Kunstverein Braunschweig

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

Beautiful moments from our annual Summer Dinner with our loyal funding members and valued partners.Looking back on an ev...
22/08/2026

Beautiful moments from our annual Summer Dinner with our loyal funding members and valued partners.

Looking back on an evening filled with warmth, connection, and celebration. A heartfelt thank you to everyone who helped make this special evening possible, and a very special thank you to Uki Munte for her wonderful and thoughtful table decorations.

Thank you to everyone who made this evening so memorable.

Photos: Kunstverein Braunschweig.

"Punctured Noguchi" (2026) offers a world landscape on a modest scale. The work consists of a Vitra reproduction of a ta...
21/08/2026

"Punctured Noguchi" (2026) offers a world landscape on a modest scale. The work consists of a Vitra reproduction of a table lamp designed by Isamu Noguchi, with a fine perforation added to its washi paper shade. The lamp is illuminated by an amber-colored darkroom bulb. Through the small hole, we can catch a glimpse of the interior. Only when the viewer’s line of sight aligns with the hole and the bulb does the hole appear. The traditionally candle-lit lamp was updated by Noguchi’s design with an electric bulb for domestic use. At the same time, the lamp as a sculpture evokes the pastoral: the traditional washi material comes to the foreground, while the modern light source recedes into the background. Similar to "Pasture", the perforation in "Punctured Noguchi" creates a landscape of perception, in which foreground and background emerge only through the viewer’s position. Depending on the viewer’s movement, the hole appears or disappears, placing different historical moments in tension.

Punctured Noguchi, 2026

Modified Vitra Akari 1AD, darkroom safelight bulb

39 x 25 cm

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

Although based on a two-dimensional surface, the holograms contain a virtual three-dimensional space whose sculptural de...
20/08/2026

Although based on a two-dimensional surface, the holograms contain a virtual three-dimensional space whose sculptural depth only unfolds through shifting perspective. On the table, the surplus light of the laser projects the shadows of the holographic plates onto the partition walls behind them, which were salvaged from an architectural model of the Remise. By reintroducing the exhibition space disorganized and reduced in scale, the exhibition itself is framed as an imaging medium shaped by historically formed regimes of viewing and showing.

Pasture, 2026

Holographic films on glass plates, laser diode modules, foam boards, hardware

Various dimensions

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

MICHAEL RAY-VON'S () "Pasture" (2026) consists of a large table whose dimensions are oriented around the room’s floorpla...
19/08/2026

MICHAEL RAY-VON'S () "Pasture" (2026) consists of a large table whose dimensions are oriented around the room’s floorplan. Spread across its entire surface are partitions and laser-illuminated holograms depicting key pastoral landscape motifs, such as sheep or flowers. The genre of landscape painting can be associated with the dawn of modernity. It typically presents a rural scene in the foreground and an urban architecture coming into view in the distance, framing history through a linear perspective structured around the position of the viewer. The holograms complicate this teleological one-way street by unsettling the idea of a stable visual order.

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

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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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

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