Charlottenstraße

11 SEP – 7 NOV 2026
Opening – 10 SEP 2026, 6–10 pm

For Berlin Art Week 2026, Galerie Thomas Schulte presents the exhibition Life–Death by Katharina Sieverding. At the heart of the exhibition is the 1969 film of the same name, complemented by large-format film stills and previously unpublished Polaroids. Created in what was then West Berlin, the work reflects an early period in the artist’s practice and a historical moment of concentrated political, social, and aesthetic upheaval. Notably, Life–Death was shown at documenta 5 in Kassel in 1972—an early marker of its art-historical significance.

Charlottenstraße

11 SEP – 7 NOV 2026
Opening – 10 SEP 2026, 6–10 pm

For this year’s edition of Berlin Art Week, Galerie Thomas Schulte presents Die Sein: Para Psychics Expanded (Excerpt), its first solo presentation of Kerstin Brätsch. The gallery’s Corner Space and adjacent window front are transformed into a cosmos or organism of its own: Brätsch’s intricate floor work with a mosaic look sprawls across, facing the sky, as the Corner Space’s tall windows filter in altered sunlight from above. The organic forms, bold colorations and patterns of cardboard honeycomb panels on the walls – enlarged motifs from Brätsch’s stucco marmo works – resemble formations in agate geodes or psychedelic pareidolias, both giving structure to and inhabiting the space as eerie beings. Against this mutating backdrop is a selection of works from her titular Para Psychics series: intimate, Mandala-like drawings in colored pencil that appear as living, ever-transforming constellations in themselves. Throughout, the stratification of time seems to both stretch open infinitely and condense into new forms – with ghostly traces appearing as though fossilized in stone. 

Potsdamer Strasse

11 SEP – 7 NOV 2026
Opening – 10 SEP 2026, 6–10 pm

Galerie Thomas Schulte presents Nachtruhe, a solo exhibition by David L. Johnson bringing together sound works, subtractive sculpture, printed matter, and photography produced in and around public and private parks in Philadelphia, New York, and Berlin. Across these three cities, Johnson’s work documents and intervenes in shifting conditions of access to green space, examining how nighttime curfews and other forms of control shape the boundaries of public space.

Moving between visible barriers and less perceptible forms of control, Nachtruhe considers how these boundaries are produced and enforced over time and across geographies. Through acts of removal, displacement, field recording, and remapping, Johnson traces how they extend beyond the sites and conditions they ostensibly regulate.