{"id":3427,"date":"2026-04-30T15:08:14","date_gmt":"2026-04-30T13:08:14","guid":{"rendered":"https:\/\/baerenzwinger.berlin\/en\/?page_id=3427"},"modified":"2026-05-04T12:49:35","modified_gmt":"2026-05-04T10:49:35","slug":"prologue","status":"publish","type":"page","link":"https:\/\/baerenzwinger.berlin\/en\/prologue\/","title":{"rendered":"Prologue"},"content":{"rendered":"\n

Within the context of this year\u2019s theme, \u201cHauntings,\u201d the B\u00e4renzwinger\u2019s artistic program unfolds in a four-part series. Over four weekends throughout the year, from May 15 to October 18, the prologue and the three acts explore past places, people, and things, taking the absence seriously\u2014that which is no longer tangible as absences that nevertheless have an effect, and as a question with no simple answer. Caught between conservation and transformation, the B\u00e4renzwinger monument becomes the backdrop and stage for an artistic exploration of how to deal with loss in light of an uncertain future.<\/p>\n\n\n\n

Inspired by Rainer Maria Rilke\u2019s Duino Elegies (1922), a program of performances, workshops, readings, and listening sessions takes shape. Written over a period of ten years, Rilke traces in these elegies a quest that begins with an invocation of the absent and leads to the question of how to deal with what is missing. How can memories be appropriately preserved and carried safely through time? Rilke\u2019s answer is not a solution, but a movement: Memories do not survive through preservation, but by entering new contexts and changing in the process\u2014thus clearing the way for what is not yet there. While for Rilke there is no definitive end to the Elegies, the program sets the course for the 10th anniversary of the B\u00e4renzwinger as a community gallery in 2027.<\/p>\n\n\n\n

May 15, 2026<\/p>\n\n\n\n

With the prologue on May 15, the B\u00e4renzwinger opens its annual program, \u201cHeimsuchungen.\u201d Conceived as an invocation into the void, it marks the beginning and sets the tone for the year\u2019s interpretive cycle, which, drawing on Rainer Maria Rilke\u2019s Duino Elegies, is understood as a search: Here, remembering appears not as mere preservation, but as a transformation into new contexts.<\/p>\n\n\n\n

The performance Der Puma ist kein deutsches Tier<\/em> by Luciano Mezzo at 6:00 p.m. marks the beginning of this movement.<\/p>\n\n\n\n

Luciano Mazzo<\/p>\n\n\n\n

Luciano Mazzo is a Chilean artist living in Stuttgart. He earned a bachelor\u2019s degree in theater studies from the Universidad de Chile and completed his master\u2019s degree in fine arts at the ABK Stuttgart, focusing on performative languages and decolonial approaches, with support from the Rosa Luxemburg Foundation. His primary focus is on Latin American studies, where he explores how personal experiences and emotions contribute to understanding political structures and macrostructures of power.<\/p>\n\n\n\n

He works primarily in the fields of performance, video art, and installation, combining elements of his background in acting and writing. His works thus feature a strong textual component as well as a physical presence, expanding the possibilities of the body through the creation of music, the execution of complex movements, and direct connection with the audience through touch.<\/p>\n\n\n\n

In 2025, he won the ABK Performance Art Prize. He is currently preparing a solo exhibition for the Ludwigsburger Kunstverein, a residency at Artist Unlimited (Bielefeld), and a work for the Staatsgalerie Stuttgart.<\/p>\n\n\n\n

\"\"
KTTP, Open House: I\u00b4d like to talk aboout art, but I have to go to work, 2025<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

Within the context of this year\u2019s theme, \u201cHauntings,\u201d the B\u00e4renzwinger\u2019s artistic program unfolds in a four-part series. Over four weekends throughout the year, from May 15 to October 18, the prologue and the three acts explore past places, people, and things, taking the absence seriously\u2014that which is no longer tangible as absences that nevertheless have […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"categories":[],"class_list":["post-3427","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/pages\/3427","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/comments?post=3427"}],"version-history":[{"count":2,"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/pages\/3427\/revisions"}],"predecessor-version":[{"id":3429,"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/pages\/3427\/revisions\/3429"}],"wp:attachment":[{"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/media?parent=3427"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/categories?post=3427"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}