Saltimbanques! is a group exhibition showcasing the works of Saâdane Afif, Johanna Dumet, Lothar Hempel, and Claudia & Julia Müller, running at Mehdi Chouakri Fasanenplatz from November 9, 2024, to February 1, 2025. The title is drawn from the French word “saltimbanques,” originating from the Italian saltare in banco, meaning “to leap upon a bench,” and historically describing street performers—acrobats, jugglers, and entertainers. The figure of the saltimbanque has been a subject in art since the 17th century, often used by artists as a playful yet pointed way to critique or reflect on society.

Claudia & Julia Müller explore themes of identity and spectatorship in their work Komparse, a mirror portrait featuring pasted cut-out shapes and layered imagery. A mysterious figure in the background—part fox, part magician with a top hat and wand—captures attention, only to reveal itself as another costume. The viewer’s own reflection, partially masked by the mirror’s design, becomes part of the narrative, blurring distinctions between performer and audience, reality and artifice.

Saâdane Afif, known for his conceptual and performative works, contributes a poetic exploration of ephemerality and permanence. His project The Fairytale Recordings recalls a 2011 performance at Berlin’s Schinkel Pavillon, where a young opera singer recited lyrics written by the artist. The final notes of each song were symbolically “poured” into Nymphenburg porcelain vases, which were sealed to preserve the sound indefinitely. At the very top of each vase is the figure of the singer, while the piece presented in the exhibition resembles a tightrope walker in perfect balance.

Johanna Dumet’s work in this exhibition takes her signature blend of classical techniques with a bold and contemporary sensibility. The fool’s castle is a painted circus tent—essentially a canvas without its frame—resembling the form and texture of a traditional fabric tent. In front of this theatrical backdrop sits Dumet’s studio chair, transforming the installation into a stage.

The chair serves as a surrogate for the artist, positioning her simultaneously as creator and performer. The title reflects on the figure of the clown, the fool, who stands as the only one unrestrained by censorship.

Lothar Hempel’s The Planet of the Living Dead merges imagery from a 1968 horror film with visuals from a vintage American magazine on contemporary dance. Part of a series of diamond-shaped works, the collage resists a fixed orientation, enhancing its sense of fluidity. The two dancers depicted evoke the grace and precariousness of tightrope walkers or acrobats, their forms seemingly floating in a state of weightlessness. This sculptural constellation of figures acts as an imaginative “poster” for a universe brimming with possibilities.

Together, the works in Saltimbanques! reflect the essence of their namesakes: performers who challenge boundaries, inspire wonder, and reimagine the world through their craft.