Toolbox invitation
January 22, 2026

Solistenduett 30.01.-22.2.2026

Jürgen Baumann, Dietrich Walther

Opening | Vernissage: Friday, 30.01.2026, 7 pm | 19 Uhr

Exhibition | Ausstellungsdauer: 30.01.–22.02.2026

Finissage: 22.02.2026: 5 pm | 17 Uhr

Opening Times: Öffnungszeiten:
Friday and Saturday | Freitag und Samstag: 3–7 pm | 15–19 Uhr

Toolbox presents an exhibition with works from Jürgen Baumann and Dietrich Walther, both Berlin artists.

J. Baumann works in extreme proximity to the real object and thus defines a very small image section, while D. Walther draws his image sources as found footage from the depths of the World Wide Web, but limits the reduction of image information to content that is recognisable as a body.

Both of us allow our objects to undergo a transformation that, in the montage, creates something new as a tableau or even as a multi-part image that no longer has much to do with the original image source.

Both of us work with the human body, which, as we show it, can certainly create uncertainty and discomfort.

The recipients of these works must engage in an interplay between viewer and viewed, proximity and distance. They experience the deconstruction and reconstruction of human bodies and are ultimately encouraged to examine their own economy of attention, which is increasingly characterised by scrolling through a flood of images from the internet.

Deutsch

Dietrich Walther und Jürgen Baumann präsentieren eine Ausstellung in der die einzelnen Arbeiten einen intensiven konfrontativen Dialog führen. In räumlicher Trennung und in unmittelbarer Nähe zueinander. Dadurch wird das Trennende und Verbindende der beiden künstlerischen Positionen sichtbar.

J. Baumann arbeitet in extremer Nähe zum realen Objekt und definiert somit einen sehr kleinen Bildausschnitt, D. Walther bezieht seine Bildquellen als Found Footage aus den Tiefen des World Wide Web, beschränkt die Reduktion von Bildinformationen aber auf als Körper erkennbare Inhalte.

Beide lassen wir unsere Objekte eine Transformation durchleben, die in der Montage als Tableau oder auch als mehrteiliges Bild Neues entstehen lässt, das mit der ursprünglichen Bildquelle nicht mehr viel zu tun hat.
Beide arbeiten wir mit dem menschlichen Körper, der, so wie wir ihn zeigen, durchaus Verunsicherung und Unbehagen erzeugen kann.
Die Rezipient*innen dieser Arbeiten müssen sich einlassen auf ein Wechselspiel zwischen Betrachter und Betrachtetem, Nähe und Distanz. Sie erleben die De- als auch Rekonstruktion menschlicher Körper und werden letztendlich angeregt, ihre eigene Aufmerksamkeits-ökonomie zu überprüfen, die zunehmend vom durchscrollen einer großen Bilderflut aus dem Netz geprägt ist.

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Mengerzeile Einladung
October 12, 2025

présage – Michelle Lloyd, Claudia Brieske | 2.-22.11.2025

Warmly welcome to our next opening on Friday, 31. October 2025, at 7 pm

Exhibition: 2.–22.11.2025

Opening hours: Wed–Sat 3–7 pm

Kolonie Wedding Weekend open on Sunday, 2.11.2025 from 2–6 pm

Présage means to foretell or predict, often indicating a warning or sense of something about to happen – typically something unpleasant or unwelcome. It may also refer to an intuition or feeling of foreboding. Essentially, it is a sign anticipating an imminent event.
A certain unease exists in the works of Claudia Brieske and Michelle Lloyd. An underlying anxiety rises slowly, manifests itself quietly and looms.

In both artists’ work the pressure of pent-up, charged energy – be it from a seismographic, meteorological or other atmospheric force – declares its presence and requires relea
While the two artists’ interpretations emerge from different perspectives and artistic disciplines – video, sound and painting – they simultaneously focus on the tension of the frozen time fragment, just before the onset …
This présage is a disembodied future: it cannot be tangibly grasped, yet etches physical and psychological traces in the present nevertheless.

