Art space in Berlin-Charlottenburg: forms of certain negations

A new exhibition titled Formen bestimmter Negationen (Forms of Certain Negations) has opened at the ADAMA Gallery in Berlin's Charlottenburg district. The gallery, which functions more as a multidisciplinary arts space than a traditional art gallery, showcases works by painter and writer Velimir Ilišević alongside other artists who often exist in liminal spaces, without fixed nationalities, affiliations, or homes. The exhibition explores themes of absence and omission through Ilišević’s paintings, while also highlighting the unique role of ADAMA as a venue that integrates visual art with theater, performance, and music. ADAMA, founded in December 2024 by co-founders Cecile Rossant and Paul Erdmann, began as a friendship forged on a park bench in Berlin. It has since evolved into a hub for experimental and interdisciplinary artistic expression. Unlike conventional galleries focused solely on commercial success, ADAMA emphasizes collaboration and community engagement. Its location in a quiet corner of Charlottenburg, surrounded by boutique shops, cafes, and historic apartment buildings, reflects its commitment to being a hidden gem within the city’s cultural landscape. The current exhibition features Ilišević’s work, which delves into the unseen and the intangible. His paintings, created using pastel chalk, oil, watercolor, and ink, often lack specific subjects and instead focus on emotional resonance and color-driven series. Titles such as Kein Tier, kein Mensch (No Animal, No Human) and Wolkenlos (Cloudless) suggest a preoccupation with absence and negation. According to Rossant, these pieces subtly reflect personal and collective histories, including references to the Holocaust and both World Wars, though not explicitly stated. This thematic undercurrent adds depth to the exhibition, inviting viewers to consider how history and memory shape contemporary artistic expression. Beyond the visual arts, ADAMA continues to host theatrical performances. Hidden beneath the gallery floor is a small theater known as Teatr, accessible via a door labeled in Polish. This intimate space can accommodate around 20 people and serves as a venue for performances such as the butcher, a play exploring a family fractured by the Shoah. Erdmann and Rossant previously staged this piece, further reinforcing the gallery’s role as a platform for politically charged and historically resonant narratives. Visitors to ADAMA are encouraged to stay for extended periods, engaging in conversations over wine and attending readings, concerts, and performances. These events foster a sense of community and dialogue, sometimes leading to discussions on broader political issues before returning to the core artistic offerings. Upcoming events include a concert scheduled for July 24 and a reading performance on September 1. Ilišević’s contribution to the exhibition, titled The Longer Part of the Gaze, exemplifies his approach to painting as a means of conveying what cannot be spoken. His works require multiple viewings to fully appreciate their nuances, reflecting the idea that some aspects of human experience are best expressed through visual language rather than direct articulation. This aligns with ADAMA’s mission to create a space where art transcends traditional boundaries and invites deeper reflection. The exhibition runs concurrently with ADAMA’s ongoing commitment to fostering diverse artistic practices. As a non-commercial entity, the gallery operates independently of corporate interests, allowing it to prioritize creative experimentation over market trends. This ethos is reflected in the selection of artists and the range of activities hosted, all aimed at creating a dynamic and inclusive environment for artistic exploration. The ADAMA Gallery will continue to host events throughout the year, with upcoming dates for concerts and performances already announced. The integration of visual art, theater, and performance underscores the gallery’s role as a multifaceted cultural institution in Berlin.