"It doesn't have a Shape, it has a Shadow" Michelle Atherton, Jette Gejl, TC McCormack, 30.03.-12.04.2019
Series: "Re-imagining America" 2020, Exhibition: "Talkin to me?" Philipp Lachenmann, 04.-19.12.2020
„3D Photogrammetrie Stadt/Müll“, Benjamin Renter, City trash analysis, digital media, 26.11. – 10.12.2022
„Uran und andere Szenarien“ Antonia Low, 25.08. - 16.09.2023
Performance "wie es nicht sein wird" von Simone Lanzenstiel und Tom Früchtl, 03.02.2018


Matthias Mayer
Freienwalder Straße 31
13359 Berlin
+49 (0)179-8593744

About us

Spor Klübü (Turkish for sports club, founded August 2003) is a project space that works mainly with international artists from Berlin and offers them space to experiment. Projects are also realized in cooperation with curators, art associations and institutions.

Event for the Koloniewedding

01.06. - 08.06.2024 “Uff – Wohlbefinden durch aggressive Scheinlösung kognitiver Dissonanz als hegemoniale Leitkultur”, Thomas Behling


„Uff – Wohlbefinden durch aggressive Scheinlösung kognitiver Dissonanz als hegemoniale Leitkultur“
Thomas Behling

01. – 08.06.2024

Eröffnung/Opening: Fr/Fri, 31.05.2024, 19:00

Öffnungszeiten/Opening hours: Sa/Sat, 01.06. + So/Sun, 02.06., 15:00-18:00
03. – 08.06. nach Vereinbarung/by appointment, Tel.: +49-(0)179-8593744

In the course of climate change, we are about to pass several tipping points, triggering chain reactions that will mean unstoppable further warming of the planet for centuries – with severe climatic changes, extreme weather, crop failures, famine and flight on an apocalyptic scale. Yes, really: if we believe the science, we are talking about the loss of human habitat on a continental scale. Everything else is superstition.

The thought of it is very unpleasant, especially if our own behavior contributes to the fact that the disaster can no longer be averted. There are various strategies for dealing with these very unpleasant feelings. One very successful strategy is to fight those who are responsible for our unpleasant feelings, such as scientists or other “climate terrorists”. This can be combined at will with various other strategies, such as various forms of superstition or board head. Many things are very popular, such as the idiocy of trying to play off the economy against environmental protection or putting the freedom of unlimited consumption above human life and elevating it to a non-negotiable achievement of humanity or using symbolic gestures to clear one’s conscience.

We are facing what is probably the most serious cultural crisis in human history: the entire human development of the last 10,000 years is in question. Do we really have to throw it all in the bin and let ourselves be starved back to the Palaeolithic Age – the darkest times of all, mind you, and in this gloom until the end of human existence altogether (in the last comparable climate catastrophes, the planet needed around 10 million years each time to fully recover ecologically). Or can we dare to make a huge transformation at the last second (i.e. now), in which we can save the really beautiful achievements of our culture without it becoming a major disaster?


Thomas Behling‘s work deals with the question of how art can still be made in this situation. With his current works, he wants to contribute to a reflection on the situation. In order to understand the extent of the situation, we need a perspective that gives us a greater distance: His objects, often modeled on historical finds, pave the way for insight into the unmasking of appearance, deception and transfiguration. He uses outdated visual aesthetics because they conceal much more of our current world view and thinking than we are aware of and are entitled to. Using supposed remnants of an earlier time, he leads us into the crises and conflict zones of the present, so that what we have already lived through has not been in vain. In his works, he conceals much of what we would like to see and shows how we want to see. In doing so, he also takes great pleasure in making fun of himself.


Past events

30.06. - 14.07.2023 Silke Koch_Photography


An artistic research project on representation in public space of society in transition

Silke Koch’s artistic works explore, biographically motivated, how society and its utopias are represented in public to private space. She uses various media such as photography, video, sculpture and interventions in public space. All works are based on site-specific research. In the artistic realization Silke Koch creates spaces of possibility to question and expand traditional ideas and perceptions.

For the solo exhibition at Spor Klübü, the artist is showing two groups of works. One series shows images from her unpublished photo archive from 1994/95, depicting an adolescent generation playfully appropriating public spaces and status symbols in the midst of political turmoil and social change, and, as a counterpart, modern architectural facades from the 1980s.

Another series of photographs researches “in the today” in public space for its stock of signs, utopias, and notions of a society that has already blessed the temporal. It examines the promise and expectations with the social change from 1989 onwards of an “even” better world. In the process, ruptures are not left out. The analog camera focuses on spaces – seemingly unnoticed situations far away from large scenes of representation of society.