Artists

Michelle Lloyd and Claudia Brieske, both artists from the Mengerzeile studio house, are showing the painting cycle ‘ONSET’ and the video/sound installation ‘Falling Forward Slightly’, created in Istanbul, at the TOOLBOX gallery. This exhibition marks the start of an exchange between the TOOLBOX and Kunstraum m3 project spaces.

Deutsch
Présage bedeutet vorausahnen oder ankündigen: oft eine Warnung oder eine Ahnung für etwas, das passieren wird – typischerweise etwas Unangenehmes oder Unwillkommenes. Es kann sich auch auf eine Intuition oder ein Gefühl der Vorahnung über die Zukunft beziehen. Im Wesentlichen ist es ein Zeichen oder ein Omen, das ein bevorstehendes Ereignis andeutet.
Eine gewisse Spannung liegt in den Werken von Claudia Brieske und Michelle Lloyd: ein zugrundliegendes Gefühl der Unruhe steigt langsam auf, manifestiert sich leise und wartet lauernd. Es zeigen sich die Zeichen und der Druck der aufgestauten, aufgeladenen Energie – sei es von einer seismographischen, meteorologischen oder einer anderen atmosphärischen Kraft – kündigt sich an und erfordert Freigabe.

Während die Interpretationen der beiden Künstlerinnen aus unterschiedlichen Perspektiven und künstlerischen Disziplinen, Video, Ton und Malerei, hervorgehen, konzentrieren sie sich gleichermaßen auf das Unbehagen im eingefrorenen Zeitfragment unmittelbar vor dem Ausbruch …

Diese ‚présage‘ ist immateriell, eine nicht zu greifende Zukunft, die dennoch physische und psychische Spuren in der Gegenwart erzeugen kann.
Michelle Lloyd and Claudia Brieske, both artists from the Atelierhaus Mengerzeile, are showing work from the painting series « ONSET » and the video/sound installation created in Istanbul,
« Falling Forward Slightly ». This exhibition at the TOOLBOX gallery in Wedding launches the art space exchange between TOOLBOX and Kunstraum m3.

Künstlerinnen

Michelle Lloyd und Claudia Brieske, beide Künstlerinnen aus dem Atelierhaus Mengerzeile, zeigen in der Galerie TOOLBOX den Malerei-Zyklus „ONSET“ und die in Istanbul entstandene Video/Klanginstallation „Falling Forward Slightly“. Diese Ausstellung bildet den Auftakt zum Austausch der Projekträume TOOLBOX und Kunstraum m3.
https://www.atelierhaus-mengerzeile.de/
https://www.lloyd-artwork.com/
https://claudia-brieske.net/work/Falling-Forward-Slightly-2023/

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Poster Alalto Fil Class
September 18, 2025

Dünne Räume / Thin Rooms – 26.9.–25.10.2025

Warmly welcome to our next opening on Friday, 26. September 2025, at 7 pm

Exhibition: 26.9.–25.10.2025

Opening hours: Wed–Sat 3–7 pm

Kolonie Wedding Weekend open on Sunday, 28.9.2025 from 2–6 pm

Videoworks by students of Aalto University Film Department, Helsinki, Finland

Featuring artists

Joona Ikonen, Mika Koskinen, Julia Matinniemi, Sanna Langinkoski and Joonas Veijanen

“Dünne Räume / Thin Rooms” -exhibition dives into the space between the physical and the spiritual worlds, where our present experiences blend with memories and the past that lingers in the space. The works explore memories, spirituality, and individual experiences in a diverse and open-minded manner. The works challenge the viewer to explore the moment we live in and to reflect on the meaning of presence in that thin space that separates the past from the future.
The exhibition is part of the Associative Visual Storytelling course for Master students in the Film and Animation department at Aalto University (Finland). The course is led, and the exhibition is organized by visual artist and university pedagogue Mika Karhu.

