In original compositions and newly arranged versions of classic protest and workers’ songs—including Bella Ciao and The Internationale—artist Véra Marie Deubner explores the unifying power of collective singing. Historical song material is activated here as a collective sound against loneliness, isolation, and social coldness. The choir performance is created in collaboration with Schwankcore, an open choir from Bremen.
Accompanying the performance, the November issue of Zeitschrift der Straße appears, addressing the themes of the exhibition Cold as Ice. Coldness in Art and Society from its own perspective. A focus is the new photo series Not in my backyard by Hannah Wolf, which turns its gaze to the architecture and living environments of bourgeois milieus—places that often seal themselves off from the problems of their immediate neighborhood.
Before the choir performance, Hannah Wolf will discuss her work.

About the participants:
Véra Marie Deubner (*1999) is a transdisciplinary artist and musician based in Leipzig and Bremen. Deubner’s practice addresses questions of class and belonging and offers forms of community and connection through the performative practice of voice, sound, and body.
Hannah Wolf (*1985), lives/works in Bremen. She studied textile and surface design at Kunsthochschule Weissensee, and art at HGB Leipzig and HfK Bremen. Wolf uses architecture to reveal (veiled) ideological motives. Her medium is (expanded) photography. Arbeit am Produkt received the Karin Hollweg Prize and the Prize of the Monom Foundation (2023). In 2024 she was awarded the Wüstenrot Documentary Photography Promotion Prize.

Part of the exhibition Cold as Ice. Coldness in Art and Society.
A cooperation between Zeitschrift der Straße and Weserburg Museum für moderne Kunst.

Fig.: Véra Marie Deubner with Schwankcore

Life pulses around Bremen’s central station. Everything is in motion. Trains and trams set the pace. People hurry about—heading to work, shopping, the Freimarkt, meals, school, university, or home. But a closer look reveals people who behave quite differently, who seem to have no destination and are simply present. They collect empty bottles or cigarette butts, sell Zeitschrift der Straße, ask for small change, sit or lie around, and are visibly poor.
Who are they? Are they homeless? How did it happen? Are they to blame? Do they even want an apartment? How do they live? Does anyone help them?
This tour through Bremen’s station district offers the ideal framework for such questions and many more. The guides know the drop-in centers, sleeping places, and dangers in the inner city from personal experience. The city tour aims to inform about homelessness and social support services, sharpen the senses for a different perception of the city and its people, and encourage a shift in perspective.
After the tour, participants may visit the exhibition Cold as Ice. Coldness in Art and Society at the Weserburg individually.

Part of the exhibition Cold as Ice. Coldness in Art and Society.
A cooperation between Zeitschrift der Straße and Weserburg Museum für moderne Kunst.

Registration until Friday, 14 November 2025: info@weserburg.de

Fig.: Perspective Shift. The Social City Tour

Exhibition at the Centre for Artists’ Publications
With a conversation between Radek Krolczyk, curator of the exhibition, and Wolfgang Müller, co-founder of Die Tödliche Doris, as well as the sound performance BLOB – Physarum polycephalum by Wolfgang Müller and Chris Dreier.

About the exhibition:
Weserburg presents the first comprehensive museum survey of the artist group Die Tödliche Doris. Emerging from the punk scene and the West Berlin art academy, the group was active from 1980 to 1987. Their anarchic, cross-media approach helped shape the development of renowned artists such as Via Lewandowski, John Bock, Christoph Schlingensief, and Pipilotti Rist.
Die Tödliche Doris initially appeared as a punk band. Their concepts, realized in practice, questioned and unsettled habits of seeing and hearing. They deconstructed traditional gender roles, which they encountered in abundance in pop music and visual art, while probing the boundaries of artistic genres and categories. Unusual alliances arose—with a burlesque dancer, sex workers, a squat activist, a Deaf activist, a podiatrist, or a Schlager band seeking work via the employment office’s artist placement.
From 1979 to 1991 they created numerous cross-media works in music, radio play, performance, film, video, painting, photography, object art, and literature.
The focus of the Weserburg exhibition is the group’s filmic work, where music, performance, photography, and painting converge.
The exhibition is realized in close collaboration with the Archive of Die Tödliche Doris, which has been housed at Galerie K Strich in Bremen since 2020.

Exhibition dates: 22 November 2025–4 October 2026
Further information on the exhibition here.

Fig.: Chris Dreier, Wolfgang Müller, Nikolaus Utermöhlen, photo booth photo, 1981

This edition of Community Art Night centers on collective painting. All ages are warmly welcome. In parallel, the exhibition Cold as Ice. Coldness in Art and Society remains open until 6 pm. In short dialogical tours, the Zeitschrift der Straße team offers fresh insights into the exhibition and selected works.

As part of the exhibition Cold as Ice. Coldness in Art and Society.
This edition of Community Art Night is a cooperation between Zeitschrift der Straße and Weserburg Museum für moderne Kunst.

About Community Art Night:
During the exhibition Cold as Ice. Coldness in Art and Society, the Project space at the Weserburg opens once a month on Thursdays from 5–8:30 pm to warm up together. Through collective making and encounters, a counterpoint to coldness emerges—open to all and beyond labels, disciplines, or languages.
The program is diverse: printmaking workshops, painting activities, Silent Reading & Sketching events, or a community choir. The series concludes in March with a clothes swap pop-up and a DJ set.
From 5–6 pm there is also the opportunity to visit Cold as Ice. In short tours and conversations with members of the local community and the museum, selected works are presented.

Supported by Die Sparkasse Bremen and funded by the German Federal Cultural Foundation.

Photo: Sara Förster