MUSÉE
SENTIMENTAL
DE L’OURS DE BERLIN

Nschotschi Haslinger

Sathit Sattarasart
Anna Virnich

Jasmin Werner

Sathit Sattarasart, Sketch for a pedestal for the model of Schnute, 2020

[Photo]  Sathit Sattarasart

Opening
02/06/2020 7pm



Exhibition

02/07 – 06/28/2020


03/05/2020 7 – 10 pm

Artist Talk

with Nschotschi Haslinger and Anna Virnich


03/18/2020 7 – 10 pm

TheorieMittwoch

with Philipp Kleinmichel


04/24/2020 7 – 10 pm

»Der Bärenzwinger zwischen den Staatssystemen (1937-1995)« by Marie-Christin Krüger


05/01 – 05/03/2020

Gallery Weekend Special

»Musée sentimental de l’ours de Berlin« is an attempt at erecting a temporary museum dedicated to the Berlin Bear. The effort lays no claim to completion or that it follows any particular grand narrative, but rather—entirely in keeping with its role model, Marie-Louise Plessen and Daniel Spoerri’s Musée Sentimental—seeks to link small individual stories with emotional values.

These stories have different points of departure. The various artistic works in the exhibition address the heraldry of the city’s coat of arms and history as well as the bears’ current absence, and are an active contribution to the design of the exhibition displays.

In addition to the artistic works, the exhibition also presents a large number of objects and ephemera that delve into the history of the city’s bears in the Zwinger and the representative

function they’ve performed for the city over the past 80 years. These include a window with the heraldic animal from the Rotes Rathaus, various ways in which the bears have been perceived in children’s books and toys, objects of everyday life from the Zwinger, and physical traces of the bears themselves.

The exhibition’s aim is to develop a special form for approaching the history of the Bärenzwinger that is also closely interwoven with the history of the city of Berlin. The format emerges from the architecture and history of the location and pursues various paths.

Exhibition & events curated by Jan Tappe and Julia Pomeranzewa

Ulrike Riebel and Hauke Zießler

Graphic Design: Viktor Schmidt
Translation: Andrea Scrima
Production: Carolina Redondo

Download Concept

Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin
Musée sentimental de l’ours de Berlin

Nschotschi Haslinger


Nschotschi Haslinger (*1982 in Eitorf) is an artist working at the interface of sculpture and drawing. Recent solo exhibitions include »Der geheime Dienst«, Zero Fold, Cologne, »Die untere Welt«, Overbeckgesellschaft in der St. Petrikirche, Lübeck, »Introesque«, Exile, Vienna (all 2019), »Das gestohlene Lied«, Galerie Genscher, Hamburg, »Apropofola«, Kunstverein Kjubh, Cologne (both 2018). In addition, her works have been shown in numerous group exhibitions including »When the Sick Rule the World«, GR_und, Berlin (2019), »May the Bridges I burn light the Way«, Manifesta 12, Palermo (2018), Simonow Collection, Kunsthalle Bozen, Bolanzo (2016) and »Ruhe-Störung, Streifzüge durch die Welt der Collage«, Marta Herford, Herford (2013). She lives and works in Berlin.

During the preparatory phase of her work, Nschotschi Haslinger delved deeply into the Bärenzwinger’s history and the heraldry of the city coat of arms.

This is particularly evident in the poses of the various animals within the group. The artist’s choice of color was comparatively freer and adapted to the spatial situation in the Bärenzwinger’s exhibition rooms.

Haslinger takes the bears very seriously as entities and uses the individual figures and the way they’re positioned in space to tell a story of trepidation and to allow viewers to empathize with the bears’ suffering in captivity.

Sathit Sattarasart


Sathit Sattarasart (*1979) is an artist whose works are mostly about how things come to be, while he is focusing on art related subjects, material, process and structure of things, he also works with various subject matters from politic to everyday life scenario. Sattarasart’s works have been included in several international exhibition, among them, Asian Film & Video Art Forum at MMCA, Seoul (2015), Home Stories at KfW Stiftung, Frankfurt am Main (2013), Move on Asia at ZKM, Karlsruhe (2013), Busan Biennale 2006. In 2017, Sathit Sattarasart graduated (Meisterschüler) from Staatliche Hochschule für Bildende Künste from the class of Professor Tobias Rehberger and currently he lives and works between Berlin and Bangkok.