Sponsored by the Federal Government Commissioner for Culture and Media

27.04. - 04.05.2024 „The Only Rule of Making Good Art is to Punch Nazis“ Tania Elstermeyer, Yishay Garbasz


„The Only Rule of Making Good Art is to Punch Nazis“ Tania Elstermeyer, Yishay Garbasz
curated by Karø Goldt & Matthias Mayer

Opening: Fr., 26.04.2024, 19:00
Performance: Tania Elstermeyer Die Operatorin, 20:00

Finissage: Sat, 04.05.2024, 19:00
Videoperformance Tania Elstermeyer, 20:00

Opening hours: Sat, 27.04. + Sun, 28.04., 15:00-19:00 29.04.-03.05. by appointment, Tel.: +49-(0)179-8593744

Under the challenging title “The Only Rule of Making Good Art is to Punch Nazis”, the two Berlin- based artists Yishay Garbasz and Tania Elstermeyer position themselves with works that are indispensable in their meaning and expression right now. In both cases, they depict a longer period of their respective artistic work and engage with the themes of violence, exclusion, nationalism, transgender rights and feminism.

The approaches of the two artists are very different. They can be read as an examination of social and political issues, but also biographically or as a critical commentary on the art world. The robust and provocative exhibition title alone, which in (german) left-wing political circles would be called “stabil” (basic), serves as a clear indication of this. The exhibition title, also references. The fact that all art is political. Only the more privileged are able to be blind to this truth.

The work complexes of Garbasz and Elstermeyer are brought into a spatial relationship creating the tension of entanglement which is also an aesthetic one. However, growth happens outside one’s comfort zone, only by looking inwards does the universe open up and we can see the world. To this end, the two artists use a wide variety of media, including installation, drawing, publications, video and performance.

Links artists:

_Tania Elstermeyer:
https://www.instagram.com/taniaelstermeyer/, https://soundcloud.com/user-428870929
_Yishay Garbasz:

From March to May 2024, a further two interconnected exhibitions by Yishay Garbasz will be held in Berlin.

• „Severed Connections: Do what I say or they will kill you“
Showroom:photographie / Labor Pixel Grain GmbH
Opening: 27.03.24, 18:00-20:00, Exhibition period: 02.04.-02.05.2024

• „In my Mother’s Footsteps“
Prima Center Berlin (PCB)
Opening: 19.04.24, 19:00, Finissage: 12.05.24, 19:00, Exhibition period: 20.04.-12.05.2024

Guided Tour by Yishay Garbasz: Sat, 27.04.2024, 15:00 Starting at Showroom Pixel Grain (Rosenstr. 16/17, 10178 Berlin)
16:15 Arriving at Prima Center Berlin (Biesentaler Straße 24, 13359 Berlin) 17:15 Arriving at Spor Klübü

10.11.2023 Ulu Braun – Videoscreening/Talk

Ulu Braun Videoscreening/Talk
Fr., 10.11.2023, 19:30

The three video works shown („Die Flutung von Viktoria“ 2004, „Architektura“ 2015, „Burkina Brandenburg Komplex“ 2018) represent Ulu Braun’s broad spectrum. They explore the intersections between painterly-performative video art and hybrid auteur film and illuminate the influences of social, economic and media globalization on our civilization in a poetic- ironic way.

Ulu Braun (1976 ) lives and works in Berlin and Lieksa (Fi). He studied painting and film at the University of Applied Arts Vienna, Art Academy Helsinki and Film University Babelsberg. His work has been shown regularly in art institutions and at film and media festivals since 2004.

More info: www.ulubraun.com


Die Flutung von Viktoria (22 min, 2004)

A group of tourists travels by bus for the last time through the dreamlike world landscape, where ancient ruins and futuristic greenhouses testify to the faith in progress of human culture. The utopian place of Victoria becomes the setting for a surreal drama in which archaic motifs and modern life worlds collide. This contrast is also evident in the protagonists: while the urbane tour guide Henkel plans a diving expedition into future underwater worlds, the traveler in the yellow suit longs for the water as a return to the origins. The realization with miniatures removes the oppressive scenario into a playful, fairy- tale atmosphere, which is carried by the expressive faces and the real moving figures. (Videonale 10)

Architektura (15 min, 2015)

Rather than reinventing the wheel, Ulu Braun re-envisions the structural potentiality of the brick, in this revisionist fable of mankind’s urbanization of our planet. Employing playful and visually dense digital collages, Braun’s associative tableaux collate an ‘alternate’ vision of our world, where nature invades the urban (and vice-versa). We’re transported by a comforting narrator through post-apocalyptic, post-capitalist habitats, where the material co-exists with the metaphysical, the literal alongside the figurative (soap-bubble buildings stand alongside ruined churches turned car dealerships). Architektura echoes our civilization’s childlike ingenuity in creation and destruction, as we question the inheritance we pass on to our future generations. (Andrei Tănăsescu, Bucharest)

