Discipline: Fine arts

Merve Ünsal & Banu Çiçek Tülü

Year 2026
Discipline Fine arts

Merve Ünsal is an artist living and working in Istanbul and Santa Cruz. She works on methods of tuning in, thinking through the media of radio transmission, sound, photography, video, performance and site-specific installations. She has shown her work in a variety of contexts, most often through artist-driven initiatives in Beirut, Berlin, Cairo, Hong Kong, New Delhi and Toronto. She has been supported by the Delfina Foundation (London), Praksis (Oslo), Fogo Island Arts, Art Metropole (Toronto) and the University of Delaware (Lewes) to participate in artist residencies. She is a PhD candidate at the University of California, Santa Cruz.

Ünsal is the founding editor of the artist-centred platform m-est.org. She co-facilitated the Arter Research Programme from 2019 to 2021.

Dr Banu Çiçek Tülü works between music, sound art installations and research, using music production and DJing as an artistic tool for activism. She has been invited to present her installations and exhibitions across Europe, the US and Africa. Her work uses multi-channel video, analogue synthesis, light, field recordings, sculpture, large textile installations and weaving to explore feminist and queer sonic methodologies in which the female migrant body is present. She believes in the political possibility of sound and music, which she uses as a tool of empowerment for minority groups, with an emphasis on BIPOC* and LGBTQI+ communities. Her work was named among DJ Mag‘s Top Albums of 2022 and has received critical acclaim from publications such as Clot Magazine. She has received numerous fellowships and residencies, including Electric Desert, a residency for young music producers in Namibia. She is also a resident at Refuge Worldwide radio in Berlin.

Merve Ünsal & Banu Çiçek Tülü are in residency at the Tarabya Cultural Academy from October 2026 to January 2027 as part of the German-Turkish co-production program supported by the Allianz Foundation.

Year 2026
Discipline Fine arts
© Doğa Yirik / © Jörg Dedering

Merve Ünsal is an artist living and working in Istanbul and Santa Cruz. She works on methods of tuning in, thinking through the media of radio transmission, sound, photography, video, performance and site-specific installations. She has shown her work in a variety of contexts, most often through artist-driven initiatives in Beirut, Berlin, Cairo, Hong Kong, New Delhi and Toronto. She has been supported by the Delfina Foundation (London), Praksis (Oslo), Fogo Island Arts, Art Metropole (Toronto) and the University of Delaware (Lewes) to participate in artist residencies. She is a PhD candidate at the University of California, Santa Cruz.

Ünsal is the founding editor of the artist-centred platform m-est.org. She co-facilitated the Arter Research Programme from 2019 to 2021.

Dr Banu Çiçek Tülü works between music, sound art installations and research, using music production and DJing as an artistic tool for activism. She has been invited to present her installations and exhibitions across Europe, the US and Africa. Her work uses multi-channel video, analogue synthesis, light, field recordings, sculpture, large textile installations and weaving to explore feminist and queer sonic methodologies in which the female migrant body is present. She believes in the political possibility of sound and music, which she uses as a tool of empowerment for minority groups, with an emphasis on BIPOC* and LGBTQI+ communities. Her work was named among DJ Mag‘s Top Albums of 2022 and has received critical acclaim from publications such as Clot Magazine. She has received numerous fellowships and residencies, including Electric Desert, a residency for young music producers in Namibia. She is also a resident at Refuge Worldwide radio in Berlin.

Merve Ünsal & Banu Çiçek Tülü are in residency at the Tarabya Cultural Academy from October 2026 to January 2027 as part of the German-Turkish co-production program supported by the Allianz Foundation.

