{"id":11105,"date":"2026-05-19T09:10:17","date_gmt":"2026-05-19T09:10:17","guid":{"rendered":"https:\/\/ato.vision\/magazine\/?p=11105"},"modified":"2026-05-19T09:10:18","modified_gmt":"2026-05-19T09:10:18","slug":"crispy-critics-picks-gallery-weekend-berlin","status":"publish","type":"post","link":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/","title":{"rendered":"Crispy Critic\u2019s Picks: Gallery Weekend Berlin"},"content":{"rendered":"\t\t
\n\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Ketuta Alexi-Meskhishvili at Galerie Molitor<\/b><\/p>

There is something striking in Ketuta Alexi-Meskhishvili\u2019s radiant colors and the ambiguity of her fragmented images, suspended between clarity and abstraction. Among the first spaces visited, Galerie Molitor presents\u00a0Georgia<\/em>, the second solo exhibition by the Georgian-American artist.\u00a0Continuing her exploration of photography as an unstable, process-based medium, the exhibition features new pieces of C-prints created through her \u2018camera-less\u2019 practice, which merges digital and analogue techniques. Using collage, manipulated Instagram screenshots, and light exposure, the works navigate between chance and control. Downstairs, table-shaped standing frames display aluminum dye-sublimations, contrasting permanence with the fragility of the prints above. Floral motifs and a recurring female form reference Alexi-Meskhishvili’s recent genealogical discovery of a relative named Georgia, evoking an unknown presence.<\/p>

On view until June 19, 2026<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Ketuta Alexi-Meskhishvili, Georgia<\/em>. C<\/span>ourtesy of the artist and Galerie Molitor.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Petrit Halilaj at ChertL\u00fcdde<\/b><\/p>

ChertL\u00fcdde\u2019s presentation of Petrit Halilaj\u2019s Who does the earth belong to while painting the wind?!<\/em> expands beyond the gallery format: teapots in the front window and, inside, Kosovar Albanian kilim <\/em>rugs, books, and tambourines create a welcoming atmosphere. The exhibition embeds lived history \u2013 the Kosovo War, displacement, and ongoing Serbia\u2013Kosovo tensions, evoked through vandalized and burned containers, destroyed opera sets, and reconstructed scenography linked to Halilaj\u2019s Syrigana<\/em> (2025) production. Yet the show resists becoming merely a record of loss. Fragile materials, sculptural tails, ashen blackbirds, pears, and paintings weave the artist\u2019s personal history into gestures of resistance. Its political force lies in transformation and repair, where narratives are not resolved but reshaped, refusing to vanish into ashes. Unfolding alongside Halilaj\u2019s institutional exhibition at Hamburger Bahnhof, the gallery show offers a valuable space to reflect on, celebrate, and engage with Kosovo\u2019s culture and complex history.<\/p>

On view until July 25, 2026<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Petrit Halilaj, Installation view of Who does the earth belong to while painting the wind?!<\/i>, ChertL\u00fcdde, Berlin, 2026. Photo \u00a9 Marjorie Brunet Plaza. Courtesy of ChertL\u00fcdde, Berlin and Petrit Halilaj<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Yuji Agematsu At Galerie Buchholz<\/b><\/p>

Entering Galerie Buchholz in Berlin\u2019s former West, the small, carefully composed works initially appear as delicate sculptural objects. Only on closer inspection does it become clear that their material is far more humble: the everyday detritus of urban life. The exhibition marks the first part of a two-part presentation of Japanese artist Yuji Agematsu. His works consist of debris collected during daily walks through New York, arranged inside the cellophane of cigarette packets and titled Zips<\/em>. Agematsu has repeated this practice every day since 1996, as noted in the exhibition text. What at first may evoke either disappointment or fascination gradually settles into recognition: urban waste is not so much elevated as carefully observed, held in a form that renders its fragility and randomness newly visible. It quickly becomes apparent that I have never encountered everyday waste arranged with such attentiveness before.<\/p>

On view until June 20, 2026<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Yuji Agematsu, Zip: 01-01-2024 \u2013 12-31-2024<\/i>, \u00a9 Galerie Buchholz<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Tracey Emin at Galerie Max Hetzler, part of the group exhibition <\/b>The Self Assessed<\/i><\/b><\/p>

