The 2025 edition of Berlin Gallery Weekend took place from May 2 to 4, inviting visitors to experience Berlin’s dynamic contemporary art scene, with more than fifty galleries participating across the city. The event showcased works by over eighty artists from more than twenty countries, reflecting the international diversity of Berlin’s art landscape. As a long-time partner, BMW continued its support of the renowned cultural event and, for the first time, contributed to its newly introduced talk program – further enriching a weekend that offered insights within the contemporary art world.
Galerie Buchholz presented “Cold Hope,” a solo exhibition by Anne Imhof, featuring new large-scale paintings based on stills from coming-of-age films. These images underwent multiple layers of translation, dissolving into charged fields of abstraction.
At 032c Gallery, Erwan Sene transformed the space into a surreal game-like Luna Park for “Chutes and Signals,” blending sculptural paintings with sound installations in a playful, sensory-driven environment.
Sprüth Magers showcased Cyprien Gaillard’s video work “Retinal Rivalry,” where stereoscopic visuals created a hallucinatory, almost sculptural experience that twisted viewers’ sense of time and perception.
Galerie Neu hosted “The Rest,” a solo show by SoiL Thornton that invited viewers into a multisensory and linguistically rich reflection on the many meanings of “rest.” Thornton’s playful ambiguity challenged traditional narrative structures.
In her Berlin debut at Molitor, Diane Severin Nguyen presented a powerful combination of photography, video, and material transformation. Her works in this untitled exhibition explored texture, light, and meaning through a kind of visual alchemy.
Heidi gallery featured “LYING IN THE KITCHEN” by Benjamin Lalier, a series of monumental works that reimagined domestic settings. With bold gestures and scale, Lalier offered a meditation on intimacy, space, and vulnerability.
Schiefe Zähne presented a solo exhibition by Phung-Tien Phan, who rejected narrative in favor of a sculptural rack of archetypes. The show replaced traditional storytelling with ephemeral symbols and shifting identities.
At Contemporary Fine Arts, Tobias Spichtig’s “Taxi Zur Kunst” paid homage to the act of art-making itself. His works blended classical pictorial genres with raw irreverence, celebrating painting as both process and icon.
As part of the CHANEL Next Prize, Klára Hosnedlová unveiled a monumental site-specific installation in the historic hall of Hamburger Bahnhof. The work explored ideas of home, utopia, and everyday life across different political systems.
Sweetwater presented “The Already World,” Megan Plunkett’s second solo exhibition with the gallery. Shot across diverse U.S. locations, the works were displayed on used tables sourced from Kleinanzeigen, blurring the line between object and image in a meditation on memory, materiality, and presentation.