Joona Ikonen
Memory Lan, short film, 5 min

History echoes through the corridors of the present, even if we refuse to hear it. The work compels the viewer to confront the unsettling rhymes of our time. Are you complicit?

Mika Koskinen
Muodollinen lounas / Formal lunch, animation, 2 min

Formal lunch refers to Eucharist and rituals. Life appears often as a sequence of absurd events. In the end, is it the religion which can save us?

Julia Matinniemi
Villa Pfaffenlehne, documentary, 15 min

Jan, Julia and Silke make a final visit to Villa Pfaffenlehne, a run down garden cottage in the outskirts of Erfurt owned by the latter’s mother and others Oma.

Joonas Veijanen
Varjostus / Shadowing, video+audio, 2 min 25 sec

Step into the light (of the projector).
By entering the picture you cut a hole into the image.
But don’t worry. You’re casting a shadow.

Sanna Langinkoski
Time traveler, visual artwork, paper & textile

“In family photos from 80 years ago, I saw a woman who looked strikingly familiar. She looked just like me.”
The work builds a bridge between the past and the present, while also reflecting on the layers of memory, connections between generations, and the fleeting presence of history. It is a personal journey through time, in which the photographs create a connection to a person whose life has already ended, but whose familiar gaze lives on in the photographs. One day, I too will be a past figure in a photograph.

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Alexander Horn, Ilkka Sariola
August 25, 2025

Ausgang | Exit – 30.8.–20.9.2025

Welcome to our opening on Friday, 29. August 2025, 7 pm

Artists

Alexander Horn | Ilkka Sariola

Paitings, drawings

Opening hours: Mit–Sat 3–7 pm

——

Our duo exhibition is titled ”Ausgang – Exit”. Everyday definition of the word is ”an act of leaving a place” or ”a way out of a building”. For example there are ”Ausgang” signs in everywhere in metro stations and signs can save lives in the event of fire. The word exit also has deeper philosophical connotations. ”Exitus” comes from latin and means exit, ending, end or death. Our final exit is moving from on state to another, from life to death. The Nazis used the term with cruel irony, calling the entrance gate of Sachsenhausen concentration camp ”Eingang A” an the exit gate ”Ausgang Z”. There is also a desperate search for away out, exit, of the protracted wars in Ukraine an Gaza. In our exhibition, metaphora ”exit” leads the viewer to consider different ways of of exiting dead ends in front of Alexander Horn´s fascinating paintings and Ilkka Sariola´s large expressive coal drawings.

Alexander Horn lives and works in Mannheim and Ludwigshafen and Ilkka Sariola in Helsinki. We met each other for the first time year 2017 when we both took part in group exhibition ”Nachstein” at Projektraum Toolbox. Even then, a deep understanding arose between us an our art. This is our third duo exhibition in Germany.

Ilkka Sariola

Ilkka Sariola, rom series Requiemm Hind & Shani, 230 x 150 cm, charcoal on paper, 2023-2025

Alexander Horn

Alexander Horn, aus der Serie Only the Rocks Remain

German:

Unsere Duo-Ausstellung trägt den Titel Ausgang – Exit. Eine Alltagsdefinition des Wortes ist „ein Akt des Verlassens eines Ortes“ oder „ein Weg aus einem Gebäude“. So gibt es zum Beispiel überall in U-Bahn-Stationen „Ausgang“-Schilder, und Schilder, die auf Notausgänge hinweisen, können im Falle eines Brandes Leben retten. Das Wort Ausgang hat auch eine tiefere philosophische Bedeutung. „Exitus“ kommt aus dem Lateinischen und bedeutet Ausgang, Abschluss, Ende oder Tod. Unser letzter Ausgang ist der Übergang von einem Zustand zum anderen, vom Leben zum Tod. Die Nazis benutzten den Begriff mit grausamer Ironie und nannten das Eingangstor des Konzentrationslagers Sachsenhausen „Eingang A“ und das Ausgangstor „Ausgang Z“. Auch in den langwierigen Kriegen in der Ukraine und im Gazastreifen wird verzweifelt nach einem Ausweg, einem Ausgang, gesucht.
Die Besucher:innen unserer Ausstellung können vor Alexander Horns kleinformatigen Gemälden in Acryltusche auf MDF und Ilkka Sariolas großformatigen, expressiven Kohlezeichnungen mit der Metapher „Ausgang“ als Ausgangspunkt über Sackgassen und wie man aus ihnen wieder heraus-kommt reflektieren.