Burkina Brandenburg Komplex (19 min, 2018)

A presumably African village, inhabited by Germans. The film Burkina Brandenburg Komplex describes a geographical construction that makes use of ‘our’ medial and collective image of Africa and puts it to the test through inaccuracies. An archaeological find is made in a mine: a Ferrari. We tag along with Joachim on his everyday rounds. He has his heart set on realising a common energy project. The Museum of Prussian Cultural Heritage is run by a black woman. She presents artefacts from Western consumer culture with a special emphasis on German products. Joachim is involved in the ritualistic production of energy in the village, but gets excluded when the ceremony is nearing its finale, finally catapulting himself out of the ‘story/history’. (68.Berlinale, 2018)

24.11.2023 “ZERO TOLERANCE”


One Night Group Show

Fri., 24.11.2023, 19:00

Boris Abel, Michelle Alperin, Franck-Lee Alli-Tis aka V Stylianidou, Volker Andresen, claudia balster & hannah goldstein, Robert Barta, Norbert Bauer, Matthias Beckmann, Thomas Behling, Antje Blumenstein, Sascha Boldt, Gunnar Borbe, Ulrike Buck, Johannes Bünemann, Kai Bornhöft, Astrid Busch, Ulu Braun, Daniela Lehmann Carrasco, COUNCIL OF MANY (Alexine Chanel + Mickaël Faure), Rolf Czulius, Lea D’Albronn Allexandre, Henrike Daum, Annedore Dietze, Mirjam Dorsch, Stefan Draschan, Stefan Ebner, Tatiana Echeverri Fernandez, Knut Eckstein, Irena Eden & Stijn Lernout, Tania Elstermeyer, Roland Fuhrmann, Roman Frechen, Anne Gathmann, Ingo Gerken, Robert Gfader, Monika Goetz, Karø Goldt, Massoud Graf-Hachempour, Harriet Groß, Berenice Güttler, Stephanie Hanna, Theemetra Harizani aka Dimitra Charizan, Andrea Hartinger, Michael Hauffen, Andreas Helfer, Christian Hellmich, Thomas Henriksson, Birgit Hölmer, Stephan Homann, Esther Horn, Fabian Hub, Henrik Jacob, Hubi W. Jäger, Thomas Jocher, Uwe Jonas, Silke Koch, Sebastian Körbs, Karen Koltermann, Erika Krause, Käthe Kruse, Philipp Lachenmann, Simone Lanzenstiel, Anett Lau, Niina Lehtonen Braun, Sabine Linse, Catherine Lorent, Antonia Low, Mahony, Nadja Verena Marcin, Matthias Mayer, Ulrike Mohr, Thomas Monses, Matthias Moravek, Peter Müller, Paula Muhr, Leo de Munk, Berit Myrebøe, Joe Neave, Rainer Neumeier, Lorcan O’Byrne, Jennifer Oellerich, Jürgen Olbrich, Lydia Paasche, Manfred Peckl, Wolfgang Plöger, Luisa Puschendorf, Kathrin Rabenort, Nika Radic, Benjamin Renter, Regine Rode, Römer + Römer, Maja Rohwetter, Julia Rüther, Özlem Sarıyıldız, Michel Santos, Sabrina Schieke, Adrian Schiesser, Marco Schmitt, Iris Schomaker, Richard Schütz, Michael Schultze, Veronika Schumacher, Olivia W. Seiling, Heiko Sievers, Heidi Sill, Johanna Smiatek, Erik Smith, Elisabeth Sonneck, Petra Spielhagen, Hans-Peter Stark, Gabriele Stellbaum, Ralf Tekaat, Anja Teske, Thea Timm, Miriam Tölke, Kata Unger, Sencer Vardarman, Gabriela Volanti, Yvonne Wahl, Klaus Walter, Line Wasner, Anja Weber, Marcel Friedrich Weber, Linda Weiss, Bettina Weiß, Julia Werhahn, Anke Westermann, Markus Willeke, Ila Wingen, Markus Wirthmann, Norbert Witzgall, Ina Wudtke, Sibylle Zeh, Rosa Zettl, Ella Ziegler, Michaela Zimmer

