{"id":3463,"date":"2026-05-13T12:11:29","date_gmt":"2026-05-13T10:11:29","guid":{"rendered":"https:\/\/baerenzwinger.berlin\/en\/?page_id=3463"},"modified":"2026-07-30T15:56:28","modified_gmt":"2026-07-30T13:56:28","slug":"furore","status":"publish","type":"page","link":"https:\/\/baerenzwinger.berlin\/en\/program\/furore\/","title":{"rendered":"Furore"},"content":{"rendered":"\n
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with
Nina Paszkowski<\/p>\n\n\n\n

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Graphic: Nora Keilig<\/p>\n<\/div>\n\n\n\n

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Exhibition<\/strong><\/p>\n\n\n\n

5\/6\/2026 – 21\/02\/2027
Opening: 4\/6\/2026, from 6 PM<\/p>\n\n\n\n

The solo exhibition by Nina Paszkowski<\/strong>, titled “Furore”, refers to the spectacle that has long shaped the B\u00e4renzwinger: the principle of display and staging\u2014whether through living animals, ideologically charged urban identity, or contemporary art. “Furore” describes a form of public attention that moves between fascination and unease. What attracts and excites can also turn into indignation or anger. Paszkowski approaches this anger through mythological figures whose name resonates in the exhibition title: the Furies. In Greek mythology, they appear as furious avengers who, through an act of mercy, undergo a process of becoming human and transform into the benevolent Eumenides.<\/p>\n\n\n\n

In “Furore”, the Furies appear as larger-than-life guardians. Against the backdrop of the site\u2019s history\u2014where spectacle has long been intertwined with control and violence\u2014it remains uncertain whether they will enact revenge or grant mercy here. In Paszkowski\u2019s work, anger does not remain confined to destruction. Instead, it appears as a force capable of breaking open existing conditions and making new forms of coexistence imaginable. The transformation of the Furies is mirrored in a changing constellation of works within the B\u00e4renzwinger itself: over the nine-month duration of the exhibition, anger erupts from the walls of the former bear enclosure in the form of ceramic proliferations, carving out new paths. What remains are open wounds that inscribe vulnerability into the space and raise questions about the persistence of violence and the possibility of healing.<\/p>\n\n\n\n

Curated by Janine Pauleck, Annika Reketat and Tina Quednau<\/p>\n<\/div>\n<\/div>\n\n\n\n

Opening<\/h2>\n\n\n\n
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4. June 2026<\/strong>
6 PM: Opening
7 PM: Welcome
7:30 PM: DJ-Set<\/p>\n<\/div>\n\n\n\n

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cun_t <\/strong>is a DJ duo, moving between rolling basslines, crunchy 808 rhythms, and hypnotic grooves. Shaped by years of friendship and an ongoing exchange of music, their sets draw on collective joy and sister*hood.<\/p>\n\n\n\n

This time, Elena represents cun_t with a carefully selected blend of raw old-school tunes, melodic acid lines, and playful percussion.<\/p>\n\n\n\n

You can listen to the set they curated especially for the opening here: Stream cun_t | Furore Opening @B\u00e4renzwinger by cun_t<\/a><\/p>\n<\/div>\n<\/div>\n\n\n\n

Exhibition Tour and Ritual Performance<\/h2>\n\n\n\n
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Friday, 31 July 2026<\/strong><\/p>\n\n\n\n

7 PM: Guided tour and Talk
with Nina Paszkowski<\/p>\n\n\n\n

8 PM: Ritual performance \u201cDESCENT\u201d
by Riley Davidson, with sound design by Juan Cernadas<\/p>\n<\/div>\n\n\n\n

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\u201cFurore\u201d \u2013 Exhibition tour and conversation with Nina Paszkowski<\/strong>
Join artist Nina Paszkowski and the curators for a dialogue-based tour through the current exhibition \u201cFurore\u201d.

\u201cFurore\u201d is conceived as an evolving exhibition. Over the course of its duration, new works will be added, others removed, and the arrangement of the works within the space will change. On the occasion of the exhibition\u2019s first transformation, this tour offers the opportunity to explore the next chapter of \u201cFurore\u201d together with the artist and curators. The conversation will focus on the conceptual foundations of the exhibition, the making of the works, and the ongoing development of their spatial arrangement.

In \u201cFurore\u201d, Nina Paszkowski engages with the figure of the Furies \u2013 mythological beings of vengeance who emerge from histories of violence, injustice, and unresolved conflicts. The exhibition considers rage not only as an emotion, but as a force that carries memories, demands recognition, and can initiate processes of transformation.<\/p>\n\n\n\n

\u201cDESCENT\u201d \u2013 Ritual Performance by Riley Davidson with Juan Cernadas<\/strong>
\u201cDESCENT\u201d is a performance in which body, sound, and silence evoke memories beyond the realm of logic. A dancer sheds inherited myths, while a sound designer creates a live atmosphere through breath, noise, and sound.

Drawing on the myth of Inanna\u2019s descent into the underworld \u2013 one of the oldest recorded texts in history from the Sumerian culture (c. 2100 BCE) \u2013 the performance explores descent as a necessary passage and a moment of transformation. At a time when we are collectively confronted with the collapse of established power structures, \u201cDESCENT\u201d asks which ideas and narratives we must leave behind in order to enable other forms of thinking and acting.

The performance becomes a space for wordless rage and grief, for engaging with inherited wounds and the entanglements of past generations. Because transformation begins with descent.

\u201cDESCENT\u201d marks the next chapter of the current exhibition \u201cFurore\u201d by Nina Paszkowski, following the integration of new works into the exhibition. The performance extends the exhibition\u2019s engagement with themes of rage, transformation, and social power relations.

The B\u00e4renzwinger \u2013 a historic site built for the display of the supposedly wild \u2013 becomes a point of departure for examining violence, spectacle, and the boundaries between self and other. At the same time, the performance reflects on contemporary forms of spectacle, asking how platforms such as social media shape our perception of violence and influence the relationship between witnessing and personal involvement.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Nina Paszkowski<\/h2>\n\n\n\n
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<\/p>\n<\/div>\n\n\n\n

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Nina Paszkowski<\/strong> lives and works in Cologne. In her artistic practice, she engages with themes such as desire, power, and the interdependence of living beings. She works with ceramics and paper, developing spatial installations that examine the tension between individuality and interconnectedness.<\/p>\n\n\n\n

Her installations often consist of large-scale paper cut-outs, for which she partly produces the paper herself, as well as ceramic sculptures. Both bodies of work address notions of fragility and permeability, treating these not as fixed conditions but as shifting states within spatial and relational structures.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

with Nina Paszkowski Graphic: Nora Keilig Exhibition 5\/6\/2026 – 21\/02\/2027Opening: 4\/6\/2026, from 6 PM The solo exhibition by Nina Paszkowski, titled “Furore”, refers to the spectacle that has long shaped the B\u00e4renzwinger: the principle of display and staging\u2014whether through living animals, ideologically charged urban identity, or contemporary art. “Furore” describes a form of public attention […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":10,"menu_order":142,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"categories":[14],"class_list":["post-3463","page","type-page","status-publish","hentry","category-heimsuchungen"],"acf":[],"_links":{"self":[{"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/pages\/3463","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=3463"}],"version-history":[{"count":8,"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/pages\/3463\/revisions"}],"predecessor-version":[{"id":3602,"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/pages\/3463\/revisions\/3602"}],"up":[{"embeddable":true,"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/pages\/10"}],"wp:attachment":[{"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/media?parent=3463"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baerenzwinger.berlin\/en\/wp-json\/wp\/v2\/categories?post=3463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}