History
The former Bethanien building on Mariannenplatz. photo: unknown
Founded in 1974 in a former deaconess hospital at Mariannenplatz in Kreuzberg, Künstlerhaus Bethanien quickly became a vital center for Berlin’s alternative art scene. Its story is deeply intertwined with the city’s political and social struggles.
The Mariannenplatz Years (1974–2010)
Originally built in the 19th century as the “Central Deaconess Institute and Bethanien Hospital,” the building at Mariannenplatz stood as a symbol of healthcare and charity in its time. The name “Bethanien” refers to the biblical town where Jesus raised Lazarus from the dead — a powerful metaphor for renewal and transformation, reflecting the spiritual essence of the place.
When plans were made to demolish the abandoned hospital in 1974, a passionate protest by political and cultural activists halted the decision. The public outcry led to a turning point: the building would be preserved. Thanks to the initiative of Dr. Michael Haerdter, the founder of Künstlerhaus Bethanien, a new vision was born — one that reimagined the space as a creative institution far beyond its original purpose. Under his leadership, the Künstlerhaus developed into an internationally acclaimed venue for avant-garde art and a dynamic meeting place for artists from all disciplines.
From dance and theater to music, visual arts, and architecture, Künstlerhaus Bethanien was an early hub for experimental artistic practices. The International Directing Seminars for Film and Theater, held until 2001, made a major contribution to cross-cultural exchange.
In 2005, the occupation of one wing of the historic building by squatters sparked a debate about the future of the site, which remained under district ownership. Nevertheless, the building continued to thrive as a cultural landmark and was eventually integrated into the “Kunstquartier Bethanien.”
Sascha Waltz, Dialoge, 1993, photo: David Brandt
From Mariannenplatz to the “Lichtfabrik” (2010 to today)
In 2010, under the direction of Christoph Tannert, Künstlerhaus Bethanien relocated to a new home: the “Lichtfabrik,” a former industrial courtyard on Kohlfurter Straße. Nestled between Kreuzberg and Neukölln, the location couldn’t be more fitting. Surrounded by a vibrant, multicultural neighborhood, it offers the perfect environment for artistic exchange and innovation.
The building itself has a long and complex history: built in 1912 by brothers Felix and Leo Israel, the so called “Lichtfabrik” once served as a modern factory and administrative center for their growing lighting production business. With space for around 800 workers and 175 employees, it already embodied the typical Kreuzberg interweaving of work and life at the time. In 1927, Israel-Frister AG was founded as the “United Factories for Lighting Fixtures.” Felix Israel was one of the board members but left Germany in 1933 following the Nazi rise to power and was officially stripped of his citizenship by the regime in 1939. A company under the name Frister AG/GmbH continued to exist until 1965, but the later fate of the Israel brothers and their families remains undocumented.
In 2008, the site was purchased by Nicolas Berggruen Holdings GmbH. Covering around 10,000 square meters, the complex was renovated with the goal of establishing a new cultural space while preserving its historical character. Since then, it has carried the name “Lichtfabrik” in memory of Felix and Leo Israel and the industries that once operated there. In addition to Künstlerhaus Bethanien, the site now hosts creative industry offices, artist studios, small businesses, and galleries.
For the artists and residents of Künstlerhaus Bethanien, the Lichtfabrik provides a modern and optimized infrastructure: more studio spaces, expanded exhibition and event areas, and improved workshop and production facilities.
Janus! Janus! Door! Door! , Performance with MINQ, Ania Nowak, Melanie Jame Wolf, exhibition opening, Melanie Jame Wolf, A stage she’s going through (Becoming B), 2025, photo: Galya Feierman
Looking Ahead: Renewal and Reflection
In 2024, Künstlerhaus Bethanien celebrated its 50th anniversary—marking five decades of artistic experimentation, international exchange, and cultural impact. That same year, long-time artistic director Christoph Tannert retired after many years of visionary leadership. His role was taken over by curator and cultural producer Antje Weitzel, who introduced Becoming B, a multi-voiced and collaborative process of reflection through a series of exhibitions, performances, lectures and events.
Becoming B revisits the institution’s name, identity, and mission, questioning what a contemporary Künstlerhaus can and should be in the 21st century. Developed in collaboration with artists, curators, and cultural workers, and rooted in community dialogue, this project invites critical thinking and diverse perspectives to help shape the next phase of the Künstlerhaus Bethanien. It underscores the insititutions ongoing commitment to inclusivity, transformation, and the collective negotiation of what a “Künstlerhaus” can be in the 21st century.