Since 2005, quotes from past decades (mostly from the 1980s) headlined the annual One Night Group Shows at the end of November at Spor Klübü. Other projects and especially the pandemic had led to a 4-year break of this show format. This year the thread is picked up again. “ZERO TOLERANCE” stands as a term for many dubious strategies – especially as a strategy of crime fighting and crime prevention. This allows the police – preventively, so to speak – to intervene or crack down hard on regulatory violations below the crime threshold, so-called petty offenses. It became known in the 1990s with the “New York Model”, championed by Republican Mayor Rudy Giuliani and his police chief Bill Bratton, who based it on the “Broken Windows Theory” that had already emerged in the 1980s. As a result, the zero-tolerance strategy became a worldwide export hit and also partly ended up in German criminology and politics. The success and efficiency of the strategy remained doubtful and were apparently never clearly proven. The negative sides, however, were obvious: exaggerated restrictions on freedom, the emergence of excessive police arbitrariness and violence, the establishment of a control and police state, and so on. In the 1990s, running a red light on a bicycle in Manhattan or openly consuming alcohol on the street meant fearing that one could end up in jail. Another zero-tolerance strategy was pursued by the U.S. government under President Trump many years later with regard to immigration to the United States. If legal or illegal immigrants as well as asylum seekers had, among other things, an entry in their national or foreign criminal records, they were immediately detained and deported or turned away. Families, e.g. children from their parents, were also separated from each other without consideration.

What if you turn zero tolerance around and look at it from a different angle? For example, precisely against these political intentions and actors and in the political demarcation against the right. It is unacceptable that a party like the AfD, for example, is tolerated in Germany just because it reaches people and wins votes, but is based on far-right, National Socialist, racist, anti-Semitic and queer-hostile ideas, among other things. Anyone who abandons his zero tolerance limit at this point, who enters his firewall, succumbs to complicity and makes right-wing extremism more acceptable.

25.08. - 16.09.2023 „Uran und andere Szenarien“ Antonia Low

25.08. – 16.09.2023

The studio is a steadily growing repository of remarkable findings, research materials and test pieces. On closer inspection, some of the curiosities – a glass object containing uranium and a stalagmite retrieved from a coal mine – pose potential problems for the future: Their radioactivity requires a continued attention. An appropriate way of dealing with collections of this kind and their “Ewigkeitslast” (eternal burden) from a radiation-hygienic point of view is being sketched out and suggested by the artist.

Antonia Low lives and works in Berlin. In her artistic work, Antonia Low experiments with material spatial and situational conditions, modeling irritations and speculations in familiar structures. With her interventions she explores and combines various procedures and strategies. In visual superimpositions, excavations and displacements new visual axes create reflexions, poetic experiences and a simultaneity of different realities.

Further information: www.antonialow.com

Opening: Fr, 25.08.2023, 19:00

Finissage: Sa, 16.09.2023, 19:00
Opening times:
Sat, 26.08. + Sun, 27.08., 15:00-18:00
and by tel. appointment: Tel. +49 (0)179 8593744

01.01. - 31.12.2022 Archive_Exhibitions from 2003

29.09. - 07.10.2023 „Im Weltraum ist es still“ Mirjam Dorsch

29.09. - 07.10.2023

In space it is silent

In Mirjam Dorsch’s spatial installation, two worlds are interwoven that could not be further apart. Do they have anything in common? What do these worlds make up? A floor installation made of carpet and absorbent cotton, which can be walked on via a stage catwalk and is reminiscent of our Milky Way, is juxtaposed with a sound from an individual world, a state in which the senses are asleep and unconscious life takes place.

Similar to the principle of equivalence, with which Albert Einstein opened up the theory of relativity, there is also a cosmic frame shift in snoring. The sound, which is obstructive to sleep, both to the sleeping person and to the person lying awake, allows quite different associations in the black-bedded public space.

The absorbent cotton lies like star mist over the black high pile. Acoustic material moves at regular intervals through the 42 square meter exhibition space. With a steady hum and coo, the universe seems to breathe. Can we suspect something alive in the cosmos? And if so, is it asleep? Might we not be alone after all? And couldn’t that be reassuring? Suspicions of extraterrestrial life go back to the 1970s in a scientific context.

Poetic and playful narratives have long replaced the powerful, religious narratives and always create material for new flights of fancy. The title of the exhibition can also be a glimmer of hope, a mantra: “in space it is silent”- when the sound of sleep, the snoring of another, robs you of your own sleep.

Statment Mirjam Dorsch

“In my sculptural work I encounter various materials and techniques that accompany me in my work routine and combine, overlap or detach. Elements of art production and the art business are thematized and sometimes playfully exchanged or shifted in order to show their characteristics and to enable new perspectives. The perspective is thereby a shifting frame that directs the view to that which is not immediately perceptible and appears as a gap. The analysis and treatment of natural and processed materials reveal connections that can be questioned and are inspiring to my creative process.”

Further Infos: https://npiece.com/mirjam-dorsch?l=de

Opening: Fr, 29.09.2023, 19:00

Opening times:
Sat, 30.09. + Sun, 01.10., 15:00-18:00
and by tel. appointment: Tel. +49 (0)179 8593744