Alexander Horn lebt und arbeitet in Mannheim und Ludwigshafen, Ilkka Sariola in Helsinki. Wir sind uns 2017 zum ersten Mal begegnet, als wir beide an der Gruppenausstellung Nachstein im Pro-jektraum Toolbox in Berlin teilgenommen haben. Sofort hatten wir das Gefühl eines besonderen und tiefen Verständnisses füreinander und für die Kunst des anderen. Dies ist unsere dritte Duo-Ausstellung in Deutschland.

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Mika Karhu
July 14, 2025

Double Nature – 26.7.–23.8.2025

Welcome to our opening on Friday, 25. July 2025, 7 pm

Artists:

Peter Hock (Berlin) and Mika Karhu (Finland)

Exhibition: 26.07.–23.08.2025

Opening hours: Mit–Sat 3–7 pm

The Compulsion to Name and Art’s Resistance: On the Difficulty of Viewing Peter Hock’s (b. 1962) charcoal drawings

Art challenges us in a way we are not always willing to admit: it forces us to dwell in uncertainty, discomfort, without the protection of conceptual frameworks. This challenge is vividly embodied in Hock’s art, where the experience of viewing his work becomes a site of tension. The viewer wants to name—but cannot. Hock’s pieces offer no clear categories, no space for simple classification or interpretation. They move along the boundary between the recognizable and the unrecognizable, from one form to another, from the natural to the alien. This refusal of unambiguousness is not an obstacle to understanding, but rather its condition: it is precisely the indeterminacy that opens the possibility for a deeper experience.

Our culture is deeply rooted in the power of naming. By naming things, we define them, organize them, give them a manageable form. Naming brings a sense of safety—it is a human way of keeping chaos at bay. But at the same time, naming can also exclude, reduce, and flatten. When art, like Hock’s work, resists naming, it not only irritates the viewer but also reveals something fundamental about ourselves: our desire to control what we do not understand.

This insight into the double nature of naming—as a source of safety and simultaneously a form of limitation—raises a profound philosophical question: to what extent is understanding based on appropriation, and to what extent on the willingness to remain open to what exceeds language? Naming involves power. When we name, we draw a boundary—on this side lies the known and controlled, on the other the foreign, the undefined, perhaps even the threatening. The unnamed is left without a place in our shared system, and for that reason it unsettles us.

An artwork that refuses to be explained challenges this order. It does not provide a ready-made framework of interpretation but forces the viewer to tolerate ambiguity. This kind of ambiguity cannot be resolved by intellectual effort; instead, it must be inhabited. One must look without understanding—listen without immediately translating what is heard into words. This experience can even be therapeutic, as it dismantles the modern mind’s compulsion for control.

Mika Karhu

The world stutters.

It is full of opposing opinions that contradict the facts of the world. Instead of facts, people talk about values and imagine that values themselves become facts if one just wishes, believes, and wants hard enough.

The world stutters.
It cries out for the help of intellect, but that voice is silenced—into the cavities of silence and stupidity, hidden among cobwebs. The hair follicles of foolishness ooze with the defiance of word-bodies resting on beliefs. Beliefs whose destructive energy and burning pain points are stale clichés about politics, race, economy, art, and sexuality.

Double standards build mental architectures through which people navigate their social world. They shape their actions according to habits of prejudice and routine assumptions. So human—and as Nietzsche said, “there is too much human in man.”