Sven Johne

Year 2026
Discipline Fine arts

Sven Johne works primarily with photography, film, text and artistic research. He was born in 1976 in East Germany’s Bergen auf Rügen, and now lives in Berlin. His work often explores the social consequences of German reunification and social upheavals across the political West. For that Johne frequently combines documentary and biographical research with fictional or literary elements. As a result, his works navigate the space between reality, memory and narrative. Johne is often drawn to individual personal tragedies and side events, his so-called “footnotes of world history”. His works took part in numerous solo and group exhibitions, festivals and biennials, including the Berlin Biennale (2022), the Karachi Biennale in Pakistan (2019), the Riga Biennale (2018), the OFF Biennale in Budapest (2017) and the Thessaloniki Biennale (2015). His oeuvre has received numerous accolades, including the 2016 Art Prize of the Akademie der Künste (in the Visual Arts section), the Casa Baldi Fellowship from the German Academy Villa Massimo (2013), the Karl Schmidt-Rottluff Fellowship (2010), the Marion Ermer Prize (2005), and the Alfried Krupp von Bohlen und Halbach Foundation’s scholarship for contemporary German photography (2004). Most recently, he was awarded the E.ON Foundation’s Visit Grant (2022) and a grant from the DZ Bank Kunststiftung (2025) for his extensive projects. His works are represented in numerous German and international collections, including the Museum Folkwang in Essen, MUDAM in Luxembourg, the Pinakothek der Moderne in Munich, and the Fondazione Mast in Bologna, Italy.

Sven Johne was in residence at the Tarabya Cultural Academy from June to September 2026.

Year 2026
Discipline Fine arts
© KLEMM'S

Sven Johne works primarily with photography, film, text and artistic research. He was born in 1976 in East Germany’s Bergen auf Rügen, and now lives in Berlin. His work often explores the social consequences of German reunification and social upheavals across the political West. For that Johne frequently combines documentary and biographical research with fictional or literary elements. As a result, his works navigate the space between reality, memory and narrative. Johne is often drawn to individual personal tragedies and side events, his so-called “footnotes of world history”. His works took part in numerous solo and group exhibitions, festivals and biennials, including the Berlin Biennale (2022), the Karachi Biennale in Pakistan (2019), the Riga Biennale (2018), the OFF Biennale in Budapest (2017) and the Thessaloniki Biennale (2015). His oeuvre has received numerous accolades, including the 2016 Art Prize of the Akademie der Künste (in the Visual Arts section), the Casa Baldi Fellowship from the German Academy Villa Massimo (2013), the Karl Schmidt-Rottluff Fellowship (2010), the Marion Ermer Prize (2005), and the Alfried Krupp von Bohlen und Halbach Foundation’s scholarship for contemporary German photography (2004). Most recently, he was awarded the E.ON Foundation’s Visit Grant (2022) and a grant from the DZ Bank Kunststiftung (2025) for his extensive projects. His works are represented in numerous German and international collections, including the Museum Folkwang in Essen, MUDAM in Luxembourg, the Pinakothek der Moderne in Munich, and the Fondazione Mast in Bologna, Italy.

Sven Johne was in residence at the Tarabya Cultural Academy from June to September 2026.

Pelin Tan & Özge Çelikaslan

Year 2026
Discipline Fine arts

Pelin Tan is the 6th recipient of the Keith Haring Award for Art and Activism (2019), based in Mardin. She is a professor at the Faculty of Fine Arts and the head of the Cultural Studies Master’s program at the University of Batman, Turkiye. Tan was a Roemer Fellow at the Orient Institute of Beirut (2024) and a Guest Researcher at the National Institute of Social Sciences in Athes (2026). Since 2019, she has been on the curatorial board of IBA Stuttgart 2027. She is the editor of i press publication, Cambridge (USA). Her book: Forms of Non-Belonging, e-flux books&Sternberg Press, MIT Press, 2026.

She co-directed several short films with artist Anton Vidokle and got the Sharjah Film Prize (2020) for their last film Gılgamesh: She, Who Saw the Deep / Gilgamêş: Ewe ku kûrahî dît (2022). Short documentary Landscapes as Archives was shown at the Qattan Foundation, Ramallah (2023). Recently, her research video on the Ezdi women community and female labor Dimeşin/Walking was exhibited at the Zagreb Contemporary Art Museum. Tan’s works were exhibited at CIVA Brussel (2024), Oslo Architecture Triennale (2016), Bergen Assembly (2013), Istanbul Biennial (2007, 2015, 2022), Beijing Art Biennial (2023), Lisbon Architecture Triennale (2014), Ashkal Alwan Homeworks, Istanbul Design Biennial (2021), and others. Tan is a member of Artıkİşler video collective and Mardin-based Arazi Assembly.

