Unfinished work, unfinished menu of Markus Binner

20 / 10 / 23 until 26 / 11 / 23



Markus Binner makes unfinished works that others continue. He often develops them together with others. Often there is food.

The exhibition brings together unfinished works by Markus Binner. Whether the works are continued in a real, conversational, imaginary or cooperative way is specific to each work. As is the choice of media: street parties, books, exhibitions, videos, buffets, parties, food, cooking, recipes.

Although Markus Binner has been working with this approach of unfinished/continued for a long time, the exhibition “und gibs hin” (to be found as the last set of recipes in old cookbooks) is the first explicitly about this. So it’s not about incompletely painted pictures or unhewn spots on stones, but about continuability. It is intended that the continuity of art in general becomes a theme.

An unfinished menu is served, accompanied and interrupted by intertitles. Using the example of the grand master and defender of the unfinished, Michelangelo Buonarotti – almost 2/3 of his sculptures are unfinished – we eat our way through some good reasons for not finishing.




To accompany the exhibition UND GIBS HIN we serve the following


“Und gibs hin” is often found in old cookbooks as the last sentence of recipes. The exhibition brings together unfinished works by Markus Binner. Unfinished in the sense that they can be continued. An unfinished menu of supper and fondue will be served.

Supper, ingredients to make yourself:

Crusty bread
Trout cream with crème fraîche
Pesto with basil and pine nuts
Duck liver mousse with apple, marjoram and cognac
Sheep’s cheese with dried tomatoes
Duck rillette with thyme
Radicchio cream with ricotta
Lemon butter
Plum roast
Cranberries with orange
Rouille with piment d’Espelettes
Sour gherkins

2. fondue, ingredients to cook yourself:

Vegetable stock

Swiss chard
Savoy cabbage
Chinese cabbage
Duck liver
Veal kidneys
Veal fillet
Semolina dumplings according to Mama
Pancakes with leek
Cauliflower florets

3. desert

Chocolate and fruit


Installation by Sabine Hilscher

21 / 04 / 23 until 11 / 06 / 23

In her work, Sabine Hilscher deals in different ways with network structures and connections with what is hidden beneath the surface and which, on closer inspection, sometimes produces something surprising. With the large-format paper cuts created with shellac ink and paste, frozen papers and wind, she combines randomly created structures with observation of nature and the translation of naturally grown phenomena.

Instagram @sabine_hilscher


To accompany the exhibition wurzelwerk we serve the menu Alles was unten wächst

Subterranean Soup
Manioc, yams, sweet potato cream and truffle oil

Appetizer Plate Braid
Pickled and marinated asparagus with lime and rapeseed oil
Tagliatelle with dried herbs
Crépe strips with parsley
Pickled mushrooms
Pickled dandelion with balsamic vinegar
Beurre Blanc mit hellem Miso
Parsley oil

Roots and meat

Caramelised carrot, parsnip, salsify and parsley root in root stock and honey, oxtail in porcini mushroom sauce and Marsala
Vegetarian: Beetroot with balsamic vinegar, honey and redcurrant

Marinated strawberries with lime, lemon granité, hay cream and chocolate



An exploration of alternative perceptions when visible differences are actually invisible

Installation by Semra Sevin

Opening on Friday, October 14 from 6:00 p.m.


(In)visible Differences is an exploration of alternative perceptions when visible differences are actually invisible. Semra Sevin’s inclusive exhibition opens during the Week of Sight, which can be experienced through all the senses, by blind, visually impaired, as well as sighted people.

For (In)visible Differences, Sevin invited blind and visually impaired people from several continents to interview her online about perceptions of the “other” and share their observations on people and society. The interviews are both accessible online and can be heard accompanying some of the artworks, or accessed via QR code on the wall.

Interview participants were asked to submit a digital portrait. Parameters of the portraits such as dpi, color codes, and size were fed into a 3D program, resulting in non-figurative objects. These haptic objects were both recreated by hand and 3D printed. Three large centerpieces produce sound when touched. In addition, the sculptures appeal to the olfactory senses. Each object is accompanied by a favorite scent of the person it represents. In addition, visitors have the opportunity to create sound by touching each other at a sound station set up for this purpose. Thus, the visitor can interactively experience tactile, audible, olfactory abstract portraits. Mirror foils on the walls transport the sighted viewer into a visually abstract world. The visually impaired are guided through the exhibition by floor markings and information in Braille.

