News & Events

Events

TRÜMMERFRAU
Performance by Henrike Naumann

September 12
October 3
October 4
October 23
October 24
November 20
November 21
November 22

The performance will take place at 1:00 p.m. and 4:00 p.m. on each of the dates listed above at the German Pavilion.

News

  • In Conversation: Sung Tieu & Kathleen Reinhardt

    In Conversation: Sung Tieu & Kathleen Reinhardt
    A Series in Cooperation with Deutsche Bank
    Date: Sat, 24 October 2026, 3 pm
    Location: Hamburger Bahnhof – Nationalgalerie der Gegenwart

    In her work, Sung Tieu brings together sculpture, sound, text, drawing, and video, informed by extensive research and autobiographical references. She examines the structural mechanisms of bureaucracy, migration, and power, investigating how these systems shape contemporary life and condition individual and collective experiences.

    Kathleen Reinhardt, director of the Georg Kolbe Museum in Berlin and this year’s curator of the German Pavilion, speaks with Sung Tieu about the development process of the exhibition RUIN for the 2026 Venice Biennale. Together, they discuss the concept, implementation, and collaboration, as well as the interplay between curatorial practice and contemporary art.

    The talk will be held in English.
    Admission free
    More information here

  • Opening Week

    Official Opening Ceremony
    May 7, 12 p.m.

    Performance TRÜMMERFRAU by Henrike Naumann
    May 7, 1 p.m. and 3 p.m.
    May 9, 12 p.m. and 4 p.m.

  • RUIN

    In Ruin, the German Pavilion becomes a space in which physical and social structures, German ideologies, and lived biographies tangibly overlap, bringing architecture, history, and psychology into productive tension. The exhibition’s title riffs on the word’s multiple associations. While the English word ‘ruin’ refers to architectural and physical remnants, the German term ‘Ruin’ signifies a state of collapse—economic, social, or moral.

    In newly produced works, Henrike Naumann and Sung Tieu draw on their research into the GDR and the transition period following reunification of East and West Germany in 1990, demonstrating how historical ruptures and gaps in political, social, and architectural structures continue to resonate—and are perhaps more evident than ever in a globalized present. Tieu and Naumann reflect on both German history and the German Pavillion’s fascist architecture by artistically re-appropriating the space. Using a formal vocabulary that oscillates between minimalist clarity and maximalist opulence, both artists employ the building as an ambivalent mirror of social dynamics from the recent past to the present.

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