In The Self Assessed<\/em>, the group show at Galerie Max Hetzler, Tracey Emin\u2019s work is positioned within a broad survey of self-portraiture as a psychological exposure. Against more distanced approaches to identity construction \u2013 such as the conceptually mediated self-representations associated with artists like Cindy Sherman or Bruce Nauman in the exhibition \u2013 Emin\u2019s work is read as emphasizing immediacy and autobiographical directness. Emin remains committed to intimacy and emotional intensity. This is evident in works such as We Sit Together<\/em> (2025) and Why I Never Became a Dancer<\/em> (1995), where autobiographical narration and imagery of Margate fold memory into lived adolescent experience. Across her works presented, identity is not fixed but continually re-formed through recollection, power relations, shame, and desire. Tracey Emin\u2019s self-revelation and vulnerability contribute to the perceived authenticity of her work. It is quite empowering to see her dancing at the end of the film, as she returns to her long-held yearning.<\/span><\/strong><\/span><\/p>

On view until May 30, 2026<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Tracey Emin, Why I Never Became a Dancer,<\/i> 1995. Courtesy of Galerie Max Hetzler<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Daniel Buren at Konrad Fischer\u00a0<\/b><\/p>

Konrad Fischer Galerie, located in the city\u2019s central district, alongside its spaces in D\u00fcsseldorf and New York, has long been known for exhibiting minimal and conceptual art. Daniel Buren\u2019s current exhibition Trois en un, Hauts-reliefs, Travaux situ\u00e9s<\/em>, extends his familiar site-specific stripe system from the 1960s into a large-scale mirrored installations that turns the gallery into a shifting optical field. The reflections multiply his bands, drawing viewers into the work while also dissolving spatial certainty. The viewer is not positioned in front of the work but absorbed into its logic of serial repetition and optical feedback, reinforcing Buren\u2019s persistent claim that art cannot be detached from its conditions of appearance, surrounding space, and institutional framing. The critique of the \u201cneutral\u201d white cube remains central.\u00a0While the installation effectively exposes how perception is constructed, it also reiterates a strategy Buren has long refined through institutional reflection.<\/p>

On view until August 1, 2026<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Daniel Buren, courtesy of Konrad Fischer Galerie<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Brook Hsu at Kraupa-Tuskany Zeidler<\/b><\/p>

Brook Hsu\u2019s second solo exhibition at Kraupa-Tuskany Zeidler draws on the Barcelona Pavilion, designed by Ludwig Mies van der Rohe and Lilly Reich for the 1929 Barcelona International Exposition. Her ink and pencil drawings, which depict pregnancy and loss through recurring female figures, establish an evocative dialogue between modernist architecture and bodily experience. At times, however, that connection feels elusive. The pavilion\u2019s history of demolition and reconstruction offers a compelling lens through which to consider change and temporality, yet it remains somewhat unclear why this architectural history has been chosen to frame such an intimate subject. The inclusion of Georg Kolbe\u2019s bronze sculpture Nacht<\/em> (1930) provides a strong reference. The show is most effective in its emotionally charged atmosphere, though some of its conceptual relationships feel only lightly explored. This may stem from a lack of contextual grounding, which the exhibition text unfortunately does not fully provide, leaving the narrative slightly vague.<\/p>

On view until June 13, 2026<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Brook Hsu, Hope<\/i>, 2026. Photo \u00a9 Julian Blum. Courtesy of the artist and Kraupa-Tuskany Zeidler<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Shinoh Nam at Mountains<\/b><\/p>

After a long day, Shinoh Nam\u2019s exhibition A Guide to the Interior for a House on Ambiguous Grounds<\/em>, developed in collaboration with architect Changki Kim at Mountains, stands out. Reflecting on the contradictions of progress, the exhibition unfolds as a fragmented house suspended between construction and ruin, assembling steel, wood, and glass into remnants of unfinished models and architectural afterimages. References to the Le Corbusier chair, the schematic floor plan of Dogville<\/em>(2003), and fragments of doors introduce crossings, thresholds, and concealed elements, evoking a spatial logic in which architecture is reduced to partial signs. These arrangements carry a quiet sense of mystery and phenomenological depth, recalling Gaston Bachelard\u2019s poetics of interiority. I also think of Robert Smithson\u2019s notion of the building as a ruin in reverse. There is a quiet persistence in how the works hold themselves open, resisting closure, even as their language of fragmentation invites familiarity.<\/p>

