Kunstverein Braunschweig

Kunstverein Braunschweig Kontaktinformationen, Karte und Wegbeschreibungen, Kontaktformulare, Öffnungszeiten, Dienstleistungen, Bewertungen, Fotos, Videos und Ankündigungen von Kunstverein Braunschweig, Lessingplatz 12, Braunschweig.

Due to an internal event, our opening hours will be slightly different next week:Wednesday, August 19: open until 4 pmTh...
14/08/2026

Due to an internal event, our opening hours will be slightly different next week:

Wednesday, August 19: open until 4 pm
Thursday, August 20: open until 6 pm

Please note: There will be no public guided tour on Thursday, August 20.

Thank you for your understanding — we look forward to welcoming you during our updated hours!

Photo: Kunstverein Braunschweig.

In her black steel works, such as "1993", "Chinatown" (1987), and "Attic" (2026), ANNETTE SENNEBY () treats metal as tho...
13/08/2026

In her black steel works, such as "1993", "Chinatown" (1987), and "Attic" (2026), ANNETTE SENNEBY () treats metal as though it were a sheet of paper on a wall. Darkness both blocks the space and cuts it open. These heavy sculptures absorb the light and engage the viewer’s bodily awareness of the space and its fundamental operative possibilities. When we approach, they open and obstruct. As the late Swedish art critic Peter Cornell once described Senneby’s installations: "The works give the impression of taking place far away."

"Attic" is curated by Emily Fahlén ().

Attic, 2026
Cold blued steel
249 x 90 x 0,2 cm

Aura, 1989
Cold blued steel
18 x 17 x 2 cm

Credit: Annette Senneby, Attic, exhibition view. Courtesy the artist. Photo: Frank Sperling.
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“Attic” by ANNETTE SENNEBY () is currently on view. Visit the exhibition and discover her works until September 27. Join...
11/08/2026

“Attic” by ANNETTE SENNEBY () is currently on view. Visit the exhibition and discover her works until September 27.

Join us for free public guided tours through the current exhibitions every Thursday at 6 pm and Sunday at 3 pm. We hope to see you there!

Annette Senneby

Imprint (Rain paintings), 1988
Carbon black on paper
23 x 26 cm

Credit: Annette Senneby, Attic, exhibition view. Courtesy the artist. Photo: Frank Sperling.
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Using natural rubber and plinths, LIESL RAFF () intervenes in the villa’s classical architecture, transforming it into n...
06/08/2026

Using natural rubber and plinths, LIESL RAFF () intervenes in the villa’s classical architecture, transforming it into navigable situations that reshape perception, movement, and atmosphere. She explores latex’s painterly and plastic qualities, applying it in delicate layers or casting it into transparent sheets that become folds, banners, or shields. Fascinated by rubber’s empathetic ability to bond with materials, she also embraces its sensitivity to light, air, and temperature, allowing the works to change over time like a living body.

Tip (Gather 2–7), 2026
Metal, latex, pigment, talcum powder, aluminum tape
160 x 330 x 120 cm

Bridge, 2026
Stage platform, latex, pigment, talcum powder
33 x 1020 x 202 cm

Ring 1–3, 2026
Metal, latex, pigment, talcum powder
Approx. 190 cm diameter

Credit: Liesl Raff, Slant, exhibition view. Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna. Photo: Frank Sperling.

Along the southeastern garden-facing side of the Spiegelsaal – the longest axis within the building, connecting five roo...
04/08/2026

Along the southeastern garden-facing side of the Spiegelsaal – the longest axis within the building, connecting five rooms in total – LIESL RAFF () installed "Tip" (2026), a unique work that responds to the established visual rhythm within the space. A metal structure spanning this axis supports thin lengths of cast latex pulled through openings in the metal profiles, emphasizing the material’s plastic and sculptural quality.

Positioned between the door frames and the windows, the work reorganizes the sightlines within the space and makes the sequence of the rooms tangible and visible, reducing the perceived distance between them and making viewing them an almost tactile experience.

Tip (Gather 2–7), 2026

Metal, latex, pigment, talcum powder, aluminum tape

160 x 330 x 120 cm

Credit: Liesl Raff, Slant, exhibition view. Courtesy the artist and Galerie Eva Presenhuber, Zurich / Vienna. Photo: Frank Sperling.

MARA WOHNHAAS, MATTHIAS HOLZNAGEL and HAGEN EBERLE—alias FONDATION TSCHUESS—operate on a case-by-case basis in continual...
31/07/2026

MARA WOHNHAAS, MATTHIAS HOLZNAGEL and HAGEN EBERLE—alias FONDATION TSCHUESS—operate on a case-by-case basis in continually shifting circumstances. Central to Fondation Tschuess‘s practice is the continuous reflection and observation of exhibitionmaking.