What is hypocrisy, where an individual or group publicly presents certain moral values or principles, yet acts in direct contradiction to them? Why does someone preach strict morality, yet behave immorally themselves—or demand behavior from others that they do not follow in politics, religion, or everyday life?

Why do people set public moral standards but follow them only when it benefits or serves their interests? Why do individuals feel pressure to conform to certain moral norms outwardly, even if they don’t personally believe in them or want to follow them?

Why might a person be unaware of their own contradictory behavior, or try to justify it to themselves through various rationalizations? Why are certain moral values so deeply embedded in communities or cultures that they are maintained externally, even if individuals do not find them personally meaningful?

Why is hypocrisy used as a means to maintain power or control over others, even though such behavior ultimately serves only self-interest?
And why does hypocrisy erode trust and credibility, causing conflict and distrust between individuals and groups?

No wonder the world stutters.

——

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Teemu Saukkonen
June 10, 2025

Moments of Life – Temu Saukkonen | Collapse Ulrika Segerberg | 27.6.–19.7.2025

Welcome to the opening at Toolbox Finnish-German Art space on Frday 27.6.2025 at 7 pm

Artists:

Teemu Saukkonen: Moments of Life

Ulrika Segerberg: Collapse – special guest: matka

Exhibition: 27.06.–19.07.2025
Closing event: 19.07.2025 at 4:30–6 pm

Opening hours: Wed–Sat: 3–7 pm

More about the artists:

https://www.saukkonenteemu.fi

https://www.ulrikasegerberg.net/

Temu Saukkonen

Finnish:

LYHYT TIVISTELMÄ NÄYTTELYN ” Moments of Life ” TEEMOISTA

Maalausten sisältö liikkuu merkitvsten “veitsenterällä”, kun ihmisen käsittelemät eläimet kuvaavat paitsi kärsimystä ja elämän loppumista myös ravintoa. Teosten luontokappaleet symboloivat luopumista ja viattomuutta sekä ihmisen valtaa ja vieraantumista luonnosta.
Maalausten anteeksipytelemäton realismi ja suorasukaiset siveltimen vedot ilmaisevat salaperäista uhkaa, mutta myos toivoa. Eläimet on maalattu lähes
“eläviksi” herkullisella värin käsittelylla ja niiden liioiteltu koko ehdottaa jokaisen luontokappaleen kunnioittamista. Teosten mustalla humorilla höystetty (sur)rationaalinen tragedia on myötäelävää, ja ihmisen vallassa on päättää, miten itse täydentää maalausten (Moments of life) kertomukset.

English:
BRIEF SUMMARY ABOUT THE MOTIFS OF THE ” Moments of Life ” EXHIBITON
The content of the paintings balances their meaning on the “knife’s edge” as the animals processed by humans depict not only suffering and the end of life, but also their meaning as food. The animate beings in Saukkonen’s works symbolize renunciation and innocence, as well as human power and alienation from nature. The paintings’ unapologetic realism and straight brushstrokes convey a mysterious threat – but also hope. By the delicate usage of color, the animals are almost painted “alive” and their exaggerated size is used as an advocate to respect every living creature. Spiced with black humor throughout all the art works, the displayed (sur)rational tragedy is compassion, and it is up to the spectator him-/herself to decide how to complement the narratives of the paintings in this “Moments of life”-exhibition.

Deutsch:
KURZÜBERBLICK ÜBER DIE LEITMOTIVE DER “Moments of Life ” AUSSTELLUNG
Der Inhalt der Bilder balanciert ihre tiefere Bedeutung auf „Messer’s Schneide“, da die von den Menschen verarbeiteten Tiere nicht nur Leiden und das Ende des Lebens darstellen, sondern auch ihre Bedeutung als Nahrung. Die Lebewesen in Saukkonen’s Werken
symbolisieren Verzicht und Unschuld, aber auch die Macht der Menschen
und die Entfremdung von der Natur.

