Reinbeckstraße 9
12459 Berlin-Oberschöneweide

Opening hours:
Friday April 29 2017 | vernissage, foodinstallation, beverages 6pm-10pm
Saturday April 29 - Sunday April 30 | 12am - 8pm
Thursday May 4 | 2pm - 8pm
Friday May 5 - Sunday May 7 | 12am - 8pm

„Boulevard of broken dreams“

„I walk along the street of sorrow
The boulevard of broken dreams
The joy that you find here you borrow
You cannot keep it long it seems
But gigolo and gigolette
Still sing a song and dance along
The boulevard of broken dreams.“

Tony Bennett

Exhibition of this year’s Kunst am Spreeknie Festival from April 28 to May 7 2017 in the Reinbeckhallen in Berlin-Oberschöneweide

"What lies buried under the asphalt, is hidden behind the walls of houses, breaks forth with his blossoms and seeks space for the denied existence."

Six artists from Berlin, Munich, Karlsruhe and Stuttgart are excogiating different facets of the shards of broken dreams and they reveal images of various aspects of human failure.

The title of the exhibition "Boulevard of Broken Dreams" refers to the area Schöneweide and observes with the exhibited works past and present history and the human fate which goes along with it. Oberschöneweide was one of the largest connected industrial areas of Europe, a microcosm of the younger german history: The pioneering spirit at the beginning of the 20th century, armament production and massive use of forced laborers at the time of national socialism. After the war expropriation and dismantling, when the wall came down, one business after the other closed and the workers lived between hope and resignation. When it was in 2006 succeeds in locating the University of Economics and Technology, the area got a new impulse. The place of exhibition corresponds as a metaphor between shattered political visions and the fragments of an intimate existential injury.

The theme of unfulfilled children 's dreams can be found in the works of Susu Gorth’s work "Teddys" and Cornelia Kohler’s "Home is where I live inside". Gorth picks up on the subject in a way where the objects are refusing in an anarchic manner to accept their legal form, while the archetypes, like doll's houses and hairs in Kohler´s work are relayed with a new nightmarish meaning. The work of Kerstin Serz is also swaying between a romantic childlike reality and a profound, diffuse layer. Childhood serves as a mythical and utopian place in art as a field of ascertaining one's own social and cultural existence and shows itself in the works rather of a instability particular intensity. The painter Ivo Stilling dismantles the dream of speed. The status symbol automobile dissolves on the screen from perfect design to fragments of its function. The dream of Europe is in it´s political children shoes and fears of pending loss of national cultural identity. The series "Borders" by Martin Sigmund documents the fragile and constantly changing political constructs of our time. Ute Heim combines autobiographical and political memories in her video work a journey back to a place of her childhood.






Hairs tied to pigtails meandering through thick dust-patinated children's toys. Hair is an expression of individuality, the cutting or tying of hair is evidence of cultural taming. The superficial view on the artist’s work consider us mostly in a well known territory, pictures from fairy tales, stories and memories of childhood obtrude themselves strikingly and completely banal. But the view behind the scenes dissolves this familiarity by the replacement or destruction of the used symbols and creates a new complex, disturbing reality. Cornelia Kohler


The equality of nature, animal and men, is disturbing, surreal the piece of composition. The pictures are pointing the view to odd situations, unexplained relationships and romantic, intimate moments, whose uplifting beauty, is broken by the artist. The appearance of these figurative paintings is treacherous that the viewer can easily follow a narrative here. On the contrary, there is no reverberation of the occurrence, every statement that is made ends with a question mark or remains alone in a "land without echo“. While studying these pictures we are confronted by ambivalences of vulnerability and strength, power and impotence, fear and trust. Kerstin Serz


By using utilization materials in her work to create a complex structure of the surface, their history always remains noticeable. Sculptures emerge which are anarchically refusing their given form. Built like a co-ordinate system, in which by the workings system errors occur and that creates for the artist the possibility and connecting point to break through the order. As in an expansive force, soft, partly biomorphic masses overcome their limitations and prescriptions. Works are created in which the connection of the antitheses here become a whole, artificially and profan, coarse and filigree, attractive and repulsive, a play of macro- and microcosmos. Susu Gorth


In many of her performances and installations, music is an important part and serves as a strong reminder and trigger of emotions and memories. In the end all her work shifts into a highly charged field where we encounter an unexpected melancholy of lost, a desire that the present moment might linger on and a very special an unexplainable blend of strange perception, of high emotion, of overwhelming memory and of a deeply shuttered certainty.
(Franz Schneider, Breda, NL, July 2016) Ute Heim


With the 1995 Schengen Agreement, the borders in Europe fell as well as ideological manifestations. Since 2005 Martin Sigmund photographed in a long-term project with the large format camera european border stations, which have been reactivated since 2015, toll bar after toll bar, as if they had never been away. Were they really that ever? Martin Sigmund


The pictures, quite delicate in terms of form and content are showing luxury limousines after a serious accident, the status symbol car becomes a painted sculpture. The obstacle with which the limousine has collided deformed it in a severe way that a kind of lightning metamorphosis took place. These fine paintings never imitates exaggeratedly the often cheesy-looking photorealistic paintings. They keep their surliness, which can not be seduced by fair illusion to defend aggressively their autonomy. Ivo Stilling



  • Reinbeckhallen

  • Miss Sophie's Planet

Location and Venue



Reinbeckstraße 9

12459 Berlin-Oberschöneweide


Nearby Accomodation

Essentis Biohotel Berlin

Weiskopffstraße 16/17

12459 Berlin - Oberschöneweide

Book Online
Travel information

S-Bahn Schöneweide, Trams 27, 60, 67 to station Firlstraße

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