Özge Çelikaslan works across moving image, archival practice, and research-based art, engaging questions of memory, place, and archival ecologies through overlooked audiovisual materials. Her installations and archival assemblages explore how archival gaps can open space for silenced narratives and contested histories. She holds a PhD from Braunschweig University of Art (HBK). Her research on archives as commons led to the publication Archiving the Commons: Looking through the Lens of bak.ma (2024). She is co-founder of bak.ma, a collaborative digital archive of materials working with relational memory and participatory forms of documenting and reimagining histories. She has presented her works internationally at venues including Transmediale, Istanbul Biennial, HKW Berlin, ZKM Karlsruhe, and De Appel. She has received residencies and fellowships including those at AGIT Berlin, Akademie Schloss Solitude, and CAIS Bochum.

Pelin Tan and Özge Çelikaslan were in residency at the Tarabya Cultural Academy from June to September 2026 as part of the German-Turkish co-production program supported by the Allianz Foundation.

Year 2026
Discipline Fine arts
© Ouyang Yangyi / © Courtesy of the artist

Pelin Tan is the 6th recipient of the Keith Haring Award for Art and Activism (2019), based in Mardin. She is a professor at the Faculty of Fine Arts and the head of the Cultural Studies Master’s program at the University of Batman, Turkiye. Tan was a Roemer Fellow at the Orient Institute of Beirut (2024) and a Guest Researcher at the National Institute of Social Sciences in Athes (2026). Since 2019, she has been on the curatorial board of IBA Stuttgart 2027. She is the editor of i press publication, Cambridge (USA). Her book: Forms of Non-Belonging, e-flux books&Sternberg Press, MIT Press, 2026.

She co-directed several short films with artist Anton Vidokle and got the Sharjah Film Prize (2020) for their last film Gılgamesh: She, Who Saw the Deep / Gilgamêş: Ewe ku kûrahî dît (2022). Short documentary Landscapes as Archives was shown at the Qattan Foundation, Ramallah (2023). Recently, her research video on the Ezdi women community and female labor Dimeşin/Walking was exhibited at the Zagreb Contemporary Art Museum. Tan’s works were exhibited at CIVA Brussel (2024), Oslo Architecture Triennale (2016), Bergen Assembly (2013), Istanbul Biennial (2007, 2015, 2022), Beijing Art Biennial (2023), Lisbon Architecture Triennale (2014), Ashkal Alwan Homeworks, Istanbul Design Biennial (2021), and others. Tan is a member of Artıkİşler video collective and Mardin-based Arazi Assembly.

Özge Çelikaslan works across moving image, archival practice, and research-based art, engaging questions of memory, place, and archival ecologies through overlooked audiovisual materials. Her installations and archival assemblages explore how archival gaps can open space for silenced narratives and contested histories. She holds a PhD from Braunschweig University of Art (HBK). Her research on archives as commons led to the publication Archiving the Commons: Looking through the Lens of bak.ma (2024). She is co-founder of bak.ma, a collaborative digital archive of materials working with relational memory and participatory forms of documenting and reimagining histories. She has presented her works internationally at venues including Transmediale, Istanbul Biennial, HKW Berlin, ZKM Karlsruhe, and De Appel. She has received residencies and fellowships including those at AGIT Berlin, Akademie Schloss Solitude, and CAIS Bochum.

Pelin Tan and Özge Çelikaslan were in residency at the Tarabya Cultural Academy from June to September 2026 as part of the German-Turkish co-production program supported by the Allianz Foundation.

Mehtap Baydu: Loving You Is So Hard!

