Kunstverein Braunschweig

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

Last two weeks to see MICHAEL RAY-VON’s solo exhibition “Interference Pattern”.Bringing together works in the register o...
15/09/2026

Last two weeks to see MICHAEL RAY-VON’s solo exhibition “Interference Pattern”.

Bringing together works in the register of sculpture and photography, the exhibition explores shifting perspectives and systems of reference through which perception takes shape.

On view through September 27. We look forward to seeing you.

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

Last two weeks to see MICHAEL RAY-VON’s solo exhibition “Interference Pattern”.Bringing together works in the register o...
15/09/2026

Last two weeks to see MICHAEL RAY-VON’s solo exhibition “Interference Pattern”.

Bringing together works in the register of sculpture and photography, the exhibition explores shifting perspectives and systems of reference through which perception takes shape.

On view through September 27. We look forward to seeing you.



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

The works of ANNETTE SENNEBY () dwell on boundaries and their displacement. There is an ambition to dissolve the distinc...
10/09/2026

The works of ANNETTE SENNEBY () dwell on boundaries and their displacement. There is an ambition to dissolve the distinction between works and space, and to push the object-like toward the immaterial. With a background in ballet, Senneby has continually returned to dance’s most fundamental contradiction as a point of departure for her own practice: attempting, through a bound form, to defy gravity through movement. It parallels the inescapable conditions of life itself, while also making room for uncertainty and longing.

Chinatown, 1987
Cold blued steel
80 × 99 x 0,5 cm

Curtain drawn, 2023
Earth pigments, binders, canvas
169 x 136 x 3,5 cm

Credit: Annette Senneby, Attic, exhibition view. Courtesy the artist. Photo: Frank Sperling.
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The small works made of glass float through "Attic" by ANNETTE SENNEBY (), curated by Emily Fahlén (), in a composition ...
08/09/2026

The small works made of glass float through "Attic" by ANNETTE SENNEBY (), curated by Emily Fahlén (), in a composition inspired by birdsong. The prisms are produced through a lamination process that uses UV light to bond the layers of glass together. Between the layers, small paintings appear, created with an airbrushing technique using thin tubes connected to paint reservoirs. The prisms reflect the shifting light throughout the day. Senneby’s wall-mounted works of glass, steel, and canvas engage the viewer’s bodily awareness of the space and its shifting orientations in the room: What is in front? What is below?

Sues Eye (Series of 10), 2006 – 2016
Waterjet-cut, UV-laminated glass with pigment between layers
Variable dimensions

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

Marcel, 2008
Waterjet-cut, UV-laminated glass with pigment between layers
19 x 19 cm

Attic, 1992
Cold blued steel
28 x 20 x 0,2 cm

Flame, 2013 – 2022
Pigment, canvas
54 x 56 x 4,5 cm

Waterjet-cut, UV-laminated glass with pigment between layers
20 x 20 cm

"Attic" is curated by Emily Fahlén () in dialogue with Cathrin Mayer ().

Credit: (1–5, 8–10) Annette Senneby, Attic, exhibition view. Courtesy the artist. Photos: Frank Sperling. (6–7) Annette Senneby, Attic, exhibition view. Courtesy the artist. Photos: Gloria May Berthold ().
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The group of works "Ring 1–3" (2026), developed for the final two rooms, consolidates the central motifs of the previous...
02/09/2026

The group of works "Ring 1–3" (2026), developed for the final two rooms, consolidates the central motifs of the previous works. Responding to the existing windows, LIESL RAFF () installed circular stainless steel sheets exceeding their openings. Along their edges, gathered latex forms voluminous, corporeal structures whose folds recall the art-historical tradition of drapery as sensitive surfaces inscribing inner states and tensions. Mounted in front of the windows, the works confuse architectural functions and enter into dialogue with the nearby classicist figures of Roman goddesses.

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. Photos: Frank Sperling.

28/08/2026

“Weeds,” a few weeks later. The work by FONDATION TSCHUESS (Fondation Tschuess) takes shape through the vegetation left undisturbed in the courtyard of the Kunstverein, continuously changing with the seasons, and the passage of time.

“Weeds”, 2026, is an instruction-based architectural program looking into both the construction and upkeep of an image. In the broadest sense, the term refers to any plant growth in an undesired location, making it a subjective and socially constructed category. The work’s instructions define upkeep as the cultivation of naturally occurring growth.

FONDATION TSCHUESS
Weeds, 2026
Wild growth
Dimensions variable

Credit: Courtesy Fondation Tschuess. Photos and video: Kunstverein Braunschweig.

Mara Wohnhaas matthiasholznagel hageneberle .curry

“Weeds,” a few weeks later. The work by FONDATION TSCHUESS (Fondation Tschuess) takes shape through the vegetation left ...
28/08/2026

“Weeds,” a few weeks later. The work by FONDATION TSCHUESS (Fondation Tschuess) takes shape through the vegetation left undisturbed in the courtyard of the Kunstverein, continuously changing with the seasons, and the passage of time.

“Weeds”, 2026, is an instruction-based architectural program looking into both the construction and upkeep of an image. In the broadest sense, the term refers to any plant growth in an undesired location, making it a subjective and socially constructed category. The work’s instructions define upkeep as the cultivation of naturally occurring growth.

FONDATION TSCHUESS
Weeds, 2026
Wild growth
Dimensions variable

Credit: Courtesy Fondation Tschuess. Photos and video: Kunstverein Braunschweig.

Mara Wohnhaas matthiasholznagel hageneberle .curry

28/08/2026

“Weeds,” a few weeks later. The work by FONDATION TSCHUESS () takes shape through the vegetation left undisturbed in the courtyard of the Kunstverein, continuously changing with the seasons, and the passage of time.

“Weeds”, 2026, is an instruction-based architectural program looking into both the construction and upkeep of an image. In the broadest sense, the term refers to any plant growth in an undesired location, making it a subjective and socially constructed category. The work’s instructions define upkeep as the cultivation of naturally occurring growth.

FONDATION TSCHUESS
Weeds, 2026
Wild growth
Dimensions variable

Credit: Courtesy Fondation Tschuess. Photos and video: Kunstverein Braunschweig.

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Join us this September at Kunstverein Braunschweig to explore the current exhibitions through guided tours. Find the ful...
25/08/2026

Join us this September at Kunstverein Braunschweig to explore the current exhibitions through guided tours. Find the full program on our website.

Guided Tour with MICHAEL RAY-VON () and JUNIA THIEDE ()
Saturday, September 19, 2026, 4 pm
Free of charge, plus admission
In English

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

A reminder for your visit: admission is free on Sunday, September 6!

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

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