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Goodbye, For Now

Jun 25, 2022

Dear friends, colleagues,
Dear audiences,

In this historic moment of global crises, when socio-political and economic turbulences have already, or will soon, affect every aspect of our lives—Times Art Center Berlin (TACB) has decided to leave its physical space in Berlin Mitte. As an experimental platform for changes and transformations, creative exchanges, and communal encounters, TACB will continue to explore more flexible and versatile modes of art production. 

We want to thank from the bottom of our hearts: our artists, collaborators, and audiences who have provided us with invaluable information, knowledge and experience, greatly enriching our challenging, transcultural projects over the last years.

From the landmark show The D-Tale – Video Art from the Pearl Delta Region that inaugurated our first exhibition space at Potsdamer Straße in November 2018, which focused on TACB’s institutional roots, that is to say, the artistic diversity of the Guangdong-Hong Kong-Macao Greater Bay Area, to the recent solo exhibition Earwax by Wong Ping, TACB has produced and commissioned a series of international solo and group exhibitions, as well as online and offline programs including lectures, talks, publications and screenings. These exhibitions and programs have embraced and furthered ideas and discourses on diversity, transcultural exchanges, and connectivity in and beyond Berlin and Europe.

As a platform dedicated to global contemporary art practices and research-based academic conversations, TACB has aimed to promote and develop the comprehension of and a re-envisaging of contemporary Asian art in a global context, and has undertaken active and innovative explorations through a series of group exhibitions. Neither Black / Red / Yellow Nor Woman (2019), the first exhibition at our current premises at Brunnenstraße 9, as well as the interdisciplinary symposium Floating Constellations, brought manifold perspectives and diasporic experiences of prominent Asian women artists to our Berlin audiences. The year 2020 marked the beginning of the pandemic, and with it a period of uncertainty and instability, in which boundaries are being re-defined, with different possibilities of exchanges, and new ways of making encounters. The exhibition Readings from Below (2020) looked into artists’ use of archives, exploring how artists engage new readings of the complex present by making use of the virtual potentials of archives. Angst, Keine Angst (2021), our most challenging exhibition to date, focused on artists’ new perspectives on the present uncertainties and fear; unfolding in three chapters, the show opened new angles on the potentialities of intercultural artistic exchange and humankind’s resilience. Más Allá, el Mar Canta (Beyond, the Sea Sings) (2021) brought together artists from Central America and the Caribbean here in Berlin to explore narratives of migration as spaces of diasporic kinship and resistance.

Through the solo exhibitions Racing Gravel (2019), Winter North Summer South (2020) and Earwax (2022), respectively by artists Kan Xuan, Zhou Tao, and Wong Ping, TACB has provided a platform for featuring prominent emerging and mid-career artists. We are dedicated to encouraging the diversity of contemporary art practices as well as commissioning, producing and presenting new works in the context of Berlin’s vibrant cultural landscape.

Looking back on this invigorating time of engaged conversations, creative challenges and collaborations that TACB has undertaken with a great number of artists, curators and scholars, bringing together a wide range of global contemporary art practices both on local and international art scenes, we are truly grateful for the constant support by the global art and cultural communities, and are proud to have found like-minded communities and independent projects to collaborate with over the years.

We want to express our most heartfelt thanks to our parallel institution: the Guangdong Times Museum, which initiated and has continuously supported the TACB project. Our thanks also go to our colleagues and peers in Guangzhou; they have been dear cross-continental members of TACB’s big family. In the uncertain times we are facing today, we will work even more closely with the Guangdong Times Museum to continue to explore more organic and sustainable possibilities, different modes of collaboration and artistic experimentation in the diverse spaces between the digital and the physical. We look forward to opening up a new chapter of TACB one day.

We sincerely thank all the global art and cultural communities that have greatly supported Times Art Center Berlin from its inception. A temporary farewell is also the beginning of another encounter!

Xi Bei, Artistic Director of TACB, and the whole TACB team

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Times Art Center Berlin: Program 2022

Jan 20, 2022

Wong Ping: Earwax

March 4 to June 26, 2022

Curated by Hou Hanru

Wong Ping, Crumbling Earwax, 2022. Image courtesy of the artist.

Wong Ping is one of the most eccentric artists of our time… Probably, this is because he grew up in a very eccentric city called Hong Kong, trapped in an even more eccentric time that is called postcolonial-neocolonial transition. Now there is an urgent need to deal with an all the more eccentric ‘new age’, strangely called ‘Covid and post/neo-Covid’ that is turning the world into a generally eccentric place. Or you could call it an innovative ecology of life.

From Hong Kong, Ping sends us greetings, somewhat intimately, via the secret canal – his ears are now connected to ours. Is there a hole to some fresh air out there, on the other side of the world, in this ‘pandemic new age’?

We are falling in love with Ping… It’s time to reread El amor en los tiempos del cólera (Gabriel Garcia Márquez).