Der kompromisslose Realismus und die gradlinigen Pinselstriche in den Bildern vermitteln eine geheimnisvolle Bedrohung – jedoch auch Hoffnung. Durch die feinfühlige Kontrolle der Farben werden die Tiere fast „lebendig“ dargestellt und ihre proportional über-dimensionale
Größe wird als Anregung verwendet, doch jedem Lebewesen gegenüber Respekt darzubringen. Die dargestellte (sur)rationale Tragödie ist Mitgefühl – gesprenkelt mit schwarzem Humor in allen vorliegenden Kunstwerken.

Die Besucher:innen haben jedoch selbst zu entscheiden, wie sie die Erzählungen
jeden Gemäldes dieser „Moments of life“-Ausstellung für sich vervollständigen.

Artwork: Teemu Saukkonen Sucking Pig, 2025, oil and acrylic on canvas, 155 x 200 cm

Ulrika Segerberg

Collapse – special guest: matka

Ulrika Segerberg: Still from Collapse

Time scatters. We run — but do we hide? Tick tack, the roof is cracking, covering our fur with paledust. Tick tack — how do we react when what we used to know takes on a different shape, oreven falls apart? From whom do we run? We do fly, sometimes. Do we dance alone, or go to sleep with a kiss on our cheek?

Since 2016, Ulrika Segerberg and Martin Kleinmichel have collaborated under the name matka, gradually shaping their debut album — each song accompanied by a video. The installation at Toolbox features their latest track Collapse, along with paintings and sculptural props used in the video. Frame by frame, the lens captures a search — not for narrative or meaning, but perhaps for those fleeting, quiet moments that comfort us when no one is watching. Martin composed the music and edited the video. Ulrika wrote the lyrics, contributed the hookline, and sang.

Ulrika Segerberg (b. 1976, Sweden) is a Berlin-based artist working with painting, sculpture,
video, performance, and music. Drawing from mythology, folklore, and pop culture, her
installations combine materials such as ceramics, textiles, sound, and text, moving between
figuration and abstraction. Her work has been shown at Västerås Konstmuseum, Deutscher
Künstlerbund, LENTOS Kunstmuseum, Dorich House Museum, and others. She is represented in collections including the Swedish Arts Council and Malmö Konstmuseum.

CV Ulrika Segerberg (Download PDF)

——

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

Concert, 2024, Graphit/Papier, 28 x 42 cm.
May 20, 2025

And Beyond the Infinite – 30.5.–21.6.2025

Welcome to the opening on Fri, May 30, 2025 at 7pm

Exhibition: 30.05.–21.06.2025
Open on Kolononie Wedding weekend: Sun.: 01.06.2025 from 2–6 pm
opening hours: Wed-Sat 3-7 pm

.. AND BEYOND THE INFINITE is a collaboration between the Mannheim gallery Strümpfe and the German-Finnish art space Toolbox.
Twelve artists from Berlin, Heidelberg and Mannheim, whose works are presented both in the Toolbox and in the art.endart project space, form the basis for the first part of this collaboration, in the course of which artists from the Toolbox will then be guests at the Strümpfe Gallery in Mannheim in September.
The title of the exhibition encompasses both the uniqueness of the individual positions – caricature-like representationalism meets abstract finesse – as well as the interdisciplinary abundance (painting, drawing, plasticine, photography, object and video) of the exhibits themselves.

Participating artists:
Patrick Huber (B), Mitsuko Hoshino (Hd), Inessa Siebert (Hd), Jutta Steudle (Ma), Line Wasner (B), Annalena Winkler( Ma), Eric Carstensen (Ma), Jürgen Eisenacher( B), Alexander Horn (Ma), Henrik Jacob (B), Heiko Sievers (B) and Fritz Stier (Ma).

Artwork: Analena Winkler: Concert, 2024, Graphit/Papier, 28 x 42 cm.

