Opening hours

Tuesday to Sunday: 10:00 a.m. to 5:00 p.m.

Admission fees

with special exhibition
7 euros / concession 5 euros


Museum für Neue Kunst
Marienstraße 10a
79098 Freiburg im Breisgau
Tel.: +49 (0)761 / 201-2583
Contact persons

Für den Zugang und den Fahrstuhl wird eine Assistenz benötigt, nicht aber für dass WC


Schau_Raum is a space, dedicated to video art, filmic works and moving image, located at the second floor of the Museum für Neue Kunst, Freiburg. Driven by discursive and thematic approaches, the space has its own artistic programme and curatorial agenda involving screening formats such as one-time, recurring or looped programmes. In the form of a mini cinema with a stage in front, Schau_Raum is also open for time-based works, performances, readings and discussion programmes.
The main Schau_Raum programme usually includes artistic positions who are dealing with a related topic. The screening programme is either realized in loopings or dedicated to one artistic position. At a certain tune the programme may be connected to the actual exhibition, but can also be a program on its own.

28 May – 5 August 2020

Hiding Our Faces Like a Dancing Wind

Museum für Neue Kunst

curated by Didem Yazıcı

Revolving around human rights urgencies in  times of crisis, the video programme Hiding Our Faces Like a Dancing Wind brings together three filmic works: Forensic Architecture’s Shipwreck at the Threshold of Europe, Lesvos, Aegean Sea (2020), Ole-Kristian Heyer, Patrick Lohse, and Marian Mayland’s Dunkelfeld (2020) and Yazan Khalili’s Hiding Our Faces Like a Dancing Wind (2016), which grants the programme its title.

Humankind has been hiding their faces for centuries. Some are concerned with violations of privacy and avoiding facial recognition technology, some wear a scarf over their face as part of their belief system, and others seek to shield themselves from a discriminatory gaze, possibly fearing a racist attack. Today, all around the world, we are all hiding our faces for a good cause; wearing masks to prevent the spread of a virus and save lives. In such times of solidarity and crisis, universal human values are being continuously tested.

Yazan Khalili
Hiding Our Faces Like a Dancing Wind

Khalili’s work refers to the tight relationship between facial recognition technologies and its historical background in colonial practices. While asking the question How do we disappear in the digital age?, this piece  recalls colonial mechanisms of racial classifications and the construction of historical narratives. The video features a woman’s face captured on screen, which appears to confuse the camera’s facial recognition system, so that a sequence of ethnographic masks interrupts the frame. The act of hiding our faces becomes a gesture for protection from typecasting,  racist legacies and digital surveillance systems.

Forensic Architecture
Shipwreck at the Threshold of Europe, Lesvos, Aegean Sea

The summer of 2015 was also known as ”the long summer of migration”. With their collaborative video piece, Forensic Architecture unravels the facts behind a sinking migrant boat and its complicated rescue operation just off the European coast in 2015. It includes video material from artist and survivor Amel Alzakout, recorded as the boat was sinking as well as video taken by artist Richard Mosse. Combined with material from activists, members of the press, the Greek coastguard, satellite images and weather data, they form an effort to determine, through analysis, what really happened and who might be responsible. All of this data functions as evidence that calls for social justice. Investigating the shipwreck carefully, the work informs us of the ugly truths of European border politics during a humanitarian crisis.

Ole-Kristian Heyer, Patrick Lohse und Marian Mayland

Dunkelfeld by Ole-Kristian Heyer, Patrick Lohse and Marian Mayland sheds light on the story of the Turkish-born and German-based Satır Family. In August 1984, a house inhabited by migrant workers was burnt down in Duisburg, Germany killing seven members of a family. While the police immediately ruled out racism as a reason, the survivors continue to doubt that it was a coincidence that their house was set on fire. In the wake of ongoing and recent attacks, this critical and careful work highlights German politics, which is belatedly waking up to the threat of far-right terrorism and racism.

Historically, the personification of the scales of justice dating back to the goddess Maat in Ancient Egypt, Justitia in Ancient Roman, and the Greek goddesses Themis and Dike, are depicted as blindfolded, covering their eyes. In this context, the blindfold represents impartiality, the idea that justice should be applied regardless of wealth, power or status. Similarly, medieval executioners and popular cultural characters such as the title character in the film Joker (2019), who begins a violent counter-cultural revolution against the wealthy, also cover their faces.  In his groundbreaking text “The World After Coronavirus”, Yuval Noah Harari criticised governments that launched apps to stop the pandemic which monitor every movement of its citizens; a kind of under-the-skin-surveillance. Here, the gesture of hiding a face becomes an act of protest. The intention is to perform a certain type of anonymity for any of several reasons: to revolt, to hide, to see without bias, or to protect oneself and others from a virus. How are you hiding your face?

