Caline Aoun's ink fountain in the exhibition Seeing is believing

November 15, 2019 – March 2, 2020

Caline Aoun: seeing is believing
Deutsche Bank “Artist of the Year”

In her work Caline Aoun, born in Beirut in 1983, combines strategies of minimalism and conceptual art with the question of how digital technologies change our perception of images and information. She focuses in particular on the flood of images brought about by the digitalization of our globalized world. In her artistic practice, Aoun deals with materiality and “digitality,” abstraction and concreteness, as well as the discrepancy between human imagination and sensual experience.

The exhibition at the PalaisPopulaire is the first major solo presentation of the Lebanese artist in Germany


February 10 – March 2, 2020

 Xenia Hausner – “This will have been another happy day!”

The new production of Richard Strauss’s opera Der Rosenkavalier staged by André Heller is the occasion for the first cooperation between Staatsoper Unter den Linden and Deutsche Bank’s PalaisPopulaire. Visual art and music theater enter into dialogue, and the works of the Austrian painter Xenia Hausner, who designed the stage set for Der Rosenkavalier, create a contemporary commentary on the complexity of human feelings.

A cooperation between Staatsoper Unter den Linden and the PalaisPopulaire supported by Egon Zehnder

Xenia Hausner: Pure Cool, 2016, Acryl and oil on Dibond, 149 x 180 cm © Xenia Hausner



November 15, 2019 – January 31, 2020

Das Totale Tanz Theater

A Virtual Reality Dance Experience for Man and Machine

The Bauhaus looked for new artistic forms of expression for people in modern industrial societies. Among them was Oskar Schlemmer’s stage experiments as well as Walter Gropius’s Totales Theater project. To commemorate the 100th birthday of the Bauhaus, Das Totale Tanz Theater has revitalized these ideas for the digital age. The installation, which was conceived and realized under the leadership of the Interactive Media Foundation, transfers visitors to a 400-meter-high virtual reality dome. On this virtual stage they meet dance machines that wear futuristic versions of Schlemmer’s costumes. At first, the visitors can control the movements in the space. But then the system takes over the choreography. A sensual dance experience—and at the same time a highly topical reflection on the relationship between man and machine.

Embroidered hospital scrub top, ca. 1968
Damien Hirst Trinity – Pharmacology, Physiology, Pathology, 2000
Work on paper of Raqib Shaw