Experience culture. Poetry Slam in Hamburg

Lenke Rothman: Quality of Life

From the 1950s until her death in 2008, Rothman developed a unique feminist œuvre, where aspects of the everyday are set against a biographical and historic backdrop. Characterised by the radical processing of a lived present after the Shoah, Rothman’s practice negotiates lines of temporality and transience through, amongst other things, the preservation ephemeral and forgotten materials in a body of work that moves from abstract painting in the 1950s into the vocabulary of post-conceptual feminist sculpture in the 1960s and 70s. By recurring gestures – sewing, mending and enveloping, carving texts into fabric or paper, and holding together torn or decaying fragments – Rothman gives form to impermanence and memory alike, emphasising clothing as a membrane between fragile bodies and the world that surrounds them. Here, Rothman’s gestural poetics understand repair as the materialisation of the perpetual guided by the question: ‘How can life be saved and preserved despite constant destruction?’

Lenke Rothman: Quality of Life

From the 1950s until her death in 2008, Rothman developed a unique feminist œuvre, where aspects of the everyday are set against a biographical and historic backdrop. Characterised by the radical processing of a lived present after the Shoah, Rothman’s practice negotiates lines of temporality and transience through, amongst other things, the preservation ephemeral and forgotten materials in a body of work that moves from abstract painting in the 1950s into the vocabulary of post-conceptual feminist sculpture in the 1960s and 70s. By recurring gestures – sewing, mending and enveloping, carving texts into fabric or paper, and holding together torn or decaying fragments – Rothman gives form to impermanence and memory alike, emphasising clothing as a membrane between fragile bodies and the world that surrounds them. Here, Rothman’s gestural poetics understand repair as the materialisation of the perpetual guided by the question: ‘How can life be saved and preserved despite constant destruction?’

London Philharmonic Orchestra / Alexander Malofeev / Karina Canellakis

What a concert evening! It opens with Beethoven’s magnificent Prometheus Overture, dedicated to the titan who gave fire to mankind and thus sparked the dawn of civilisation. As the finale: Tchaikovsky’s overwhelming »Pathétique« Symphony, its mysterious aura made even more poignant by the composer’s sudden and unexplained death just days after the premiere. In between, the most brilliant of them all: Wolfgang Amadeus Mozart. Rising star Alexander Malofeev brings every nuance of his dramatic D minor Piano Concerto to life – joined on stage by the London Philharmonic Orchestra under the baton of the fantastic Karina Canellakis.

PERFORMERS

London Philharmonic Orchestra orchestra

Alexander Malofeev piano

Karina Canellakis conductor

PROGRAM

Ludwig van Beethoven
Overture from »Die Geschöpfe des Prometheus«, Op. 43

Wolfgang Amadeus Mozart
Concerto for Piano and Orchestra in D minor, KV 466

- Interval -

Piotr I. Tschaikowsky
Symphony No. 6 in B minor, Op. 74 »Pathétique«

London Philharmonic Orchestra / Anne-Sophie Mutter / Karina Canellakis

»You can’t just call that talent – she’s simply a genius.« With these words, Herbert von Karajan once knighted Anne-Sophie Mutter and nearly 50 years later, time has proven him right: her name remains synonymous with world-class violin playing.

»If you want to get to know me, you have to experience me on stage,« says Mutter. Music and life? For her, inseparable. Her credo: classical music belongs in everyday life, at the heart of society. In that, she would have seen eye to eye with Piotr Tchaikovsky. For him, music was a sanctuary, a vital force. His brilliant Violin Concerto was born in dark times – and became his salvation: »In such a state of mind, composing no longer feels like work; it is pure bliss!«

PERFORMERS

London Philharmonic Orchestra orchestra

Anne-Sophie Mutter violin

Karina Canellakis conductor

PROGRAM

Jean Sibelius
Pohjola’s Daughter

Piotr I. Tschaikowsky
Concerto for Violin and Orchestra in D major, Op. 35

- Interval -

Ludwig van Beethoven
Symphony No. 7 in A major, Op. 92

Malen, Basteln, Werkeln!

Be creative together! In the Open Studio, young and old can imaginatively try out their own artistic paths and gain new perspectives on art under guidance.

märchen. traum. los - theater 36

Theater 36 – Performing Arts Inclusive: Fairy Tale. Dream. Let's Go

The longing to belong, to a family, to a community, to be part of society as one truly is, is deeply rooted in all of us. But what if one has to remain unrecognized and deny one's true self?
Representing many on the margins or outside, the play by theater 36 searches for answers and ways to finally bring back the sparkle in people's eyes and tells a parable:

Fairies live among us. But no one has believed in them for so long. To avoid being laughed at or having the "white coat" imposed upon them, they practically vegetate in hiding. To escape their depression and regain their strength, they come together for a workshop. As it turns out, a prerequisite for good ideas is a deep, restorative sleep. But the impromptu sleep lab unexpectedly spirals completely out of control…

The play takes you on an exciting adventure for a better world and can now be experienced for the last time at the Goldbekhaus. The revision and revival were made possible by the generous support of the Karin and Uwe Hollweg Foundation.

Theater 36 has been an inclusive theater group of Leben mit Behinderung Hamburg (Living with Disabilities Hamburg) for 16 years, in cooperation with and at the Goldbekhaus. The stage design is created in collaboration with Atelier Freistil.

Funded by the Karin and Uwe Hollweg Foundation.

• Friday, February 27, 2026 - 7:00 PM - Public Dress Rehearsal
• Saturday, February 28, 2026 - 7:00 PM - Performance