In Schönwalde-Gilen, two mares, Harmony and Quintera, become part of a musical journey. Their tail hair was transformed into cello bow hair by Felix Scheit, then brought to life by cellist Tsepo Pooe. In autumn 2026, Pooe improvises within the Krämerwald forest, allowing the cello’s sounds to merge with the acoustic landscape of the woods. Read more.
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Ausblick subtly alters the conditions of looking. Inviting visitors to climb and assume a position above the forest floor, simple metal structure leans against a tree. The work shifts the perspective: a perceptual displacement turns looking into an active experience.
Referencing the traditional hunting stand, Ausblick transforms a structure associated with observation and control into a place of attention, pause and contemplation. Read more.
Eva Brendes combines discarded textiles, dyed fabrics, and painted surfaces into temporary structures installed in the forest. Suspended between trees, they recall shelters, banners, or fragments of architecture while remaining open to changing light, weather, and time. Wind, rain, dirt, and gradual disintegration become part of the work itself, allowing the forest and its changing conditions to shape its transformation. Read more.
In Pine Vault project, four pine trees interwine through their crowns, transforming a planted forest into a space reminiscent of a Gothic rib vault. Nature becomes architecture, shifting from individual organisms to collective body. Continuously shaped by wind, weather, and time, the living structure invites us to reconsider the boundary between nature and architecture, to ask who is shaping whom, architecture or nature? Read more.
Asli's works adresses memory politics, observing everyday events between chaos and control. Through her calm visual language, she creates powerful moments of self-reflection. In Not Sappho’s, Not Ottilie’s, Not Mine, a heavy, petrified garment dressed onto us and passed down from woman to woman through generations, one that does not belong to us, yet carries inherited moral rules and restrictions. Read more.
Two walkable spiral labyrinths connect people, nature, and different experiences of life. In Unity, a single thread emerges from the earth and winds between the trees, carrying vertical threads that visitors can add found objects to. In Diversity, parallel blue and red threads, symbolising two polarities within us: plus and minus, feminine and masculine components. As visitors walk through the installation, individual life stories meet and intertwine, creating a growing portrait of human diversity and connection. Read more.
Installed among a plantation of young pine trees, a 20-metre-long image wall brings motifs of Caribbean foliage into a Central European pine monoculture. Through forest intervention, working across sculpture and installation, Blue Curry explores questions of exoticism, tourism, material culture, and the circulation of images. TROPICAL.jpg invites us to reconsider how landscapes are represented and culturally constructed. Read more.
Six ceramic sculptures form a circle within a pine forest, bringing generations, memories, and different temporalities into the same space. Cast in red brick clay with iron oxide, they carry traces of bark, bone, wings, honeycomb, leaves, and other found forms. Suspended from the trees, the sculptures become a vocabulary of material memory: bark protects, bone carries, honeycomb organises, and the tree ring gathers. Read more.
The work offers, through a VR headset, a view onto a sexual encounter in the forest—an intimatThe work offers, through a VR headset, a view onto a sexual encounter in the forest—an intimate moment that would normally remain beyond public view. Natural spaces have long served as places of retreat and intimacy: among the trees and beyond the reach of social surveillance, they can become spaces for sexual encounters that remain hidden. Read more.
Wald-Baracke is a long-term artistic research project centred on a small wooden barrack built in 1941 to house forced labourers involved in the construction of the Reichsautobahn A24.Through archival research and historical documentation, the project approaches the barrack as a silent witness to the history of forced labour under the Nazi regime, reflecting on the ways in which places of violence and exploitation are remembered, forgotten, and embedded within the contemporary landscape. Read more.
“An artwork may depict a seemingly peaceful relation to nature - for instance, in pastoral imagery - while its production and materiality reproduce violent or extractive relations. How, then, can artistic practice relate to materials, environments, and other living beings without reproducing such relations?” Read more.
Krąg is a structure made from discarded bricks found in the forest, remnants of a former campsite. The reclaimed bricks are reassembled to form an open circular structure, creating a place to gather, sit, and direct attention. During gatherings, Krąg can focus attention inward, toward its centre. At other times, it opens outward, framing the surrounding forest and drawing attention to the landscape. Read more.
Verkostung is an invitation to slow down and attune to the environment of Krämerwald through our senses. A ritual, a procession, a moment of coming together which unfolds through taste. Read more.
Fern Pavilion responds to one of the few existing architectural elements in the wooded area: a structure made of slender aluminum poles, standing almost invisibly like a line drawing in the clearing. For the installation, the pavilion is transformed into a refuge for ferns, complete with an integrated irrigation system. Read more.
The initiative marks Palz’s first land art project within a broader series dedicated to restoring ecologies of beauty and survival. The site of this work is a section of the Krämerwald forest located approximately 40 kilometers northwest of Berlin that has been historically impacted by war and human exploitation. Read more.
Nestled among fallen pines lies a seemingly plausible discovery: the spine of a Seismosaurus, extending over 30 meters. Klara assists its re-emergence from what was once sea floor, now forest, as excavation unfolds alongside her learning to carve wood. Read more.
Feral Archives asks how knowledge changes when placed in the logic of the forest. where matter is stored, forgotten, decomposed, and remade. Digital traces enter a cycle beyond control and permanence, forming a relationship in which technology grows with, rather than over, nature. Read more.
Christl, who invited Martin G. Schicht to the forest exhibition, explores the relationships between humans, animals, and nature. Inspired by this, Schicht created a place for animals in honor of Lin May Saeed, using a participatory time capsule. Read more.
Natalia collects traces of life on canvas, exploring visible and invisible connections in the forest, seen as a living body. She offers Shiatsu, Reiki, and other treatments on canvas sheets in a pavilion made of deadwood. Each canvas records the encounter and is left in the forest to be shaped by nature over three years. Read more.
How can we enter the forest without harming it? Natalia Medebach invites visitors to a mindful encounter with the forest, using all their senses. Through shared experiences, the group deepens their connection with nature and learns to see the forest with new eyes. Read more.
Young fallen trees are coated in white lime paint, a traditional protective material. The paint highlights their presence while the trunks continue to support insects, fungi, and forest regeneration. By leaving them in place, the work promotes biodiversity and invites visitors to see the forest as a living, interconnected organism. Read more.
For this project, Monika explores pigments that are safe for the forest. Her vibrant studio palette is reduced to three natural colors-turmeric, beet, and cornflower-poured onto the leafy ground. She considers how these pigments might even benefit local animals, insects, and fungi. Read more.
The light of a streetlamp forms a cone, framed by thin steel cables. Over time, plants grow through and around it, as nature gradually reclaims the space. The light guides this process, revealing an invisible presence through reflections and greenery. Read more.
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