A Look Inside Berlin’s König Galerie

Looking far and wide for inspiration is hard in this strange time. With all “non essential” public spaces closing for the time being, people are rightfully looking inward for arts and culture. While we’re all bombarded with news and updates, think of this as some well needed light relief!

Welcome to the virtual gallery tour,

the journal series highlighting some amazing, thought-provoking or just generally fascinating exhibitions and galleries that made a lasting impression on me here in Berlin. As a trend forecaster and designer, I’m grateful for my diligent photo-taking, always sure to capture for a future visual record.

This first journal post is about the famous König Galerie.


The Konig Galerie started life as the St Agnes brutalist church built in the 1960s in the heart of the once working-class now trendy Berlin hotspot, Kreuzberg.

Originally built in 1967, the church and community centre was left neglected and in disarray until it was eventually bought in 2011 by prominent local art dealer Johann König, determined to reinvent the dilapidated space as a gallery and exciting cultural hub.

What was once a lost, stark and slightly intimidating building was transformed into a light and airy awe-inspiring public space, with a new level installed, concealed piping and almost 200 tonnes of concrete used. The sleek and contemporary design embraces its brutalist past and features: transforming this brute into a beauty.

The Konig Galerie is now a group of gallery spaces, showcasing a curated set of 40 international emerging/established artists to its spaces in Berlin, London and Tokyo.


Playing with tension, gravity and perception, Jose Dávila creates huge sculptures that fuse everyday objects and concrete. I love the use of muted and neutral tones contrasting with the intense cobalt pop.

Dávila’s work evinces a decided fragility that contrasts with the density of the materials he puts to use. Jeffrey Grunthaner for König Galerie


Bringing together vibrant paint washes and sub-conscious messaging, artist Robert Janitz creates hints to letters and typography in his art, encouraging the viewer to find their own messages in the paint. Open for interpretation and created from fluid movements, each viewer will experience differing letters if any in his artworks.


Something for Berliner’s to experience in person (even with the gallery closure) is this giant, cartoon-like marble hand sculpture by artist Claudia Comte in the gardens in front of the gallery itself.

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