BREMEN.- Quiet enough to forget is the first solo exhibition in Germany by French artist Kelly Weiss. For her works she deploys canvas, wall, floor, truck tarps as well as other found objects. They are space and process based and relate to their surrounding as well as the conditions of the respective exhibition space.
Wandering through frequently urban or industrial areas and therein observing, sensing and collecting both material constellations and materials, like rust, sediment, and polycarbonate sheets, are part of Weiss‘ practice. What Weiss collects is often subject to the passing of time and the passing of attention while the process underlying her works is connected to subtle transformation, choices of re-framing and models for co-habitation. Operating between inside and outside, ideas of protection and difference, Weiss proposes frames for visibility and attention to what may be perceived as fleeting but in fact holds permanence.
As part of the exhibition two video works by Adele Dipasquale which examine language as a manufactured tool will also be shown. Renegotiations of the limit of speech and understanding, of voicing and loosing voice as acts of resistance and possibilities of transformation are at the center of Dipasquale’s practice.
Jasmin Werner: The Structure of Claim
as part of the exhibition series for fear of continuity problems
October 11–November 23, 2025
Jasmin Werner’s The Structure of Claim is the first exhibition in the series for fear of continuity problems, which examines memory and remembrance in the poster frames outside the GAK and in part of the indoor space.
In the poster frames, Jasmin Werner presents proposals for modifying the building facades of existing museums. While the overall views of the museum facades remain unchanged, detailed drawings of individual window shutters feature hand-painted advertisements for money transfer services. As sites of memory, knowledge, and representation, museums are spaces where claims to power, ownership structures, and self-perception are negotiated and shaped. The facade proposals and window designs thus represent the framework of architecture and memory politics underpinning the global social conditions that have given rise to Ria, Western Union, MoneyGram, and co. Werner’s multi-part indoor installation alludes to the shadow industry of so-called click farms, which are widespread throughout the Philippines.
Between the claims to ownership and power relations addressed in the works, real human relationships and memories are all too easily forgotten or overwritten—such as the memory of the historical foundations that created the current low-paid working conditions in the Philippines, or how the collections of the Tropenmuseum in Amsterdam and the Übersee-Museum in Bremen came to be established. In her work, Jasmin Werner unites these parallel systems—which are closely linked but rarely visibly intersect—and challenges the logic of representation.
The series for fear of continuity problems invites six artists to play a game of ping-pong between the small bookshop at the GAK and the question of how memory, perspectives, narratives, identities, and the unconscious can be spatially represented and publicly negotiated.
Upcoming in the series
Majd Abdel Hamid, November 29, 2025–January 11, 2026
/ Ian Waelder, January 31–March 15, 2026 / Hella Gerlach, March 21–May 3, 2026 / Cécile B. Evans, May 23–July 5, 2026 / Julia Horstmann, July 11–August 23, 2026.
