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Group Exhibition

»Show your darling III – DAS BETT«

32 Photographic Positions


Signs of a phenomenological moment

If you don’t have a bed, you won’t find peace. When night approaches, the question of where to camp takes on a certain degree of urgency. From the phenomenological perspective, the bed is the counterpart to the street, a secluded, non-public place where a strange state called sleep generates new veritable forces. A street cannot be a bed, but you frequently find beds in streets.

In bed, life and death unite to form a brief mésalliance of the dream world and unconsciousness. Seen in this light, the bed is a luxurious precursor to the tomb. It intimately connects people with sleep. On the horizon of the dreamlike, traumatic, past there is death, birth and conception. However, the existential bed remains a narrow strip of its entire phenomenology: the typology ranges from the party bathtub to the four-poster bed, from the saddle in the prairie to the fairytale princess on the pea. While some lie austerely, others prefer depth and softness. The bed is sacred for sleep, not for dreams. Dreams use every irritation for surrealistic purposes and wrap the sleeper in somnambulary cotton candy.

Some people boast of their dream meadow, others hide their refuge. The bedroom door remains discreetly closed when there are visitors. Since the private, intimate and personal life is lived out in bed, fresh or used spirits hover around it. A bed is opened at night and closed during the day. Nevertheless, the bed is active during the day; the “in” bed becomes “on the” bed. Whenever it is used, the bed can be inspected as a crime scene. It reveals silent imprints and cold smoke signals. It resembles photography, which is a bed of light. The viewer becomes a detective who bundles the amorphous traces of the preceding procession into a narrative.

Over the years, a bedstead establishes a palimpsest of dreams and offers an extremely long-term exposure of restlessness. The bedspread carefully dragged over the bed is a kind of shroud of life. If the bed frame deflects because it has become old, the duration forms a curve. The bed bears the physical burden of lust and suffering over the abyss of years. Dreams, diseases, intoxicating nights are rubbed into its fibers and feathers. Every day, the same question arises as to whether you have slept well. A bed is like the infinite succession of short suspension bridges between the islands of the days. It connects them week after week, year after year. Without the bed, a journey to the flip side of time would be inconceivable.

Beds are given an individual design so that the daily routine is combined with the extraordinary. A bed is housed in the bedroom. It flirts with the guest, the observer, the future lover. Photographs, especially of bedrooms, are curiosities of Egyptology. Decor, wallpaper, paintings, bedside tables, lamps, crosses act as trimmings in a tomb. In bedrooms, the idiosyncratic loneliness of the silent eloquence of things becomes apparent. During the day the stone of the dark night is rolled to the side. The dead and the ghosts push their nightgown underneath the duvet. At night they return to dance through the bed again.

Text: Stephan Reisner


Participating artists: 

Baschlakow, André / Beckmann, Ophelia / Bibel, Nora / Bröhan, Angela / Bruhns, Eva / Clauss, Nils / Dollinger, Mario / Erbas, Renate / Hagemann, Matthias / Helmerdig, Silke / Hommelsheim, Ruth / Hüning, Fred / Kirchner, André / Krawiec, georgia / Kriegelstein, Manfred / Ochse, Benjamin / Pavlakis, Stefanos / Pawlitzky, Eric / Payeras-Salom, Bartolomé / Peschke, Marc / Reisner, Stephan / Rissmann, Joachim / Schmiedekind, Jörg / Schraepler, Alexandra / Schumann, Torsten / Schünemann, Jens / Stuke, Karen / Teepe, Martina / Wehr, Susanne / Wild, Sabine / Woischwill, Nicole / Würich, Sabine

Framework program

Opening Reception: Saturday, March 3, 2018, 7 pm

Photobookdays: March 24 & 25 (Sat & Sun), 3 – 6 p15:00 – 18:00
Darlings & Friends present their photobooks, for purchase or trading.

Finissage: Saturday, April 14, 2018, from 6 pm
6 pm: „das war’s. war’s das?“.  Fred Hüning, Photographs & Texts.
Slide lecture & reading (de) „best of, worst of und outtakes der Kolumnen für die TAZ“

7 pm: Reading (de) „DAS BETT“ – Short Story by Andreas Fischer
(the reading takes place in German)
1980 schreibt der 19jährige,  frischgebackene Abiturient Andreas Fischer eine Kurzgeschichte, in der er den Rückzug eines Mannes von den Menschen und der Welt beschreibt. Nun, fast 40 Jahre später, lebt Fischer als Fotograf und Filmemacher in Friedenau. Für das Zusatzprogramm zur Ausstellung ist er in sein Archiv hinabgestiegen und hat das Manuskript hervorgeholt. Es liest: Tammin Julian Lee, Dirigent und Pianist.

The exhibition is accompanied by a catalogue.

For further infos please visit the project website


March 4 — April 14, 2018
Opening Reception: Saturday, March 3, 7 pm
+ Framework program: see above

Facebook Event (Opening)


Eschenstr. 4, 12161 Berlin
[Friedenau | Tempelhof-Schöneberg]

Sat & Sun 3 – 6 pm

Admission free

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PiB Guide Nº45 NOV/DEC 2022 © PiB (Photography in Berlin). COVER PHOTO: CM 13726, 2017, C-print, 170 × 226.7 cm, Edition L, 1 of 2 + 1AP © Michael Lange. Solo exhibition »Cold Mountain« at ROBERT MORAT GALERIE, read more on page 4 & 5!! +++ Photos on right double spread (pp. 4 & 5 in the PiB Guide Nº45), from top to bottom: 1) CM 16792, 2017, 100 × 133.3 cm, Edition L, 1 of 4 + 2AP. 2) CM 14992, 2017, 71.2 × 95 cm, Edition M, 1 of 5 + 2AP. 3) CM D1/1-18395, 2017, 2 × 100 × 133.3 cm / Diptych, Edition XL, 1 of 2 + 1AP. All 3 images: © Michael Lange, courtesy of ROBERT MORAT GALERIE, Berlin. +++ PiB Guide Editor / V.i.S.d.P. / Art Direction: Julia Schiller @julia.schiller_ · ele studio berlin · +++ Printed on 100% recycling paper in Berlin-Köpenick by altmann-druck, many thanks!

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»PiB — Photography in Berlin« | PiB’s website, PiB’s weekly E-Newsletter, and the bi-monthly published PiB Guide: page 12 & 13 from the PiB Guide Nº15 Nov/Dec 2017; feat. the exhibition Evelyn Hofer »Cities, Interiors, Still Lifes. Photographs 1962 – 1997« at Galerie Springer Berlin; image credits: Queensboro Bridge, New York, 1964 / Coney Island, New York, 1965 / Girl with Bicycle, Dublin, 1966, all 3 photos © Evelyn Hofer, Estate Evelyn Hofer.
»PiB — Photography in Berlin« | PiB’s website, PiB’s weekly E-Newsletter, and the bi-monthly published PiB Guide: page 12 & 13 from the PiB Guide Nº15 Nov/Dec 2017; feat. the exhibition Evelyn Hofer »Cities, Interiors, Still Lifes. Photographs 1962 – 1997« at Galerie Springer Berlin; image credits: Queensboro Bridge, New York, 1964 / Coney Island, New York, 1965 / Girl with Bicycle, Dublin, 1966, all 3 photos © Evelyn Hofer, Estate Evelyn Hofer.

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