Yazan Khalili, Hiding Our Faces Like a Dancing Wind, 2016 (film still)



Hiding Our Faces Like a Dancing Wind
(28 May – 5 August 2020)
Forensic Architecture | Yazan Khalili | Ole-Kristian Heyer, Patrick Lohse und Marian Mayland
curated by Didem Yazıcı

Cristina Binetti
(17 February – 15 May 2020)
Frauwild (2019), Sonntag (2018), Traumsequenzen (2017)
curated by Noura Persephone Johnson

Wandernder Schatten. Der Künstler Hermann Scherer
(17 January – 15 March 2020)
A film by René Schraner and Peter Bosshart

Helden sind wieder gefragt
(28 September 2019 – 16 January 2020)
Short film by Karlheinz Scherer


(26 March – 27 September 2019)
Amir Balaban | Nancy Holt & Robert Smithson | Ulysses Jenkins
curated by Noura Persephone Johnson


Uncanny Encounters
(9 October 2018 – 24 March 2019)
Peter Tscherkassy | Bjorn Melhus | Lynn Hershman Leeson
curated by Florian Flömer

Guess who’s dropped in for a bite
(30 January – 26 April 2018)
Martina Wegener | Frédéric Ehlers


Grounds for Hope
(26 September – 5 November 2017)
Marianne Fahmy | Desire Machine Collective | Maria Iorio / Raphaël Cuomo
curated by Didem Yazıcı

In this way
(7 November – 17 December 2017)
Rojda Tugrul | Şener Özmen | Savaş Boyraz| Hito Steyerl
Programme by ASA

Between us
(19. Dezember 2017 – 28. Januar 2018)
Erkan Özgen | Nilbar Güreş | Cengiz Tekin
Programme by ASA


I will find my way
(11 October 2016 – 24 March 2017)

Paolo Nazareth | Isabell Heimerdinger
curated by Finn Schütt

Freundschaftsspiel (Agar Ugur Collection)
(9 July – 9. October 2016)
Anna Eriksson | Hale Tenger | Hale Tenger | CANAN | Aslı Çavuşoğlu | Zeyno Pekünlü | Aykan Safoğlu | Didem Pekün | Şener Özmen | İnci Eviner | Leyla Gediz | Nilbar Güreş | Ferhat Özgür |Erdem Taşdelen
curated by Didem Yazıcı

On how to become a real person
(19 March – 7 July 2016)
Gillian Wearing | Jeremy Shaw | Tracey Emin
curated by Jennifer Smailes


(1 September – 25 October 2015)
Frances Bodomo | NeÏl Beloufa | Bedwyr Williams
curated by Jennifer Smailes

(1 July – 30 August 2015)
John Smith | Araya Rasdjarmrearnsook | Mark Wallinger
curated by Jennifer Smailes

Get Away from it all
(19 May – 30. June 2015)
Laure Prouvost | Borga Kantürk | Ani Schulze
curated by Didem Yazıcı

Middle of the Path
(14 March – 30 April 2015)
Ursula Mayer | Leylâ Gediz |Simone Fattal
curated by Didem Yazıcı


Isabella Rossellini Green Porno, 2008
(21 October 2014 – 22 February 2015)

Corinna Schnitt
(27 February 2014 – 17 July 2014)
Once upon a time, (2005), Tee trinken, (2012), Ballspielen, (2013), Spielplatz, (2007), Von einer Welt, (2007)


Ulf Aminde
(28 September 2013 – 26 January 2014)
Schamdruck, (2009), Frontalunterricht, (2009)
Workshops of Ulf Aminde / Felix Ensslin
(Akademie der Künste Stuttgart)
with Alicia Hernandez Westpfahl, Sabrina Karl, Julia Wirsching, Katharina Jabs, Gabriel Hensch, Bjoern Kühn, Anna Gohmert, Adrianna Liedtke, Leonora Ruchay, Nora Denneberg, Anna Romanenko, Huang Zhifen

  Nur Bild Bild + Text