On 2 May at 11 am at Kino International

Free admission: RSVP here
First come, first served event.
Due to high demand please only RSVP if you are certain you can attend.

 

 

EUPHORIA is a tour de force through the history of economic theory and human greed. Texts by renowned writers, philosophers, economists, poets, and musicians are rewritten into a stream of thought spanning 2000 years, weaving together ideas from figures as diverse as Sophocles and Plato, Ursula K. Le Guin, Karl Marx, and Michel Houellebecq, to Snoop Dogg, Cardi B, bell hooks, and Angela Davis.

The film explores why capitalism still appears to have no alternative today and why it remains so seductive and irresistible, even to those who are aware of its destructive nature. In light of the radical political and social changes in the US and elsewhere, which question the basic principles of our democracies, the subject of the film—the all-engulfing destructive nature of neoliberal thinking—has become increasingly relevant.

EUPHORIA was shot in Kyiv until just days before the Russian invasion, as well as in New York, Sofia, and Berlin. It portrays a dystopian New York in a state of dissolution. The city—global center of finan-cial transactions—serves as the backdrop for a hypnotic journey deep into the complexity of human nature at its best and worst. Giancarlo Esposito pays tribute to his role as YoYo in Jim Jarmusch’s Night on Earth, behind the wheel of a New York cab. Cate Blanchett lends her voice to a cynical tiger looting a supermarket—one of many animals populating the film’s urban landscapes.

The film’s score was composed by Samy Moussa and Cassie Kinoshi and performed by 150 singers from the Brooklyn Youth Chorus alongside five acclaimed jazz drummers: Terri Lyne Carrington, Peter Erskine, Antonio Sánchez, Eric Harland, and Yissy García.

EUPHORIA is the long-awaited second feature-length film by Julian Rosefeldt who mesmerized the audiences world-wide with his debut feature Manifesto, featuring Cate Blanchett in 13 different characters, ever since it world-premiered at the Sundance Film Festival in 2017. Manifesto won three Lolas (German Film Awards) and the German Cinematography Award.

 

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Strausberger Platz 15 & 19, 10243 Berlin

Special opening hours during Gallery Weekend Berlin:

1 May: 12 pm - 9 pm
2 May: 11 am - 7 pm
3 May: 11 am - 6 pm

 

Julian Rosefeldt
GONE ASTRAY

Stunned Man – Trilogy of Failure (II), 2004 © Julian Rosefeldt and VG Bild-Kunst

 

Coinciding with Coproduction Office’s acquisition of EUPHORIA (2026), Julian Rosefeldt’s latest feature film starring Giancarlo Esposito and with the voice of Cate Blanchett, Galerie Philippe Bober opened Julian Rosefeldt’s solo exhibition GONE ASTRAY in parallel to Berlinale.

 

Text by Ellen Lapper

The exhibition design was realised in collaboration with Peter Klare and Alexander Wolf

 

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HOMECOMING, Athens

 

A group presentation at the Private Artspace of Matthias Arndt and Family on Ithakis Street, Kypseli, Athens.

Public Opening: 29 April 2026, 18:00–21:00
Exhibition dates: 29 April–27 June 2026
Opening times: Thursday–Saturday, 12–8pm
Location: Arndt, Ithakis 31, Kypseli, 11257 Athens, Greece

 

Manifesto (Sturtevant, 1999), 2015/2017 © Julian Rosefeldt and VG Bild-Kunst

Artists include: Absalon, Collectif MASI (Madlen Anipsitaki & Simon Riedler), Paddy Bedford, Sophie Calle, Henry Curchod, Maro Fasouli, Zaachariaha Fielding, Andi Fischer, Gregor Hildebrandt, Jeppe Hein, Thomas Hirschhorn, Tammy Kanat, Nikomachi Karakostanoglou, Emily Kam Kngwarray, Douglas Kolk, Sevastiana Konstaki, Maria Konti, Jean-Yves Klein, Jannis Kounellis, Alicja Kwade, Ioanna Limniou, Panayiotis Loukas, Heinz Mack, Nonggirrnga Marawili, Malvina Panagiotidi & Eva Vaslamatzi (Anacolutha), Jacopo Mazzetti & Unknown Artist, Polina Miliou, Maro Michalakakos, Desire Moheb-Zandi, Makinti Napanangka, Jonny Niesche, Ioanna Pantazopoulou, Ilias Papailiakis, Antonis Pittas, Yorgos Prinos, Magnus Plessen, Julian Rosefeldt, Nadine Schemmann, Kiriakos Tompolidis, Theo Triantafyllidis, Zandile Tshabalala, Jannis Varelas, Eugenia Vereli.