In his artistic practice, Sathit Sattarasart pursues various threads ranging from sculpture and installation to his own curatorial projects, all of which share an intensive exploration of the respective location or context in which they are to be later shown. One of these threads is the »pedestals« series, which consists of pedestals he designs for works by other artists for the purposes of exhibiting them. This can be meant in a very physical sense, but also takes place on a non-material level. For the Bärenzwinger, Sattarasart developed two new »pedestals«. Unlike their predecessors, these are dedicated to two objects that are not works of art. Resting on one is a small sculpture atop a colored sheet of acrylic glass. The sculpture is a model that was made for the purpose of fabricating a taxidermic specimen from Schnute, the last surviving female bear in the kennel. The proportions of the pedestal correspond to the bear’s body size and the relationship to the interior of the cage in which the pedestal is placed. Its position, the distance the viewer needs to stand at to view the work, and its color are references to a sense of privacy that the artist tries to create for the sculpture. The second pedestal is immaterial and incorporates bear fur from the Bärenzwinger’s last two bears, Maxi and Schnute, into a narrative.

Anna Virnich


Anna Virnich (*1984) graduated in 2013 from Braunschweig University of Art, Germany. Recent solo exhibitions took part at Schering Stiftung (2019); Arratia Beer, Berlin; Galerie Nathalie Halgand, Vienna, Art-O-Rama, Marseille (all 2017); Proyectos Monclova, Mexico City (2016). The artist furthermore recently contributed to group exhibitions at Hunt Kastner, Prague (2018), Centre d'Art Contemporaine Chanot, Clamart,France; Proyectos Monclova, Mexico City (both 2017). Anna Virnich lives and works in Berlin.

For her installation, Anna Virnich has worked with various organic materials to create an arrangement of leather, wax, and fragrance, all of which react to the physical absence of the bears. Each of these materials performs a different function. While the leather indicates the bears’ physical dimensions, the wax is the color of skin and exudes a strong sense of vulnerability. Lastly, on an olfactory level, the scent occupies the room which the bears also occupied for a long time, but whose odor has evaporated as far as the human sense of smell is concerned. The choice of fragrance is also based on the location and reflects the type of storytelling about memory that is explored throughout the entire exhibition.

Jasmin Werner

Jasmin Werner (*1987 in Troisdorf) lives and works in Cologne. In 2016 she completed her studies at the Staatliche Hochschule für Bildende Künste Städelschule in Frankfurt am Main. Her works have been shown in solo exhibitions at Kunstverein Braunschweig, Braunschweig (2018), Gillmeier Rech, Berlin (2017), M.I / mi1glissé, Berlin (2016), and RM, Auckland (2014) as well as in group exhibitions at Braunsfelder, Cologne (2018), Saloon, Brussels (2018), and the Folkwang Museum, Essen (2017). In 2017, Jasmin Werner completed a residency at the National Museum of Modern and Contemporary Art, Seoul.

For the »Musée sentimental de l’ours de Berlin«, Jasmin Werner has developed two installations on the outdoor terraces that resemble scaffolding sections and allude to the history of the Berlin City Palace. The visual component of the works contains various reflections in the windows of the City Palace and the Palace of the Republic such that they transcend time to tell the story of a city in transition, caught between political systems, a process the Bärenzwinger also experienced as a city monument, although it was not subjected to the same type of drastic physical change. The shape of the work’s two towers frames a reference to the tallest building in the world—the Burj Khalifa in Dubai—into whose steel structure steel elements from the Palace of the Republic were also incorporated.

artist talk

03/05/2020 7 – 10 pm

with Nschotschi Haslinger and Anna Virnich

theorie

mittwoch

03/18/2020 7 – 10 pm

with Philipp Kleinmichel

 

 

Lecture

04/24/2020 7 – 10 pm
»Der Bärenzwinger zwischen den Staatssystemen (1937-1995)«

by Marie-Christin Krüger

Contact

Bärenzwinger

Im Köllnischen Park

10179 Berlin


P + 49 [0] 30 901 837 461

info[at]baerenzwinger.berlin

Facebook

Instagram

Opening hours

Tuesday – Sunday
11am – 7pm

Admission free

Public Transport

U8 Heinrich-Heine Straße
U2 Märkisches Museum
U+S Jannowitzbrücke
Bus 165, 265, 248

Press

Find all our press kits here.

Baerenzwinger Berlin, Logo
Baerenzwinger Berlin, Logo