Date 29. April - 16. November 2026
Discipline Fine arts
In Between My Lips, 2017, Gold cast, 2 x 6 x 2,5 cm, Private collection Photo: Hadiye Cangökçe

Mehtap Baydu’s first institutional solo exhibition in Türkiye, Loving You Is So Hard!, brings together new works conceived for this context alongside a selection of the artist’s recent pieces. The exhibition highlights the interconnections and transitions Baydu forges across diverse media such as performance, sculpture, photography and video, creating a layered sensory space where body and objects engage in a mutual interaction. At the heart of Loving You Is So Hard! lies a multiplicity that opens onto ever-shifting forms of togetherness. The works Baydu realises by appropriating and transforming the narratives and elements embedded in her personal memory, by assuming various identities and engaging with non-human entities, point to a fluidity that subverts established definitions and fixed notions of selfhood.

Loving You Is So Hard! echoes the distance and the tension often intrinsic to desire with the promise of absolute proximity and a sense of implied absence that characterise the process of moulding central to Baydu’s practice. Engaging the will and fragility inherent in life, the presented works materialise an inclusive and collective body that is continuously shaped by the artist through multiplication, fragmentation, imprinting and overlapping. The exhibition’s spatial orchestration manifests the temporal and material plurality of each work by bringing together a selection of pieces produced in a range of materials and textures, including ceramics, bronze, fabric, paper, and glass, alongside the documentation and performative traces that surround these productions. Foregrounding a multifaceted artistic practice in which performance extends into objecthood, and the object fosters performative potentials, this spatial arrangement invites visitors to experience Baydu’s works through the concepts of in-betweenness, transformation and otherness.

Loving You Is So Hard! also features the performance Breath (Atem), which was first realised by Mehtap Baydu in 2019 inside a storefront space opening directly to the street in Berlin. By reconfiguring the work for the gallery space at Arter, the exhibition marks its inaugural enactment within an art institution. During the performance, which explores layered meanings of restraint, in-betweenness and void, Baydu materialises her invisible breath by inflating a balloon corresponding precisely to the volume of the area allocated for the work. The live performance of Breath (Atem) will take place intermittently during Arter’s visiting hours for approximately twenty days following the exhibition’s opening. Visitors will be able to view the performance, which will continue until the balloon inflated by Baydu completely fills the space, from behind a glass partition.

The exhibition also features an artwork that has been produced with the support of the Alumni Fonds of the Tarabya Cultural Academy.

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© Kayhan Kaygusuz

© Kayhan Kaygusuz

© Kayhan Kaygusuz

© Kayhan Kaygusuz

Onur Gökmens' exhibition at Salt Galata: Subsoil

Date 02. April - 03. May 2026
Discipline Fine arts
Still from the film Subsoil (2026)

From April 2 to May 3, 2026, Onur Gökmen’s exhibition Toprakaltı can be visited at SALT Galata. The artist also worked on the project during his residency at the Tarabya Cultural Academy from June to September 2025. The exhibition revisits a largely overlooked episode in the environmental and institutional history of Turkey: the detection of radioactive contamination in Black Sea tea following the 1986 Chernobyl disaster. 

In the aftermath of the explosion at the Chernobyl Nuclear Power Plant, a team of scientists at Middle East Technical University (METU)—including the artist’s parents, İnci and Ali Gökmen—conducted a study to measure the impact of radioactive fallout on tea grown in the Black Sea region. The findings were compiled in a report and submitted to the relevant authorities. Yet, official statements tended to minimize the extent of the contamination and health risks, reflecting concerns over economic and social stability. Amid discussions around public health and accountability, the METU report eventually leaked to the press. While news coverage—often addressing the issue through mediatized images and headlines—generated a degree of public awareness, institutional responses remained largely unchanged, even as contaminated tea stayed in circulation. Sensational statements—such as “radioactive tea tastes even better” or “a little radiation is good for the bones”—overlooking the effects of radioactive contamination, along with images of state officials drinking tea, lingered in the collective memory. Meanwhile, tea became both a material witness to imperceptible radiation and a carrier of nuclear anxiety. 