German

Willkommen zur Eröffnung am Fr, 30. Mai 2025 um 19 Uhr
Ausstellung: 30.05.-21.06.2025

Geöffnet am Kolononie Wedding Wochenende: So.: 01.06.2025 von 14-18 Uhr
Öffnungszeiten: Mi-Sa 15-19 Uhr

.. AND BEYOND THE INFINITE ist eine Kollaboration der Mannheimer Galerie Strümpfe und dem deutsch-finnischen Projektraum Toolbox.
Zwölf Künstlerinnen aus Berlin, Heidelberg und Mannheim, deren Arbeiten sowohl in der Toolbox als auch im Projektraum art.endart präsentiert werden, bilden die Basis für den ersten Teil dieser Zusammenarbeit, in deren Folge Künstlerinnen der Toolbox dann im September in der Galerie Strümpfe in Mannheim zu Gast sein werden.
Der Titel der Ausstellung umschließt sowohl die Einzigartigkeit der einzelnen Positionen – karikaturhafte Gegenständlichkeit trifft abstrahierende Finesse – als auch die spartenübergreifende Fülle (Malerei, Zeichnung, Knetbild, Fotografie, Objekt und Video) der Exponate selbst.

Teilnehmende Künstlerinne und Künstler:
Patrick Huber (B), Mitsuko Hoshino (Hd), Inessa Siebert (Hd), Jutta Steudle (Ma), Line Wasner (B), Annalena Winkler( Ma), Eric Carstensen (Ma), Jürgen Eisenacher( B), Alexander Horn (Ma), Henrik Jacob (B), Heiko Sievers (B) und Fritz Stier (Ma).

Artwork: Analena Winkler: Concert, 2024, Graphit/Papier, 28 x 42 cm.

——-

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

April 14, 2025

Periphery | 25.4.-24.5.2025

Alexei Gordin – Anna Emilia Järvingn – Jussi Kekkonen – Jussi Pyky

Opening: Fri, 25.04.2025, 7 pm
Open on Kolononie Wedding weekend: Sun.: 27.04.2025 from 2–6 pm
25.4.-24.5.2025
opening hours: Wed-Sat 3-7 pm

Drawings and paintings
From Europe’s outskirts,
From the fringes of culture,
And from the edges of the mind.
The exhibiting artists are Alexei Gordin (EST), Anna Emilia Järvinen (FI), Jussi Kekkonen (FI) and Jussi Pyky (FI).
The exhibition has been supported by the Finnish Cultural Foundation.

——-

Galerie/Projektraum TOOLBOX
Koloniestraße 120
13359 Berlin-Wedding
U-Bahn Osloer Straße

An Feiertagen ist die Toolbox geschlossen
On Bank holidays Toolbox is closed

springclamb
April 1, 2025

SPRING CLAMP 5.5.2025

Warm welcome to SPRING CLAMP

Mon 5.5.2025, doors 17:30

A sound filled evening with good times, performances by three Finnish groups Timate ynts, Blowjob and uRge as well as a sound sculpture by Araiké Da Silva that can be activated during the event.

Timate ynts is an improvised experimental group whose music is mostly based around synths, detuned guitars, field recordings and vocals. https://timateynts.bandcamp.com/

Blowjob is an experimental woodwind trio that plays minimalistic self-written and improvised music/sound-based pieces. Their style flirts with pop, renaissance and contemporary classical music, tied together with soft ambient drone aesthetic. The ensemble consists of a clarinet, a bass recorder and a bassoon.

uRge is a duo that explores the interfaces between performance and concert through playful and feminist lens by making visible hidden performative practices of music. They actively seek to dismantle masculine and essentializing notions of “pure music” associated with classical music as well as experimental electronic music. In practice, they work with techniques such as analogue sound synthesis, digital sound processing, experimental microphone techniques, acoustic instruments and text.

Doors 17.30

Further schedule to be announced

@Galerie Toolbox

Koloniestraße 120, Berlin Wedding

Free admission (pay what you can); the donations will go fully towards Gaza Champions. Facebook: https://www.championgaza.xyz/

Drawing for the poster made by Tuuli Sipilä.”

The current exhibition in Toolbox: Periphery