Eliza Douglas, Anne Imhof, Bell, 2021 / Photo Boros Collection, Berlin © NOSHE
Boros Collection / Bunker Berlin #4
Sammlung Boros / Boros Collection
Berlin, Germany

We have rarely been as aware of the vulnerability of our physical bodies as in recent years. As a society, we are constantly upgrading our bodies through artificial enhancements to immunize ourselves against infections and maximize our performance.

Memories are externalized – stored in clouds – and social interactions are digitalized. As gadgets become increasingly humanoid, our bodies gradually morph into technoid devices. In the Boros Collection’s new presentation #4, this commodification of our physical beings is repeatedly and poignantly objectified. It presents a completely new excerpt of the private collection in the bunker.

From May 1, 2022, over 20 contemporary artist positions will be showcased across 80 rooms, of the approximately 3000 sqm collection, as part of Gallery Weekend Berlin. The Boros Foundation team is particularly committed to mediating their represented works; 220,000 visitors could thus gain extensive insights into contemporary artist positions of the previous presentation.

The Boros Foundation is a non-profit organization that promotes and supports contemporary art.

With a high-rise bunker in Berlin Mitte it operates an exhibition space for the presentation of the private collection of Karen and Christian Boros. The main focus is on mediating the exhibited works of art to a broad public. Through guided tours the artistic positions of each presentation are communicated by a team of currently 36 employees – art historians, artists and cultural scientists.

With works by Jean-Marie Appriou, Julian Charrière, Thomas Eggerer, Cyprien Gaillard, Ximena Garrido-Lecca, Yngve Holen, Klára Hosnedlová, Anne Imhof, Alicja Kwade, Victor Man, Kris Martin, Nick Mauss, Jonathan Monk, Adrian Morris, Paulo Nazareth, Berenice Olmedo, Amalia Pica, Bunny Rogers, Michael Sailstorfer, Wilhelm Sasnal, Pieter Schoolwerth, Anna Uddenberg, Julius von Bismarck, Eric Wesley, He Xiangyu.

  • Prisma Art Prize 2024
    Deadline Aug 3, 2024
    Prisma Art Prize

    Prisma Art Prize is an art contest born to promote emerging painters and visual artists. As our name and logo suggests, we want to be a prism that refracts all the possible outcomes of the painting process. What we want is to answer a fundamental question in the current artistic context: what does painting mean today? At the base of our project, there is the constant and inclusive research and enhancement of artists from different cultural and educational backgrounds. (more…)

  • Atiéna R. Kilfa: Special Effect
    May 4 – Sep 8, 2024
    Den Frie
    Copenhagen, Denmark

    With Special Effect, Atiéna R. Kilfa presents a new body of works consisting of a short film and two large scale pencil drawings. In continuation of Kilfa’s investigation and restructuring of cinematic archetypes, Special Effect homes in on the nondescript figure of a man sitting at a desk. Shot in black and white, the film eerily evokes a timelessness of the figure by bringing it in resonance with pictorial genres reminiscent of various eras from German Expressionist cinema to the golden age of Hollywood film noir, fast forward to its 4K quality of today. (more…)

  • Polly Braden: Leaving Ukraine
    Mar 15 – Sep 15, 2024
    Foundling Museum
    London, UK

    Polly Braden: Leaving Ukraine is an intimate portrait of women, forced to leave their homes following the Russian invasion of Ukraine on 24 February 2022. In this new series of work we see the extraordinary journeys undertaken by mothers, daughters, teenagers and babies in arms. Since the outbreak of the war in Ukraine, Polly Braden has used her camera to document the lives of women and children unexpectedly scattered across Europe. (more…)

  • Immemory
    Apr 12 – Jun 30, 2024
    Keelung Museum of Art
    Keelung City, Taiwan

    Immemory, “bē-kì-tit” in Taiwanese, is a memory project focusing on the “historical turn” in contemporary art over the past decade in specifically the local context of Keelung. The exhibition considers historical objects and facts as the “thing-in-itself,” aiming to explore Foucault’s concept of “historical a priori” through self-reflexive historiography. The project presents five leitmotifs: “archive fever,” “cold cold war,” “things as the historical a priori,” “politics of exosomatic memory,” and “settler colonialism vs colonialism.” (more…)

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