The George-Kolbe Museum once called its director Kathleen Reinhardt, where tourists visited the fourth day of her trip to Berlin. Then, when an inspection of attractions and time for relaxation. The museum has been located in the indicated house of the sculptor George Kolba since the 1920s, except for the leaked city routes, near the Olympic stadium. This is a small art institution of West Berlin in the second row, which, however, regularly attracted attention in recent years.
From there, Reinhardt now goes to the front, to an art that will attract self -digit attention: next year the art historian oversees the German pavilion of the Venetian Biennale, as the Institute for Relations with Foreign Affairs on Tuesday. The press release says that the qualifying committee unanimously chose Reinhardt. The choice is amazing – its predecessors came from larger institutions – and, therefore, promising.
Kathleen Reinhardt – Jung, Eastern German Socialized, Curatorial feminist and focused on diversity – was born in Sondershauzen in Thuringia. She studied literature, cultural sciences and international management at the universities of Byirout, Amsterdam and Los -Angeles and received a doctoral degree in the American conceptual artist Theaster Gates at the Faculty of Africa in Berlin. First, she headed the studios of the South African video artist Kandis Breits and the sculptor -sculptor Kosovar Petrit Halilaj.
Then she went to Albertinum of state art collections in Dresden in 2016 as a curator and conservative of contemporary art. There was a lot of attention to her group exhibition “1 million roses for Angela Davis” (2021), in which she worked around the US activist on civil rights. She also worked in the field of research project “Revolutionary novels?
Since December 2022, in the Berlin Museum of Berlin Georg-Kolbe, she focused on the dialogue between the story and the collection of the house with the work of modern artists from the very beginning. Last year, together with the house on Waldsee and The Sopiene, she organized the work show of the choreographer Gisèle Vienne, which many were one of the best exhibitions in 2024. Just two weeks ago, Reinhardt opened the group exhibition “Tea and Sukhoi Biscuits” for the 75th years of the museum.
In our very difficult gift, art offers urgently necessary freedom for creative visions, for meetings, for social negotiations and for general critical thought, so Reinhardt formulates in the statement as a curator. He calls the “critical study of history and society” in the German pavilion the ideal starting point, “where we are here, as we came here, and, first of all, where we go and how it can look and feel.” Whether they will and what answers they found will be found in May 2026, when the 61st Biennale Di Venice opened.
