Wednesday, September 15, 2021, 4 pm
Opening program

Interpretations and performances by Peter Brötzmann, Nina Canell, Hajnal Németh

From 4 pm
Zyklus for Water-Pails (or bottles) – an interpretation by Nina Canell
Based on Tomas Schmit,
Zyklus for Water-Pails (#1), 1962

Nina Canell works with transformation and material agency in her sculptural installations. She uses diverse materials such as electricity, water, subsea cables, mastic gum and shoelaces. They demonstrate the artist’s engagement with energy distribution and their partially hidden modes of action. Canell’s focus is not on the finished art object, but on the temporary and material aspects of process and synergy. On the occasion of the Tomas Schmit Retrospective, Canell will interpret Schmit’s central work, Zyklus for Water-Pails (or Bottles) (1962), and its underlying reflections on the nature of time, matter, and processuality in the form of a sculptural situation.


5 pm
Sanitas #10 – Solo Version – an interpretation by Hajnal Németh
Based on Tomas Schmit, Sanitas – 200 Theater Pieces #10 (#3), 1962
Performed by: Tobias Christl, Júlia Koffler, Erik Leuthäuser, Fama M’Boup, Dora Osterloh


6 pm
Five Songs, One End – a piece by Hajnal Németh
Based on Tomas Schmit, Two Compositions to Justify a Performance (#25), 1964
Performed by: Tobias Christl, Júlia Koffler, Erik Leuthäuser, Fama M’Boup, Dora Osterloh

Hajnal Németh works at the intersection of visual art and music. Her interdisciplinary work includes performances, spatial installations, and moving image formats. Her works are based on notations, song lyrics, poems, or prose fragments from sources as diverse as pop music, classical genres, Fluxus scores, as well as the artist’s own texts. Her experimental handling of time, rhythm, and intonation, as well as her playful questioning of structures of meaning often manifest themselves in minimalist interventions in existing material, with which she twists the meaning of a spoken or sung sentence, for example. In her ongoing collaborations with singers, choirs, and actors, she shows how contexts can be arbitrarily constructed and then dissected again. In her exploration of Tomas Schmit’s work, Németh has explicitly based her interpretations on pieces that declare the principle of chance to be the measure of meaning or which destabilize the perception of time and duration in a conceptual inversion.


7 pm
Tribute to Tomas Schmit – a concert by Peter Brötzmann
– Unfortunately the concert cannot take place due to health reasons –

Peter Brötzmann is considered one of Germany’s most influential jazz musicians. Through his work, including as a member of the Globe Unity Orchestra, he significantly shaped and promoted modern European free jazz. In the early 1960s he was active as an artist in the Fluxus movement and, together with Tomas Schmit, assisted Nam June Paik in the installation of the exhibition
Exposition of Music – Electronic Television (1963) at Galerie Parnass in Wuppertal. Brötzmann is dedicating a concert to his lifelong friend and fellow artist Tomas Schmit on the occasion of the retrospective at Neuer Berliner Kunstverein.



Peter Brötzmann (*1941 in Remscheid, lives and works in Wuppertal) is a jazz musician and visual artist. He taught himself to play the clarinet as a child, but later turned to the saxophone, pursuing an increasingly free style of playing. Under his music label BRÖ, Brötzmann released the record Machine Gun in 1968, now considered a milestone in the history of modern jazz in Europe. In 1969, Brötzmann founded the label Free Music Production (FMP) in Berlin, together with Jost Gebers and others, which was mainly dedicated to the promotion of free jazz. From the 1980s onwards, Brötzmann performed at numerous festivals, including the Total Music Meeting and the Berlin Jazztage, and extensively toured the USA and Japan. Over the course of his career, Brötzmann has collaborated with numerous other major figures in the free music scene, including Don Cherry, Steve Lacy, Louis Moholo, Bill Laswell, William Parker, Heather Leighton, Hamid Drake, Derek Bailey, Evan Parker, Anthony Braxton, and Rashied Ali. In 2011 Brötzmann was awarded the German Jazz Prize for his life’s work.

Nina Canell (*1979 in Växjö / Sweden) lives and works in Berlin. Her work has been shown in solo exhibitions around the world, including: Kunsthalle Baden-Baden (2019); Kunstmuseum St. Gallen (2018); S.M.A.K., Gent (2018); Museo Tamayo, Mexico City (2017); The Artist’s Institute, New York (2017); Moderna Museet, Stockholm (2014–2015); Hamburger Bahnhof – Museum für Gegenwart, Berlin (with Rolf Julius, 2012); Kunsthalle Fridericianum, Kassel (2011). Canell has participated in several biennials, including: Venice (2017); Cuenca / Ecuador (2018); Sydney (2012); Lyon (2015); Liverpool (2011). She took part in the Manifesta (2008) as well as in various group exhibitions, among them: Guggenheim, Bilbao (2018; 2019), Palais de Tokyo, Paris (2012); Museum of Modern Art, New York (2010).

Hajnal Németh (*1972 in Szőny / Hungary) lives and works in Berlin. In 2020 she founded Yellow Solo, a project space in Berlin for time- and process-based artistic formats that explore musical systems and references – including works by Arnold Dreyblatt, Dani Gal, Annika Kahrs, Anri Sala, André Vida, among others. Németh’s work has been presented in numerous solo and group exhibitions at renowned art institutions, including: The Jewish Historical Museum, Amsterdam (solo, 2017); Ludwig Museum, Budapest (2017; 2016; 2003); Kunstmuseum Stuttgart (2015–2017); Palais de Tokyo, Paris (2012); Museum moderner Kunst Stiftung Ludwig Wien (mumok), Vienna (2009); Gropius Bau, Berlin (2005); Tate Modern, London (2004). In 2011, Németh presented her work in a solo exhibition at the Hungarian pavilion at the Venice Biennale.