The exhibition unfolds from the personal trajectory of collector, art advisor, and traveller Matthias Arndt, whose long engagement with Greece has culminated in Athens becoming a place of residence, work, and return. HOMECOMING draws a quiet parallel with the mythic nostos of Odysseus—an echo embedded in the very name of the street on which this new chapter is staged.

Situated within the former residence of Odysseas Elytis, the Nobel Prize–winning poet who lived and worked in the building between 1940 and 1957, the Private Artspace of Matthias Arndt and Family on Ithakis Street carries an extraordinary cultural and literary charge. By activating this apartment as a site for artistic production and exchange, Arndt acknowledges its layered histories while opening it toward the present.

Conceived in collaboration with curator Polina Kosmadaki, HOMECOMING inaugurates this future Private Artspace and Salon as a living space for art and dialogue. Installed in the empty apartment, the exhibition operates as an act of inhabitation—layering artistic presence onto an already resonant place. It proposes the home not as a fixed private interior, but as a porous structure: at once domestic and discursive, intimate and open.

 

Please find further exhibition details here.

 

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Still on View

 

SEX WORK
A Cultural History

Bundeskunsthalle – 2 April to 25 October 2026

 

Deep Gold, 2013/2017 © Julian Rosefeldt and VG Bild-Kunst

 

The history of sex work can be traced from well before ancient times to the present day. The prevailing image of humanity, the values ​​that held sway, and who wielded power can all be seen in how society dealt with sex work. In some eras, it represented one of the few ways for women to generate an independent income. Its history has mostly been told from an external perspective. The exhibition SEX WORK tells this story differently: Together with a collective of sex workers engaged in research, the Bundeskunsthalle presents art, cultural history, and archival material, guided by a central principle: Nothing about us without us!

The exhibition sheds light on art and cultural history as well as contemporary socio-political issues. In the visual arts, hetaerae, prostitutes, courtesans, and nude dancers long played primarily a motif role, at best perceived as muses. The exhibition highlights the creative and artistic role that sex workers also play. To tell a cultural history of sex work means entering a territory permeated by moralizing and highly political discourses. Media and popular culture all too readily resort to one-dimensional stereotypes when portraying sex workers. Public debate oscillates between moral condemnation and positions that categorically classify all forms of sex work as exploitation. The terms used in the context of sex work have always reflected social conditions, power structures, and gender orders. While historical terms like "whore" or "prostitute" primarily marked a moral stigma, the term "sex work" focuses on the aspect of gainful employment and detaches it from a fixed identity. Created in collaboration with sex workers, the exhibition offers historical and contemporary insights into sex work as well as perspectives on labor and human rights.

The history of sex work is characterized by a complex interplay of restriction, persecution, tolerance, and liberalization. In the 17th century, prostitutes were a common motif in Dutch genre painting—serving as a projection screen for erotic fantasies or a mirror reflecting moral concepts. The close connection between trade, migration, and sex work was not a marginal phenomenon, but rather an expression of structural changes in urban spaces. In 19th-century Paris, too, art and eroticism were closely intertwined: wealthy men expected sexual favors from opera dancers in return for their "patronage." In the nightlife of major Western metropolises, a new, libertarian spirit emerged from 1900 onward, with which artists, intellectuals, and the bohemian set rebelled against conservative society. In 1920s Berlin, amidst glitter, smoke, and jazz, a brief dream arose that also gave women and queer people hope for greater rights—until the National Socialists violently destroyed this diversity.

Among those persecuted and murdered in concentration camps under National Socialism were also alleged or actual sex workers. Since the 1980s, sex workers have increasingly made their voices heard. Restrictive measures and public stigmatization in the wake of rising police violence, gentrification, and the AIDS crisis led to protests and organized resistance—often in solidarity with the queer community. Trans* sex workers were at the forefront of the queer civil rights movement. For sex workers, this experience of community is crucial for developing strength and independence. Spaces where experiences and trauma can be discussed without being reduced to a victim role create self-efficacy and protection. This is the subject of many of the objects and narratives in the sex worker archive Objects of Desire. The personal stories revolve around love, joy, and shame, fear and frustration, as well as the everyday drudgery of work. The exhibition invites visitors to take a look inside these rooms – and to gain new perspectives on a topic shaped by prejudice and taboos.

 

Please find further exhibition details here.