Staging three fragments from this major episode in Turkey’s nuclear history, the exhibition establishes a dialogue between narrative and evidence by blending fictional and documentary elements. The first part features a spatial fragment from METU, where the contamination in tea was first identified, alongside a documentary based on the account of İnci and Ali Gökmen. Set in a television studio, the second section reflects the intertwined relationships between media, state apparatuses, and bureaucracy. At the center of this installation is a short film inspired by news reports that construct a fictional image of the Black Sea while downplaying the level of radioactive material in the tea. Situated behind these two sets, the final part comprises photographs that seep through them, capturing the traces of the Chernobyl disaster in Turkey. 

Tracing the movement of radiation through natural and institutional systems, these three scenes reveal how environmental harm—though invisible and slow—has shaped public health, policy, and societal narratives. They also remind us that radiation can never be fully consigned to the past: it belongs neither to a single generation nor to a specific geography. Just as radiation carried by clouds and seeping into the ground is transmitted to the present through the soil, the images of this incident continue to circulate in personal and collective memory. 

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Still from the film Subsoil (2026)

Onur Gökmen, Kötü Bulutlar, 2026

İnci Gökmen in her laboratory, University of Maryland, late 1970s

Onur Gökmen, Çay İçen Bakan [Minister Drinking Tea], 2026

Panel: Artist & Collector Talks – On making and collecting video art

Date 04. April 2026
Discipline Fine arts

On the morning of April 4th the Elgiz Museum is in collaboration with the Tarabya Cultural Academy presenting a panel discussion that addresses the production of video art, video collecting, and the contemporary transformation of the video medium from different perspectives. It aims to open a space for dialogue between the artist and the collector through video art, and to reflect on the intersections of different practices of production and collecting. 

The panel brings together Annika Kahrs, the artist of the video work titled “A BIG YEAR”, which was recently included in the Elgiz Collection, and also a participant of the Tarabya Cultural Academy’s artist residency program for the February–May 2026 term, with Agah Uğur, a collector focusing on video and new media art in his collection. The discussion will be moderated by artist, academic, and director Zeyno Pekünlü.

As the capacity is limited, a registration form must be filled to register.
Click here for the registration form

April 4, 2026, Saturday, 11:00–12:30h
Location: Elgiz Museum 

Annika Kahrs (b. 1984)
Annika Kahrs lives and works in Berlin. Her performances, film and sound installations show in various ways the importance of acoustic information in the form of music and sound in different social, cultural and political structures of coexistence. Kahrs has received in recent years numerous awards and scholarships, which include the Mercedes-Benz Art Scope & Arts Initiative Tokyo in Japan (2024), at Casa Baldi of the German Academy Villa Massimo in Rome, Italy (2024) and at Villa Aurora in Los Angeles, USA (2023). Nominated for the shortlist of the Pauli Prize (formerly the Böttcherstraße Bremen Art Prize) in the autumn of 2024, her works have been featured in numerous national and international exhibitions.
 

Agah Uğur (b. 1957)
In addition to his long-standing executive career in the business world, Agah Uğur is known for his contemporary art collecting, particularly focusing on video and new media art. Following his experience in international companies, he held senior executive and CEO positions at Borusan Holding. Today, he continues to take an active role in various companies and initiatives while deepening his engagement with contemporary art through his collecting practice. 

Zeyno Pekünlü (b. 1980)
Zeyno Pekünlü is an artist whose artistic interventions mostly take the form of videos and installations. Her work has been shown both locally and internationally, including at institutions such as IMMA (Dublin), SALT (Istanbul), Istanbul Modern, CAC Brétigny, the Jewish Museum (New York), the MAXXI Museum (Rome), the Whitechapel Gallery (London), and the Hammer Museum (Los Angeles). She has also participated in major biennials such as the 14th Istanbul Biennial, Jakarta Biennale, and EVA International. Together with Köken Ergun, she co-founded the KIRIK initiative. She is on the editorial board of Red Thread Journal. 