Semra Sevin @Zagreus

With her work, artist Sevin aims to raise a question that is important to her: “What can we learn from the visually impaired to develop a new, avant-garde way of perceiving the world that is inclusive?” The exhibition offers an opportunity to experience people with visual impairments in an emancipated context.

Ulrich Krauss has used what the blind have to say about food (in public) to develop a menu that responds to their needs and preferences, or defies visual experience and communicates more through scent and taste. The bookable dinners are each accompanied by a visually impaired person.

Semra Sevin is a German interdisciplinary artist known for her photographic series of works and multimedia installations. In terms of content, her work can be characterized by an exploration of issues of diversity and inclusion. Her concern is to challenge a one-dimensional view of the world in order to reveal the multi-layered nature of truth and identity. Formally, she uses materials such as mirrors, foils, glass acrylic and now sound, stone and metal to do so.


Interview with Semra Sevin and Ulrich Krauss in culturala


Eyewear: Pro Retina
3D Printing Consultancy: 3D Petrol Print and 2 for 1



Opening on Thursday, August 4 from 7:00 p.m.

Elizabeth Carlsson
Amelia Nin
Tom Poehler
Ursula Wimmesberger


Lichens are fascinating not only aesthetically but also conceptually, starting with the great metaphor of their being created from a symbiosis of organisms of different species. In a world that is constantly evolving, it is not the strongest that survives, but the one that adapts best. Lichens are able to survive under extreme conditions, as they are among the most resilient and at the same time the most sensitive of living beings.

Four international artists* now explore their shared fascination with lichens in a multidisciplinary group exhibition that introduces the viewer to the essence of lichens from different perspectives and creates a unique experience.

To accompany the exhibition FASZINIERENDE DOPPELWESEN we will serve the menu



Aperitif: Spumante, Casa Gheller, Veneto

Guinea fowl consommée with herb lichen crèpe (Icelandic moss)
and stuffed guinea fowl breast with rosemary and lichen
Vegetarian: vegetable broth with herb lichen crèpe and celery powder
2021 Pinot Gris Lehmöfele, Hubert Lay, Kaiserstuhl

THE GREAT BREAD: “Symbiosis with lichens”.
Salads, various vegetables, berries, nuts and herbs
with mushrooms, algae and lichen
2016 Déjà Fruit Pinot Noir Rose, Alexander Heer, Rheingau

Fried semolina dumplings with lichen flour,
Parmesan sauce, red wine jus and breaded artichokes
2010 Domaine Nivet-Galinier Côtes du Roussillon Les Aspres

Lichen grits with oats and honey,
berries, cassis and apricot jam



Installations and sculptures by Miriam Lenk

25 / 02 / 22 to 25 / 04 / 22

Installations and sculptures by Miriam Lenk Opening on Friday, February 25 from 6:00 pm The gallery transforms into a mixture of coral reef and baroque cave. The front wall of the room is dominated by an altar-like installation and octopussy floats from the ceiling above the panel. There it continues to sway in the form of baroque plates and chalices, which seem to have freed themselves from Lenk’s sculptures. Guests can escape the cold Berlin February for an evening and recharge themselves aesthetically and culinarily in Meerschaum-Gewoge.


Read also the article published in DEEDS.NEWS with a 3D presentation.


To accompany the exhibition we serve the menu

flow – pour – lay

The menu served in Miriam Lenk’s ceramics is a succession of dishes of different consistencies and colours that are placed or poured into the baroque-looking plates and goblets.

The waiter comes to the place and waters, pours or dusts the plate with another element of the menu, so that there is always eating up and renewing, and always different combinations and additions. A relay race of seafood and floral dishes.


Wild herbs
Sweet potato

Ice cream
Puff pastry



with objects and a bee colony

Installation by Bärbel Rothhaar

23 / 05 / 21 until 15 / 08 / 21

Over several years Bärbel Rothhaar has been talking to beekeepers and bee researchers about their experiences with swarms. She has also modelled her portraits in beeswax and installed them in beehives. In the courtyard, a bee colony will continue to work on the wax portraits in a display case. The already finished collaborations of bees and artist can be seen indoors.


To accompany the exhibition we serve a menu with products of the bees and their therapeutic and culinary uses with honey, oxymel, mead and drone brood.

