Art Critique by Dr. Anna Biela, 04.05.2025 Berlin 4:44 pm
“All P(a)laces Are Temporary P(a)laces”: A Heartfelt Encounter at KEWENIG Berlin
In the historic heart of Berlin’s Mitte district stands a building whose very walls pulse with layered histories and stories of resilience. KEWENIG Gallery, located at Brüderstraße 10 in the beautifully restored Galgenhaus—one of Berlin’s oldest remaining townhouses dating back to 1688—is a place where art transcends material form and enters the realm of experience. My recent visit to this gallery, curated by Justus Kewenig, was nothing short of a spiritual encounter. It resonated deeply with me not only as an artist but as a human being aware of the transient nature of existence.
The exhibition, titled “All Palaces Are Temporary Palaces,” was conceptually precise and yet open enough to provoke deeply personal interpretations. When I first saw the typography of the phrase displayed in the space, my mind misread it—“all places are temporary places.” This misreading lodged itself into my consciousness, and it wasn’t until much later, as I was sitting on a bus heading back to Wrocław, that I realized the word was not “places” but “palaces.” Yet even after the correction, the sentiment held firm. Whether “places” or “palaces,” the message remains poignant: everything material is impermanent.
My interpretation was unexpectedly reinforced by a striking visual moment. The gallery space has a minimal yet powerful installation layout, and what stood out was that one window was intentionally left uncovered. Through this window, I saw a fenced-off demolition site directly across the street. The building once located there was now completely gone—reduced to an absence, a void. And hanging on the fence was the exhibition signage: “All Palaces Are Temporary Palaces.” Framed by the empty space where a building once stood, this phrase hit with amplified gravity. It wasn’t just an artistic concept anymore; it was manifest in the urban reality outside the gallery’s walls. Art, life, and space had collapsed into a single, haunting metaphor.
This gallery is not just a site for viewing artworks—it is a work of art in itself. Every architectural choice, every curve of the restored walls, every shaft of natural light that enters the rooms feels intentional and lovingly curated. The care that went into restoring the Galgenhaus—its aged surfaces harmonizing with the minimalism of the exhibited art—imbues the space with a presence that speaks of past lives and continuing legacies.
Upon entering, I felt something immediate and profound: a HeartGLO—an energetic warmth that vibrated from the floorboards to the ceiling. This wasn’t merely metaphorical. The space truly emanates a kind of frequency that speaks to the heart. And this, I believe, stems in large part from the vision and energy of Justus Kewenig himself. In an art world often driven by ego, profit, and cerebral distance, it is rare to meet a gallerist who leads with intuition and heart-centred intention. This makes KEWENIG Berlin unique—not because of its reputation or even the prestige of its exhibitions, but because it is alive.
The current installation is minimal and conceptual in form. At first glance, it might seem restrained or even inaccessible. But conceptual art requires time and humility; it does not reveal itself instantly. One must ask, “What is this work asking of me?” In this case, the work asks us to consider the nature of permanence. What do we hold on to? What do we build, only to watch crumble? What are we truly building when we create—structures, or meaning? These questions resonated deeply with me, especially in the context of spiritual teachings that suggest Earth is but a temporary home for many. Some souls may incarnate here repeatedly, as part of the Earth’s story. Others may be merely passing through. But no one stays forever.
The artworks in this exhibition reflect that truth. Their sparseness gives room for contemplation. Their placement, aligned with the gallery’s old bones, speaks to layered time—past, present, and potential futures. I found myself thinking not just about the art on the walls but about the space between—the silences, the absences, the light bouncing off rough textures and worn edges. Even the uncovered window became part of the show. The view beyond it served as a living artwork: the demolished building, the signage on the fence, the void in the city’s architectural skin—all of it held meaning, all of it whispered the same truth.
While many galleries in Berlin offer excellent programming, I walked away from KEWENIG with something more enduring—a vibration, a sensation, an alignment. It reminded me that the spaces we move through, the structures we admire or inhabit, are temporary palaces. We build them, we love them, and then—sometimes—they are gone. What remains is the energy we felt within them. And this gallery, without a doubt, is a portal to such energy.
For those attuned to subtlety, energy, and depth, a visit to KEWENIG Berlin is not just recommended—it’s essential. It offers not only a feast for the eyes but nourishment for the soul. It is a place where conceptual art meets cosmic contemplation, where architectural history meets emotional presence, and where the material becomes a gateway to the immaterial.
As I reflect on my experience, I return to the moment I misread “palaces” as “places.” I no longer see it as a mistake. It was a poetic slip—one that captured the essence of the exhibition more perfectly than anything else. Because in the end, all places are temporary places, too.
— Dr. Anna Biela