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Click here for the registration form

Esra Ersen

Year 2015
Discipline Fine arts

Esra Ersen studied at the Faculty of Fine Arts at the Marmara University in Istanbul and completed a post-graduate program at the École Supérieure des Beaux-Arts in Nantes. In her research-based practice, she treats questions of history and historical perspectives and their reverberations over time in everyday culture, education, and cultural symbols. National identities and the mechanisms of their construction are recurring motifs in her work, in which she seeks to bridge the gap between oral tradition and collective memory, between micro-history and macro-history. She meets her chosen questions with a cheerful subversiveness to make the multi-layered, sometimes contradictory aspects of our social reality visible. She has participated in numerous exhibitions, including the 14th Istanbul Biennale, Istanbul (2015), the 277th São Paulo Biennale (2006), the 4th Liverpool Biennale (2006), the 4th Kwangju Biennale (2002), and Manifesta 4, Frankfurt am Main (2002). She has also received many prizes and grants, including the 2019–2020 Rome Prize of the Villa Massimo.

Ersa Ersen was a resident at Tarabya Culture Academy from September to November 2015.

Year 2015
Discipline Fine arts
© Privat

Esra Ersen studied at the Faculty of Fine Arts at the Marmara University in Istanbul and completed a post-graduate program at the École Supérieure des Beaux-Arts in Nantes. In her research-based practice, she treats questions of history and historical perspectives and their reverberations over time in everyday culture, education, and cultural symbols. National identities and the mechanisms of their construction are recurring motifs in her work, in which she seeks to bridge the gap between oral tradition and collective memory, between micro-history and macro-history. She meets her chosen questions with a cheerful subversiveness to make the multi-layered, sometimes contradictory aspects of our social reality visible. She has participated in numerous exhibitions, including the 14th Istanbul Biennale, Istanbul (2015), the 277th São Paulo Biennale (2006), the 4th Liverpool Biennale (2006), the 4th Kwangju Biennale (2002), and Manifesta 4, Frankfurt am Main (2002). She has also received many prizes and grants, including the 2019–2020 Rome Prize of the Villa Massimo.

Ersa Ersen was a resident at Tarabya Culture Academy from September to November 2015.

Sarah Szczesny

Year 2026
Discipline Fine arts

Sarah Szczesny lives and Works in Cologne. She completed her art studies in 2009 as a master student of Prof. Rosemarie Trockel. She holds an interdisciplinary teaching position for visual methods at the Robert Schumann University of Music in Düsseldorf since 2021. Since 2024 she has been teaching painting at the University of Cologne and has been a guest lecturer at the Kunstakademie Münster. Her paintings, collages, videos and performances have been shown nationally and internationally, including at the Kunstverein Düsseldorf, the Neuer Aachener Kunstverein, Ludlow 38 and the Martos Gallery in New York, and O-Town House in Los Angeles. Essential to her art practice is the questioning of cultural hierarchies and an experimental expansion of painting through animation, sound and pop culture references. Since 2016, she has been working with musician and producer Lena Willikens on the processual project called Phantom Kino Ballett, which includes performances, videos and installations and is presented in art institutions, theatres and at music and film festivals.  

Sarah Szczesny was in residence at the Tarabya Cultural Academy from February to May 2026.

Year 2026
Discipline Fine arts
© Anna Sofie Hartmann

Sarah Szczesny lives and Works in Cologne. She completed her art studies in 2009 as a master student of Prof. Rosemarie Trockel. She holds an interdisciplinary teaching position for visual methods at the Robert Schumann University of Music in Düsseldorf since 2021. Since 2024 she has been teaching painting at the University of Cologne and has been a guest lecturer at the Kunstakademie Münster. Her paintings, collages, videos and performances have been shown nationally and internationally, including at the Kunstverein Düsseldorf, the Neuer Aachener Kunstverein, Ludlow 38 and the Martos Gallery in New York, and O-Town House in Los Angeles. Essential to her art practice is the questioning of cultural hierarchies and an experimental expansion of painting through animation, sound and pop culture references. Since 2016, she has been working with musician and producer Lena Willikens on the processual project called Phantom Kino Ballett, which includes performances, videos and installations and is presented in art institutions, theatres and at music and film festivals.  

Sarah Szczesny was in residence at the Tarabya Cultural Academy from February to May 2026.