Fish essence with tomato, fennel and mead

Lettuce heart with mint-mint emulsion, lemon vinaigrette and pollen cream with yogurt

Sea bass confit in elderberry oxymel, pickled elderberry capers and sweet potato mousse with orange

Broad beans in barley miso and roasted chanterelles in parsley sauce

Stuffed guinea fowl breast with rosemary and roasted with juniper oxymel, red chard with rosehip oxymel and red wine butter

Crème brûlée with drone brood and strawberry shake with summer blossom

Instagram: @apis_regina_berlin


Plants of the Swabian Alb

Installation by Bruno Nagel

Bruno Nagel lives in Hohenstaufen in an empty bakery with garden, barn and orchard. In the meantime he has his studio with the surrounding landscape of the Swabian Alb. With the main focus on the Eastern Alb he moves over the rough pastures, collects wild herbs such as thyme, juniper and wild marjoram, draws water from spring pots and turns its fruit into musk and liquor. From this cosmos he brings ingredients for the Zagreus cuisine from his collection.

The summer beer garden now becomes an autumn/winter situation. With an open hut in the courtyard and a fire bowl we encounter Corona warmhearted. We serve the Menu FIRE & SMOKE to match the ambience, which consists of heating oven, furs, blankets and fresh hay scent.

Inside Bruno Nagel presents a panorama of text and object works.
The exhibition can be viewed in accordance with the Corona rules.

We serve the menu FIRE AND SMOKE:

Cider Veal Soup with root vegetables, cider, dried pears, apples, apple tree wood, hay from the lean meadow and horseradish

Smoked Trout with orange marinade, rosehip marrow, tarragon powder and caramelised walnuts

Beetroot with currant marinade and confit of fermented garlic and red onion

Back from Highland Cattle with juniper crust, oxtail sauce with elderberry juice, potato masher with paprika sausage from farmer Hartmut

Dark chocolate mousse with whipped pear sauce



Installation by Marco P. Schäfer

The collages reaching from wall to wall, floor to ceiling, or knife cuts of colorful paper strips of varying length, width, color and shape seem to set the walls vibrating, sometimes louder, sometimes quieter. There is no top, no bottom, no beginning, no end, but only the concentrated or more fragile power of form and color paired with the ephemeral lightness of the paper.

Whether sketch-sized or room-filling, Schaefer creates his works according to the same principle: the carrier is a white paper frame reinforced by basic forms. From sheets of high-quality paper previously coloured with acrylic, Schaefer cuts various strips and shapes with a cutter knife, which are initially rather spontaneously intuitive, later arranged in precise steps and fixed with glue. In this working phase Schaefer transforms into a Pollock of paper: concentrated, in constant movement and following his inner music he creates his large formats.

For Schaefer is actually a draughtsman, inspired by the common visual language of advertising and comics. But he is also influenced by the baroque style of churches, with their overflowing forms, as he knows them from his old South German homeland. In his work, this overflowing, almost psychedelic-looking, meets the strictly formalistic. Thus his works often seem almost “loose and light” despite their severity.

“The compositions can be read from left to right, from right to left, from top to bottom, reversed or mirrored, even negatively, as letters, runes, notes, ornaments, codes, numbers, stencils, shadow theatre or speculative abstraction, empathy (Grominger), magic message (McLuhan), partisans (Mao) or pirates (Conrad). The compositions are very spontaneous and contain the complexity of my being”.




Sculptures Gabrielle Rossmer
Film Luther Price
Painting Sonya Gropman

05 / 03 / 20 until 14 / 04 / 20

This exhibition is about the object – specifically related to cooking and eating – as it embodies time, place, and meaning. Time (both present and past), place (here, in Germany – and there, in the U.S.), and meaning (the human experience including nourishment, loss, connection to the land, emigration, re-connection, creation, recreation). This exhibit is about today, as it has been informed by the past; about welcoming our own history as part of a living present.
When the Rossmer (nee Rossheimer) family (Gabrielle, a one-year old baby, along with her parents Erna and Stefan) fled Nazism in 1939, all of the objects from their home – from furniture, to linens to kitchenware — travelled in a lift van (a large, wooden moving crate) to New York City. Most of these objects survive today, and have been in continual daily use since then. There is an irony to the Nazi law which required Jews to pack their household items and then pay a tax on them (their own belongings!), as a way to create a discontinuation of Jewish life in Germany; this actually led, in our family at least, to a sense of continued connection to our family’s former life in Germany.
All three artists explore the same objects from different perspectives and in different media –sculpture, film and paint. Gropman’s work is brand new, Price’s is archival and Rossmer’s is new work that reflects its own history.