On view until June 13, 2026<\/i><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Installation view of Shinoh Nam, A Guide to the Interior for a House on Ambiguous Grounds<\/i>, Mountains. Photo \u00a9 Julie Becquart.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Once you leave the First of May mayhem of Kreuzberg behind, the streets of Mitte and the backyards of Sch\u00f6neberg may seem almost calm and empty. Yet a seething swarm of gallerists, visitors, collectors, and tourists moves through the city, and there is plenty to discover. Nutsa Sitchinava highlights the exhibitions that particularly stood out to her during this year\u2019s Gallery Weekend.
\nLesedauer: 5 Minuten<\/p>\n","protected":false},"author":55,"featured_media":11108,"comment_status":"closed","ping_status":"open","sticky":false,"template":"elementor_theme","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[56],"tags":[796,794,797,802,614,799,803,790,795,801,804,792,798,800,793,791],"class_list":["post-11105","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-allebeitraege","tag-ausstellungen-berlin-2026","tag-berliner-galerien","tag-brook-hsu-ausstellung","tag-crisp-critics-picks","tag-crispy-critic","tag-daniel-buren-installation","tag-gallery-weekend","tag-gallery-weekend-berlin-2026","tag-ketuta-alexi-meskhishvili","tag-kunstkritik-berlin","tag-nutsa-sitchinava","tag-petrit-halilaj","tag-shinoh-nam-architekturkunst","tag-tracey-emin-kunst","tag-yuji-agematsu","tag-zeitgenoessische-kunst-berlin"],"acf":[],"yoast_head":"\nCrispy Critic\u2019s Picks: Gallery Weekend Berlin \u2013 Crisp Magazin<\/title>\n<meta name=\"description\" content=\"Gallery Weekend Berlin 2026: Die besten Ausstellungen, K\u00fcnstler & Trends der zeitgen\u00f6ssischen Kunst entdecken.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Crispy Critic\u2019s Picks: Gallery Weekend Berlin \u2013 Crisp Magazin\" \/>\n<meta property=\"og:description\" content=\"Gallery Weekend Berlin 2026: Die besten Ausstellungen, K\u00fcnstler & Trends der zeitgen\u00f6ssischen Kunst entdecken.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/\" \/>\n<meta property=\"og:site_name\" content=\"Crisp Magazin\" \/>\n<meta property=\"article:published_time\" content=\"2026-05-19T09:10:17+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-05-19T09:10:18+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2026\/05\/Bildschirmfoto-2026-05-08-um-16.31.32-1024x751.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1024\" \/>\n\t<meta property=\"og:image:height\" content=\"751\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"Nutsa Sitchinava\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Nutsa Sitchinava\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"9\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/\"},\"author\":{\"name\":\"Nutsa Sitchinava\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/#\\\/schema\\\/person\\\/4b26c71d2a60c5ef078a860e81d3d855\"},\"headline\":\"Crispy Critic\u2019s Picks: Gallery Weekend Berlin\",\"datePublished\":\"2026-05-19T09:10:17+00:00\",\"dateModified\":\"2026-05-19T09:10:18+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/\"},\"wordCount\":1200,\"publisher\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/Bildschirmfoto-2026-05-08-um-16.31.32.png\",\"keywords\":[\"Ausstellungen Berlin 2026\",\"Berliner Galerien\",\"Brook Hsu Ausstellung\",\"Crisp Critic's Picks\",\"Crispy Critic\",\"Daniel Buren Installation\",\"Gallery Weekend\",\"Gallery Weekend Berlin 2026\",\"Ketuta Alexi-Meskhishvili\",\"Kunstkritik Berlin\",\"Nutsa Sitchinava\",\"Petrit Halilaj\",\"Shinoh Nam Architekturkunst\",\"Tracey Emin Kunst\",\"Yuji Agematsu\",\"zeitgen\u00f6ssische Kunst Berlin\"],\"articleSection\":[\"Alle Beitr\u00e4ge\"],\"inLanguage\":\"de\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/\",\"url\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/\",\"name\":\"Crispy Critic\u2019s Picks: Gallery Weekend Berlin \u2013 Crisp Magazin\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/Bildschirmfoto-2026-05-08-um-16.31.32.png\",\"datePublished\":\"2026-05-19T09:10:17+00:00\",\"dateModified\":\"2026-05-19T09:10:18+00:00\",\"description\":\"Gallery Weekend Berlin 2026: Die besten Ausstellungen, K\u00fcnstler & Trends der zeitgen\u00f6ssischen Kunst entdecken.