Johannes Vogl

Year 2026
Discipline Fine arts

He constructs rather idiosyncratic sculptures and machines from everyday objects. The artist, describes himself as a poetic inventor rather than a traditional sculptor, and finds inspiration for his sculptures, installations and videos mostly in everyday situations. The objects and devices do not serve people or fulfil meaningful tasks anymore, but exist in endless loops and monotonous self-dialogue. His works act as mechanical outsiders, as oddities. The relationship between human and sculpture, subject and object, observer and observed shifts in favor of the world of objects. 

Johannes Vogl was in residence at the Tarabya Cultural Academy from February to May 2026.

Year 2026
Discipline Fine arts
© Adina Mocanu

He constructs rather idiosyncratic sculptures and machines from everyday objects. The artist, describes himself as a poetic inventor rather than a traditional sculptor, and finds inspiration for his sculptures, installations and videos mostly in everyday situations. The objects and devices do not serve people or fulfil meaningful tasks anymore, but exist in endless loops and monotonous self-dialogue. His works act as mechanical outsiders, as oddities. The relationship between human and sculpture, subject and object, observer and observed shifts in favor of the world of objects. 

Johannes Vogl was in residence at the Tarabya Cultural Academy from February to May 2026.

Annika Kahrs

Year 2026
Discipline Fine arts

Annika Kahrs lives and works in Berlin. Her performances, film and sound installations show in various ways the importance of acoustic information in the form of music and sound in different social, cultural and political structures of coexistence. Kahrs has received in recent years numerous awards and scholarships, which include the Mercedes-Benz Art Scope & Arts Initiative Tokyo in Japan (2024), at Casa Baldi of the German Academy Villa Massimo in Rome, Italy (2024) and at Villa Aurora in Los Angeles, USA (2023). Nominated for the shortlist of the Pauli Prize (formerly the Böttcherstraße Bremen Art Prize) in the autumn of 2024, her works have been featured in numerous national and international exhibitions. Her most recent ones include Hamburger Bahnhof – National Gallery of Contemporary Art, Berlin (2025), Biennale Son, Sion, Switzerland (2025), EMΣT | The National Museum of Contemporary Art Athens, Greece (2025), Kunsthaus Baselland, Basel, Switzerland (2025), 60th October Salon, Belgrade, Serbia (2024), Schering Foundation, Berlin (2023), TONO Festival, Mexico City, Mexico (2023), Hamburger Kunsthalle, Hamburg (2022), 16e Biennale d’art contemporain de Lyon, France (2022), The Brick (LAXART), Los Angeles, USA (2021). 

Annika Kahrs was in residence at the Tarabya Cultural Academy from February to May 2026.

Year 2026
Discipline Fine arts
© Rosanna Graf

Annika Kahrs lives and works in Berlin. Her performances, film and sound installations show in various ways the importance of acoustic information in the form of music and sound in different social, cultural and political structures of coexistence. Kahrs has received in recent years numerous awards and scholarships, which include the Mercedes-Benz Art Scope & Arts Initiative Tokyo in Japan (2024), at Casa Baldi of the German Academy Villa Massimo in Rome, Italy (2024) and at Villa Aurora in Los Angeles, USA (2023). Nominated for the shortlist of the Pauli Prize (formerly the Böttcherstraße Bremen Art Prize) in the autumn of 2024, her works have been featured in numerous national and international exhibitions. Her most recent ones include Hamburger Bahnhof – National Gallery of Contemporary Art, Berlin (2025), Biennale Son, Sion, Switzerland (2025), EMΣT | The National Museum of Contemporary Art Athens, Greece (2025), Kunsthaus Baselland, Basel, Switzerland (2025), 60th October Salon, Belgrade, Serbia (2024), Schering Foundation, Berlin (2023), TONO Festival, Mexico City, Mexico (2023), Hamburger Kunsthalle, Hamburg (2022), 16e Biennale d’art contemporain de Lyon, France (2022), The Brick (LAXART), Los Angeles, USA (2021). 

Annika Kahrs was in residence at the Tarabya Cultural Academy from February to May 2026.