The program for 2026 looks back at a future that has already passed: the world is imagined as ruins, with the exhibition venue itself forming part of them. These imaginings, fantasies, and fictions take on a life of their own at Kunst Raum Mitte. Based on the assumption that the future is already over, neither glittering utopian visions of the future are conjured up nor is the abyss of all that exists predicted. Instead, the afterlife of the ruins becomes the protagonist of the program; their continuing meanings, which exist on as traces and echoes. So what can a world look like when its end has already taken place?

DISSOLUTIONS counters the principle of dissolution and transience with crystallizing exploitative relationships and rampant capitalism. The consequences of nationalism, raw material exploitation, climate change, and colonial oppression are understood as irreparable. As a result, the program does not show any attempts at rescue, but rather the decisive disintegration of existing conditions—as well as the afflictions, fantasies, and ideas of past times.

Following the reopening of the galerie weisser elefant as Kunst Raum Mitte in mid-2024, DISSOLUTIONS, the last curatorial program under the artistic co-direction of Kunst Raum Mitte by Natalie Keppler and Agnieszka Roguski, programmatically picks up on this moment: By continuously placing its own archive in new contexts and constellations since 2024, DISSOLUTIONS becomes a permeable membrane of its own history, opening up a self-reflective, atmospheric institutional space that rethinks the future through strategies of dissolution.

The series begins with expansive installations by Johannes Büttner and Catherina Cramer. In May, a solo exhibition by artist and filmmaker Mooni Perry will open, whose work deals with feminist interpretations of East Asian cosmology and speculative fiction—blurring the boundaries between memory and disappearance. This will be followed in the fall by a solo exhibition by Julius Pristauz, whose installation and performance practice erodes concepts of identity and the separation between private and public spheres. Screenings, performances, and talks with Monthika Kham-on, Luzie Meyer, Hanwen Zhang, Beatrice Marchi, and others

The program for 2026 looks back at a future that has already passed: the world is imagined as ruins, with the exhibition venue itself forming part of them. These imaginings, fantasies, and fictions take on a life of their own at Kunst Raum Mitte. Based on the assumption that the future is already over, neither glittering utopian visions of the future are conjured up nor is the abyss of all that exists predicted. Instead, the afterlife of the ruins becomes the protagonist of the program; their continuing meanings, which exist on as traces and echoes. So what can a world look like when its end has already taken place?

DISSOLUTIONS counters the principle of dissolution and transience with crystallizing exploitative relationships and rampant capitalism. The consequences of nationalism, raw material exploitation, climate change, and colonial oppression are understood as irreparable. As a result, the program does not show any attempts at rescue, but rather the decisive disintegration of existing conditions—as well as the afflictions, fantasies, and ideas of past times.

Following the reopening of the galerie weisser elefant as Kunst Raum Mitte in mid-2024, DISSOLUTIONS, the last curatorial program under the artistic co-direction of Kunst Raum Mitte by Natalie Keppler and Agnieszka Roguski, programmatically picks up on this moment: By continuously placing its own archive in new contexts and constellations since 2024, DISSOLUTIONS becomes a permeable membrane of its own history, opening up a self-reflective, atmospheric institutional space that rethinks the future through strategies of dissolution.

The series begins with expansive installations by Johannes Büttner and Catherina Cramer. In May, a solo exhibition by artist and filmmaker Mooni Perry will open, whose work deals with feminist interpretations of East Asian cosmology and speculative fiction—blurring the boundaries between memory and disappearance. This will be followed in the fall by a solo exhibition by Julius Pristauz, whose installation and performance practice erodes concepts of identity and the separation between private and public spheres. Screenings, performances, and talks with Monthika Kham-on, Luzie Meyer, Hanwen Zhang, Beatrice Marchi, and others