Times Art Center Berlin: Summer Program 2022

July 2022

During the month of July, Times Art Center Berlin will host an engaging summer program with international collaborations. Stay tuned for more information soon!

Three Contested Sites—The Worldly Fables of the Long 1990s

September to December 2022

Curated by Nikita Yingqian Cai and Mia Yu

Huang Yongping’s work on China Avant-garde, Haus der Kulturen der Welt, 1993.

Zooming in on three exhibitions and their transnational itinerates that map the discrepant connections across stories, artworks, cities, and thoughts, the long-term project “Three Contested Sites – The Worldly Fables of the Long 1990s” attempts to unpack the long 1990s in view of post-Cold War Europe-Asia reverberances. The exhibitions include: China Avant-garde at the Haus der Kulturen der Welt in Berlin that marked the watershed year of 1993 together with a succession of “offshore” exhibitions focused exclusively on contemporary art from inside mainland China; Die Hälfte des Himmels (Half the Sky) at the Frauenmuseum Bonn in 1998 as the institution’s rebuttal to a protest against the lockout of Chinese women artists in the China! exhibit at the Kunstmuseum Bonn in 1996; Cities On the Move, the emblematic exhibitions that toured a variety of locations in Europe, the U.S. and Asia (Vienna, Bordeaux, New York, Humlebaek, London, Bangkok) and documented the accelerated changes and urban flux occurring in global Asian cities. More than key events in Chinese contemporary art history, these exhibitions are also transnational sites of contacts, conflicts, and productive contestations, where the joint forces of social processes, art projects, cultural agents, institutional positionalities and urban spaces have intersected to create worldly fables about the canonization of Chinese contemporary art, the global rise of the Asian art market, the dualistic fixation of East-West ideologies, and the emergent millennial coordinates of gender, ethnicity, and urban identity.

Publication: Big Tail Elephants Working Group (working title)

Big Tail Elephants Working Group, photograph.

The book aims to retrace the singular history of the Guangzhou-based group “Big Tail Elephants Working Group” (1991-2003) by means of archives (artists’ drawings and notes on works, correspondence with curators, discussions) which remain unpublished for most of them, as well as historical images of the exhibitions. Founded at the end of 1990 by Chen Shaoxiong (1962-2016), Liang Juhui (1959-2006) and Lin Yilin (1964- ), and joined one year later by Xu Tan (1957-), the group was a pioneer of experimental art during the last decade of the 20th century in Guangzhou, the Pearl River Delta (PRD) and China. Its formation and development, as well as its modus operandi, have creatively incarnated the dynamic process of China’s recent modernisation, and the particular model of social, cultural, economic and even political transformation generated in the PRD region – a highly original and stimulating way to intervene in the process of global restructuring of economic, cultural and geopolitical order. “Big Tail Elephants Working Group” showed as a collective for the last time at the 2003 Guangzhou Triennial. With the disappearances of Liang Juhui in 2006 and Chen Shaoxiong in 2016 and the emigration of Lin Yilin to New York “Big Tail Elephants Working Group” with their activities deeply rooted in the context of the PRD stopped to exist but leave an important legacy behind.

Edited by Hou Hanru, the artistic director of MAXXI Rome, and Yu Hsiao-hwei, an independent journalist and art critic, the publication will be the first comprehensive book shedding light on Big Tail Elephants Working Group’s influential practice in the context of contemporary Chinese art and beyond. It will also comprise essays contributed by prominent figures from the Asian art scene, such as Mr. Hou himself, Chen Tong (founder of Libreria Borges and Video Bureau), Hu Fang (co-founder of Vitamin Creative Space), Nikita Yingqian Cai (chief curator at the Guangdong Times Museum), and Anthony Yung (senior researcher at the Asia Art Archive in Hong Kong).

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Reopening of Angst, keine Angst on May 19, 2021

May 19, 2021

Franziska Hünig, INSTALL_21_02, acrylic on advertising banners, construction fence, scaffolding, 2021. Courtesy of the artist. Angst, keine Angst, Installation view at Times Art Center, 2021. Foto: Jens Ziehe, Berlin.

Times Art Center Berlin is pleased to reopen on May 19, 2021 with the second chapter of ANGST, KEINE ANGST / FEAR, NO FEAR titled Panic – The Moment of Fear.

Our opening hours are Tuesdays through Saturdays, 12 PM – 7 PM. 

To ensure a safe and healthy environment, we kindly ask you to book your visit in advance, and note our current visitor regulations:


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New Partnership

Jul 28, 2020

We are thrilled to become a new program partner with Berlin Art Week for the first time. Times Art Center Berlin is dedicated to diversity, multiculturalism, and connectivity, with a special focus on underrepresented Asian artists and art practices. We aim to provide a platform for a wide range of contemporary art practices and research-based discourses.