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/#breadcrumb\"},\"inLanguage\":\"de\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/#primaryimage\",\"url\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/Bildschirmfoto-2026-05-08-um-16.31.32.png\",\"contentUrl\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/Bildschirmfoto-2026-05-08-um-16.31.32.png\",\"width\":1800,\"height\":1320},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/crispy-critics-picks-gallery-weekend-berlin\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Crispy Critic\u2019s Picks: Gallery Weekend Berlin\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/#website\",\"url\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/\",\"name\":\"Crisp Magazin\",\"description\":\"Junges, kritisches Kunstmagazin \u2013 herausgegeben von ato\",\"publisher\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"de\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/#organization\",\"name\":\"ato\",\"url\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/wp-content\\\/uploads\\\/2022\\\/02\\\/ato_Logo_rund.png\",\"contentUrl\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/wp-content\\\/uploads\\\/2022\\\/02\\\/ato_Logo_rund.png\",\"width\":862,\"height\":862,\"caption\":\"ato\"},\"image\":{\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/#\\\/schema\\\/logo\\\/image\\\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/#\\\/schema\\\/person\\\/4b26c71d2a60c5ef078a860e81d3d855\",\"name\":\"Nutsa Sitchinava\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/Pic-150x150.png\",\"url\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/Pic-150x150.png\",\"contentUrl\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/wp-content\\\/uploads\\\/2026\\\/05\\\/Pic-150x150.png\",\"caption\":\"Nutsa Sitchinava\"},\"url\":\"https:\\\/\\\/ato.vision\\\/magazine\\\/author\\\/nutsa-sitchinava\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Crispy Critic\u2019s Picks: Gallery Weekend Berlin \u2013 Crisp Magazin","description":"Gallery Weekend Berlin 2026: Die besten Ausstellungen, K\u00fcnstler & Trends der zeitgen\u00f6ssischen Kunst entdecken.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/","og_locale":"de_DE","og_type":"article","og_title":"Crispy Critic\u2019s Picks: Gallery Weekend Berlin \u2013 Crisp Magazin","og_description":"Gallery Weekend Berlin 2026: Die besten Ausstellungen, K\u00fcnstler & Trends der zeitgen\u00f6ssischen Kunst entdecken.","og_url":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/","og_site_name":"Crisp Magazin","article_published_time":"2026-05-19T09:10:17+00:00","article_modified_time":"2026-05-19T09:10:18+00:00","og_image":[{"width":1024,"height":751,"url":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2026\/05\/Bildschirmfoto-2026-05-08-um-16.31.32-1024x751.png","type":"image\/png"}],"author":"Nutsa Sitchinava","twitter_card":"summary_large_image","twitter_misc":{"Verfasst von":"Nutsa Sitchinava","Gesch\u00e4tzte Lesezeit":"9\u00a0Minuten"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/#article","isPartOf":{"@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/"},"author":{"name":"Nutsa Sitchinava","@id":"https:\/\/ato.vision\/magazine\/#\/schema\/person\/4b26c71d2a60c5ef078a860e81d3d855"},"headline":"Crispy Critic\u2019s Picks: Gallery Weekend Berlin","datePublished":"2026-05-19T09:10:17+00:00","dateModified":"2026-05-19T09:10:18+00:00","mainEntityOfPage":{"@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/"},"wordCount":1200,"publisher":{"@id":"https:\/\/ato.vision\/magazine\/#organization"},"image":{"@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/#primaryimage"},"thumbnailUrl":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2026\/05\/Bildschirmfoto-2026-05-08-um-16.31.32.png","keywords":["Ausstellungen Berlin 2026","Berliner Galerien","Brook Hsu Ausstellung","Crisp Critic's Picks","Crispy Critic","Daniel Buren Installation","Gallery Weekend","Gallery Weekend Berlin 2026","Ketuta