The explosion of Big Ben from V for Vendetta, the nocturnal clock-tower scene from Orson Welles’s The Stranger, or Christopher Walken’s legendary watch monologue in Pulp Fiction all become the hands of this cinematic timepiece. Marclay’s montage doesn’t just mark the minutes; it reveals how deeply our visual memory is shaped by these iconic film moments. For years, he combed through the archives of film history, placing high culture and pop, thriller and drama, blockbuster and arthouse side by side on equal footing. The work stands for the pull of cinema itself: the way tension builds, how expectations shift, how temporality is always a central carrier of cinematic meaning. The Clock is not a simple film screening; it’s an invitation to drift into the night, into the early morning, until real and cinematic time begin to merge. Between darkness, film snippets, and half-awake thoughts, a moment emerges that feels almost meditative. You sense time stretching — minute by minute, scene by scene.

Text: Laura Storfner / Credits: Christian Marclay, The Clock, Photo: White Cube (Ben Westoby), Courtesy White Cube, London

Neue Nationalgalerie, Potsdamer Str.50, 10785 Berlin–Tiergarten; map

Christian Marclay. The Clock 29.11.25–25.01.2026
Two 24-hour screenings outside regular opening hours (free) on 05.–06.12.2025 & 02.–03.01.2026, 20–10h

@neuenationalgalerie

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IN SEARCH OF THE LOST FATHER: DIANA MARKOSIAN AT FOTOGRAFISKA
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IN SEARCH OF THE LOST FATHER: DIANA MARKOSIAN AT FOTOGRAFISKA

For a long time, the father of the photographic artist Diana Markosian was absent from her life. “For almost my entire life, my father was nothing more than a cut-out silhouette in our family album. A reminder of what wasn’t there,” she says. During her childhood, he would disappear for months at a time, until her mother could no longer bear it and left. She separated from Markosian’s father and emigrated with the children from Moscow to California. Markosian was six years old at the time. While her mother used scissors to remove her father from daily life and the family photos, Markosian could not (and did not want to) erase her memory of him so easily. Fifteen years after she last saw him, she traveled to Armenia in search of him. She had neither a photograph nor a contact she could turn to. Eventually, she found him, and with her camera, she documented her efforts to rebuild their relationship over the course of a decade. With each visit, new facets of the lost parent emerged. The series “Father” is now on view at Fotografiska Berlin. As straightforward as the title is, so too is Markosian’s visual exploration of loss and the longing for belonging.

The artist reconstructs the fragile line between memory and repression. In Berlin, she shows how the search for an absent parent becomes an act of self-inquiry. Over more than ten years, she cautiously approaches a man who, in her biography, was more myth than man. The exhibition unfolds like a diary: intimate images, video works, fragments of conversations. Everything circles the question, “How can closeness be restored when time has long made it elusive?” Markosian invites us to bear complexity, beyond blame. Instead, she creates a space that understands family ties as living, contradictory organisms. Father shows that art can be healing without smoothing things over, and how vulnerable we become when we confront our own histories.

Text: Laura Storfner / Photos: Diana Markosian

Fotografiska Berlin, Oranienburger Str. 54, 10117 Berlin–Mitte; map
Diana Markosian: Father 21.11.2025–19.04.2026

@fotografiska.berlin
@markosian

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