Following the invitation by FALTPAVILLON , Fondation Tschuess presents "Weeds", a floral arrangement in the courtyard. "Weeds" is an instructive architectural program looking into both construction and upkeep of image. In the broadest sense, the term refers to any plant growth in an undesired location, making it a subjective and socialised category. Where the Faltpavillon is placed, the works instruction defines upkeep as the cultivation of naturally occuring growth.

Faltpavillon is an itinerant exhibition vessel created in 2020 by artists MICHAEL RAY-VON and FINN CURRY. The format is a 3 × 3 meter folding tent assembled at a new site for each presentation.

Weeds, 2026

Wild growth

Dimensions variable

Credit: Courtesy Fondation Tschuess.

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A snail carries Villa Salve Hospes on its back, while the griffin from the entrance becomes a curious companion. Inspire...
29/07/2026

A snail carries Villa Salve Hospes on its back, while the griffin from the entrance becomes a curious companion. Inspired by distinctive features of the villa, illustrator LINE MEYER () has created an imaginative cast of characters especially for the Kunstverein. These and many more lovingly crafted figures will accompany our programs for children, young people, and school groups, giving the Kunstverein's art education program a distinctive and recognizable visual identity.

Line Meyer is an illustrator and author based in Berlin. She works with watercolor, gouache, and pencil, and both writes and illustrates her own children’s books. Her hand-drawn, playful drawings are often inspired by biology and friendships. She studied at the Academy of Fine Arts in Vienna, and her books have been translated into Danish and Korean.

Explore our current program via the link in our bio — we look forward to welcoming you.

Photo: Courtesy Line Meyer.

See what’s on this August and join us for our Tours! Director’s Tour with CATHRIN MAYER ()Thursday, August 28, 2026, 6 p...
28/07/2026

See what’s on this August and join us for our Tours!

Director’s Tour with CATHRIN MAYER ()
Thursday, August 28, 2026, 6 pm
Free of charge, plus admission

Public Guided Tours
Thursdays 6 pm and Sundays 3 pm
Free of charge, plus admission
In German

Don’t forget: admission is free on Sunday, August 2!

Check out the full program on our website.

"Interference Pattern" transforms the mechanisms and processes that shape our perception into artistic material. Bringin...
24/07/2026

"Interference Pattern" transforms the mechanisms and processes that shape our perception into artistic material. Bringing together new productions in the register of sculpture and photography, the works create a configuration of physical and optical shifts that unsettle familiar patterns of orientation and respond to the movement of visitors.

"Wattle Hurdles" (2026) divides part of the main exhibition space into gently separated sections. Modeled after garden fences, the works are made from hazel, pine, and beech, unified by a chocolate-brown lacquer into a toy-like representation of wood. Evoking the world of allotment gardens – a practice of amicable demarcation often resembling miniature territorial states, complete with flags – the works invite visitors to enter and look into neighboring "gardens." Through this interaction, it becomes apparent that even a barely enforced order influences how we perceive place and placement.

Credit: Michael Ray-Von, Interference Pattern, exhibition view. Courtesy the artist. Photos: Frank Sperling.

In contrast to the stately Villa Salve Hospes, the ground-level Remise is directly embedded within the surrounding garde...
22/07/2026

In contrast to the stately Villa Salve Hospes, the ground-level Remise is directly embedded within the surrounding garden, lending it the appearance of a historic garden house. "Interference Pattern" draws on this spatial situation to explore landscape, environment, and space not only as physical conditions, but also as historically and socially shaped frameworks through which we perceive and think.

The four-part photo series "Floaters" (2026) features two earthworms captured by the artist, whose images are mounted behind one-way mirrors. While the photographs remain the same size, their frames gradually increase in scale. As viewers approach, the motif disappears and gives way to their own reflection, together with glimpses of the surrounding space and garden. Rather than presenting a fixed image, the works foreground the viewer's role in its construction. The title refers to the fleeting optical phenomenon of "floaters" – shapes that seem to drift across one's field of vision yet vanish as soon as we try to focus on them.

Floaters, 2026
4 C-prints in one-way mirror frames
100 x 70cm, 70 x 55 cm, 50 x 40 cm, 29,7 x 21 cm

Credit: Michael Ray-Von, Interference Pattern, exhibition view. Courtesy the artist. Photos: Frank Sperling.

Adresse

Lessingplatz 12
Braunschweig
38100

Öffnungszeiten

Dienstag 12:00 - 18:00
Mittwoch 12:00 - 18:00
Donnerstag 12:00 - 20:00
Freitag 12:00 - 18:00
Samstag 11:00 - 18:00
Sonntag 11:00 - 18:00

Telefon

0531-49556

Webseite

Benachrichtigungen

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