Rossmer and Gropman are mother and daughter. They are the co-authors of “The German Jewish Cookbook: Recipes & History of a Cuisine”, (2017, Brandeis University Press). They wrote it to preserve a food tradition that has largely faded, along with the culture of German Jews. Those who survived the 1930’s have almost entirely merged with the cultures of the lands to which they immigrated. The kitchen is the place where German-Jewish culture has been most clearly preserved, with families often maintaining some of the recipes of their mothers, grandmothers, and great-grandmothers (and sometimes, as in our family, grandfathers). That might include dishes for Passover (Pesach), the eight-day holiday that celebrates liberation and prohibits leavened food; Chanukah, when fried foods are eaten; Berches, the bread eaten for the weekly Sabbath, or other holidays.

Gabrielle Rossmer is a sculptor. In 1991 she created a multi-media installation entitled “In Search of the Lost Object” that was about her family’s history in Germany and subsequent emigration to the U.S. This work was exhibited in the city of her birth, Bamberg, Germany as well as at the Cathedral of St. John the Divine in New York City in 1994-5, and as part of the exhibition, “Witness and Legacy, Contemporary Art about the Holocaust” which travelled to many venues in the USA from 1995 to 2002. (Elements of this show are on permanent display in the Bamberg Historical Museum.) Rossmer’s work here is a continuation of where she left off 18 years ago. These sculptures are composed of colorless stiffened cloth. They refer to household objects, and are largely recognizable, yet have a fugitive, evasive quality which evokes past time. Rossmer lives in Massachusetts, USA

Luther Price is an experimental filmmaker whose work has been widely screened at museums and galleries in the U.S. and Europe, including the Museum of Modern Art and the 2012 Whitney Biennial, both in NYC. In Europe, his films are distributed by Light Cone in Paris. In 1991 he shot super 8 footage related to Rossmer’s “In Search of the Lost Object”, which included both household objects, and several members of the family. He created a 15-minute film from the footage, which is also titled “In Search of the Lost Object”. Price said “The objects were speaking to me when I filmed them. It knocked me over to know all these objects made it here (the U.S.). Objects hold so much meaning…in a way they are living.” Price’s film is screened in the gallery on a 15-minute loop. He lives in Boston, MA, USA

Sonya Gropman is a visual artist and writer. She has exhibited her work in the U.S. and published her writing in food-related publications in the U.S. Her work here focuses on the cooking utensils and foods that represent her family’s history, yet also reflect her daily activities in her own kitchen. She is interested in the connection to a place via food. Her images, painted directly onto the gallery wall, are silhouettes rendered in bright colours. The images are repeated, to create a stylized pattern that teeters between vintage and contemporary. Gropman lives in New York City.


La Grande Bouffe

La Grande Bouffe

A staged space about man, animal, lust and death
by Margret Eicher

The inspiration and starting point for Margret Eicher’s spatial production is the French-Italian feature La Grande Bouffe (The Big Eat) from 1973, directed by Marco Ferrera and starring Marcello Mastroianni, Michel Piccoli, Philippe Noiret, Ugo Tognazzi and Andréa Ferréol. In the film plot an almost solemn collective suicide is staged with excessive eating and sexual excess.

The Zagreus project shows a media tapestry, and a wall-filling ornament that also covers the surface of the dining table. The main motif of the tapestry shows shot red and wild boar citing Dutch still life painting in correspondence to female porcelain figures. The result is an erotic fluid in which the animal appears as a multi-layered projection surface of human desires. The alliance of sexuality and death is shown here in a surprising impression.


With friendly support


The staging of the dishes picks up elements from the present work of art as well as dishes from the film and combines them to a sumptuous menu with Italian and French influences from classical high cuisine.

1st gear
Egg as a symbol of death and resurrection
Brine eggs with herbs and liquorice
Baroque salad “chiaroscuro” with truffle vinaigrette

2nd gear
Italian stratification
tomato sugo
Tagliatelle all heirs
Salsa di Parmigiano

3rd gear
“You don’t die if you don’t eat”
Selle de Sanglier Prince Orloff
Sauce Soubise
Sauce Mornay
Puree of chips from the terre et des châtaignes

Casserole of lègumes à la provencale
Sauce Soubise
Sauce Mornay
Puree of chips from the terre et des châtaignes

4th gear
Dessert Andréa
Crème Bavaroise
crêpes suzettes
Crème Chantilly