Alexi-Meskhishvili","Kunstkritik Berlin","Nutsa Sitchinava","Petrit Halilaj","Shinoh Nam Architekturkunst","Tracey Emin Kunst","Yuji Agematsu","zeitgen\u00f6ssische Kunst Berlin"],"articleSection":["Alle Beitr\u00e4ge"],"inLanguage":"de"},{"@type":"WebPage","@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/","url":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/","name":"Crispy Critic\u2019s Picks: Gallery Weekend Berlin \u2013 Crisp Magazin","isPartOf":{"@id":"https:\/\/ato.vision\/magazine\/#website"},"primaryImageOfPage":{"@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/#primaryimage"},"image":{"@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/#primaryimage"},"thumbnailUrl":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2026\/05\/Bildschirmfoto-2026-05-08-um-16.31.32.png","datePublished":"2026-05-19T09:10:17+00:00","dateModified":"2026-05-19T09:10:18+00:00","description":"Gallery Weekend Berlin 2026: Die besten Ausstellungen, K\u00fcnstler & Trends der zeitgen\u00f6ssischen Kunst entdecken.","breadcrumb":{"@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/#breadcrumb"},"inLanguage":"de","potentialAction":[{"@type":"ReadAction","target":["https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/"]}]},{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/#primaryimage","url":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2026\/05\/Bildschirmfoto-2026-05-08-um-16.31.32.png","contentUrl":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2026\/05\/Bildschirmfoto-2026-05-08-um-16.31.32.png","width":1800,"height":1320},{"@type":"BreadcrumbList","@id":"https:\/\/ato.vision\/magazine\/crispy-critics-picks-gallery-weekend-berlin\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/ato.vision\/magazine\/"},{"@type":"ListItem","position":2,"name":"Crispy Critic\u2019s Picks: Gallery Weekend Berlin"}]},{"@type":"WebSite","@id":"https:\/\/ato.vision\/magazine\/#website","url":"https:\/\/ato.vision\/magazine\/","name":"Crisp Magazin","description":"Junges, kritisches Kunstmagazin \u2013 herausgegeben von ato","publisher":{"@id":"https:\/\/ato.vision\/magazine\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/ato.vision\/magazine\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"de"},{"@type":"Organization","@id":"https:\/\/ato.vision\/magazine\/#organization","name":"ato","url":"https:\/\/ato.vision\/magazine\/","logo":{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/ato.vision\/magazine\/#\/schema\/logo\/image\/","url":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2022\/02\/ato_Logo_rund.png","contentUrl":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2022\/02\/ato_Logo_rund.png","width":862,"height":862,"caption":"ato"},"image":{"@id":"https:\/\/ato.vision\/magazine\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/ato.vision\/magazine\/#\/schema\/person\/4b26c71d2a60c5ef078a860e81d3d855","name":"Nutsa Sitchinava","image":{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2026\/05\/Pic-150x150.png","url":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2026\/05\/Pic-150x150.png","contentUrl":"https:\/\/ato.vision\/magazine\/wp-content\/uploads\/2026\/05\/Pic-150x150.png","caption":"Nutsa Sitchinava"},"url":"https:\/\/ato.vision\/magazine\/author\/nutsa-sitchinava\/"}]}},"_links":{"self":[{"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/posts\/11105","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/users\/55"}],"replies":[{"embeddable":true,"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/comments?post=11105"}],"version-history":[{"count":25,"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/posts\/11105\/revisions"}],"predecessor-version":[{"id":11144,"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/posts\/11105\/revisions\/11144"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/media\/11108"}],"wp:attachment":[{"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/media?parent=11105"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/categories?post=11105"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ato.vision\/magazine\/wp-json\/wp\/v2\/tags?post=11105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}