With a total of over 200 works by 100 artists and groups from different times and contexts, there are plenty of discoveries to be made in the collection exhibition "The Way We Are". Thematic areas extending over 2,500 square meters formulate a multiplicity of different statements from the 1960s to the present day.

The exhibition presents the multimedia oeuvre of the artists’ collective Die Tödliche Doris. It is the first comprehensive survey show dedicated to the group, which was active from 1980–1987. Die Tödliche Doris arose to equal degree in the surroundings of the punk movement and amid the art academy in West Berlin. Structured as an artists’ collective, it worked conceptually with various media in the areas of music, performance, video, painting, object art and literature. In particular, it repeatedly put to question our habits of seeing and hearing.

The sound installation Glass Track (2012) by Scottish artist Susan Philipsz is a prime example of her work with sound, space, and memory. Philipsz is known for her mostly site-specific sound installations, which feature her own untrained voice, everyday objects as instruments, or unusual sounds from classical instruments. She uses sound to redefine spaces and evoke emotional responses.

With Mirrorball, the Weserburg Museum für moderne Kunst is the first museum to present a solo exhibition devoted to Anys Reimann (*1965, Düsseldorf). The artist investigates the dynamic field between identity and body, between cultural affiliation and representation. She is known for images of Black women: self-confident, complex, and challenging all at once. Reimann counters perspectives of Western colonialism with idiosyncratic pictorial worlds. Her works celebrate the hybrid and ambiguous. The exhibition in Bremen offers a comprehensive range of insights into Reimann’s most recent creative output.