The photographic work of Annette Frick (*1957, DE) is considered uncompromising and non-conformist. Since the 1990s, Frick has been portraying Berlin's subculture and the city's architectural upheaval. Portraits, scenic images, urban studies, montages – in her works, which radiate a strong political as well as poetic force, the artist addresses conflicts within representational culture, identity, sexuality and history. Passionately documenting the queer underground scene of post-reunification Berlin in her clear black-and-white analogue photographs, Annette Frick captures moments of fragility and subversive radicalism that allow her to take a particular perspective on contemporary queer life in the city. Annette Frick has always demonstrated a critical attitude towards the architectural and social façade of the German capital. 

STATIONS strawberry stand will be a part of the exhibition Making Something From Nothing. Highlights from the A.I.R. Gallery archives, which has its starting point in the fifty-year history of the New York exhibition space A.I.R. (Artists in Residence). Founded in 1972 as a non-profit cooperative by and for women artists, A.I.R. set out to provide a platform for its members, who at the time had significantly less visibility and fewer opportunities than their male counterparts. On the occasion of A.I.R.'s 50th anniversary, highlights from the gallery's history will be combined with interviews and discussions by STATIONS with artists, curators and academics – on topics such as extended curatorial practices today, coexistence and collaboration, authorship in collectives, care and community work. 
Guided tour and walk. Duration: 45 min. Dates: 17.9. and 18.9., both at 14:00. Start: STATIONS, Adalbertstr. 96, (balcony level, left of Café Kotti), 10999 Berlin. Destination: Musée de la Fraise. STATIONS invited by Thea Djordjadze, Annenstr. 53, 10179 Berlin. 

In her video work for Musée de la Fraise, Aslı Sungu shows images of rural and urban landscapes as well as private living spaces, which she links to memories of her childhood through playful image montages. "Red, Green and Others..." shows a loop that moves between hopes and their subsequent disappointments. Through six stop-motion images, each of which is assigned a colour, Sungu addresses the effects of socio-political upheavals on people and nature. 

Claudia Wieser sees her strawberry stand as a body to which she can dock the sculptures she creates in her studio from the outside, allowing the strawberry architecture to continue to grow in this way. Tiled columns and U-shaped sculptures made of hand-painted tiles contrast the strawberry stand and transform it into an impression of postmodern architecture in which the most diverse visual languages are brought together.

At the Musée de la Fraise, Bool and Morris's work L'autre Commande Féminine de Bonbons Incendiés de Rubis looks at art historical and philosophical posits regarding sensuality and female sexuality in order to deconstruct and reweave them. On display in the stand, Morris has developed four specific fragrances, each referring to a different state or identity of four "mature women", while Bool places one of her series of "Gaslight" sculptures: a street lamp of hand-blown, seemingly frame-splitting glass, modelled on historical gas lanterns in the strawberry's outdoor space as a commentary on society's perceptions of reality. 

At Musée de la Fraise, Vicky Wright will show the installation Das Kaptive, consisting of a painting and a manikin suspended on ropes with ambiguous spatial, psychological relationships. The two-dimensional image of a figure looks out from the constructed space of the painting onto the three-dimensional entanglement of the hanging puppet, which consists of various fragmented parts. These two elements are held in a perpetual embrace of uncertain volition. As in a perpetual circular movement, they condition each other in an indissoluble tension of motif, compulsion, drive, repression, suppression and following. 

For Musée de la Fraise, Prouvost – in a work entitled We Will Imprint Ourselves – has visitors walk through topsoil on two bronze shoe sculptures, which she herself designed and that have soles in the shape of breasts, in an act of inscription, visualisation and de-tabooing.  

In their first joint installation, Sabine and Philipp Reinfeld deal with the American architects and theorists Robert Venturi, Denise Scott Brown und Steven Izenour, who coined the terms "decorated shed" and "duck" for certain types of buildings in Las Vegas in the 1970s. A wooden box stands at Nordbahnhof, a sign emblazoned on its roof: "JE NE SUIS PAS UN CANARD". What then? A pipe? An art transport? A Western parcel? A GDR citizen in clandestine transit towards West Germany? Opening of the box / performance: Daily at 16:00 (except 15.09.). Timber construction and design: Tuvmali.

The FURNANCE OF ENERGY ASSIMILATION is the inner strawberry's microbiome. It's digesting, decaying, healing, infecting. It’s moment to moment. Breath to breath. "I can’t think about the future in the furnace. All I can do is pray I’ll survive."

Surprise, humour, sadness and melancholy as indispensable emotions of human existence inspire her to create a new installation within the strawberry that reflects loss as a cathartic and purifying act of lived human existence. Madame les Deux Tiers presents the actual state of her own preciousness. 

For Musée de la Fraise, Christl Mudrak deals with the erotic love songs of the Song of Songs, which, in ambiguous, figurative language, emphasises above all the perspective of the woman in seeking, finding and longing. The motif of the garden plays a central role here. The walk into the garden is established as an image in which the noblest plants, such as strawberries and roses, develop and which is described at the same time as a closed place. On the green strip on Rosa-Luxemburg-Strasse, she creates such a Hortus Conclusus as a painterly installation.
Hosted by Kunstverein am Rosa-Luxemburg-Platz e. V., Berlin. Supported by Stiftung Kunstfonds, Neustart Kultur, Bonn.

Käthe Kruse places herself in the middle of social fields of tension and picks them apart, often using documentary material. At Zoologischer Garten train station, Käthe Kruse will create the installation "WIR:" in her strawberry stand, using photo, text and sound documents that discuss topics such as abortion, women's rights - for example in Afghanistan –, and transgender issues, presenting them personally to passers-by on site. The artist will be there in person at her installation from 21 - 25 September.