Wie sind die Öffnungszeiten?

Montag 09:00 - 17:00 Dienstag 09:00 - 17:00 Mittwoch 09:00 - 17:00 Donnerstag 09:00 - 17:00 Freitag 09:00 - 17:00 Samstag 09:00 - 17:00 Sonntag 11:00 - 15:00

Kaffeemitte

Geschäftsführer: Jan Thiel, Oliver Blumenthal Unser Team besteht aus etwa 20 Mitarbeitenden. Dieses Team hat KAFFEEMITTE zu dem gemacht, was es heute ist.
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Unsere Beschäftigten haben eigenständig und mit uns einzelne Bereiche des gastronomischen Konzepts und der Raumgestaltung weiterentwickelt. Das Ergebnis ist ein bis ins Detail abgerundetes Gastronomiekonzept! Der puristische und qualitativ hochwertige Ansatz findet sich in unseren Produkten sowie in der Raumgestaltung wieder. Wir verzichten absichtlich auf alles, was nicht sein muss. Wir machen Ga

stronomie in der Überzeugung, dass es eine der schönsten Sachen ist, die es gibt: anderen Menschen einen guten Kaffee und ein gutes Essen zu servieren … ihnen eine Freude zu machen.

06/03/2026

MARINA ANKEN / Illustration
„Truffles“ / 2026 Berlin
Marina Anken is from Switzerland and has been living in Berlin since 2020, where she studied social design. In her work, she uses the graphic novel format, with a thematic focus on fashion and clothing.
In 2022, she spent a holiday in Umbria. There, she stumbled upon an announcement for a textile exhibition, which introduced her to the „L’OFFICINA Imagination Lab“. This venue is dedicated to art and local traditions and contains an archive for exclusive textiles from Kashmir—an extensive fabric collection linked to questions of origin, craftsmanship, and history. L’OFFICINA hosts events, runs a library, and offers artist residencies.
For Marina, who was already thinking about the outlines for a graphic novel about the fashion industry at the time, many things clicked into place. She decided to apply for a residency and spent the month of November 2022 at L’OFFICINA in Monteleone d’Orvieto.
The stay marked the starting point for her current book project. Marina made sketches and notes of her observations: the hilly landscape of Umbria, cypress trees, winding roads, and the experience of slowly travelling through the region. Added to this was her intense engagement with the fashion industry and the appeal of handcrafted materials in an industrialised world. She is still working on this ambitious graphic novel today, and the excitement and expectations are growing.
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05/03/2026

NADINE SCHERER / Graphite on paper
Nadine had been to Italy before May 2025, but she didn’t know Umbria. The year before, she had been looking for an artist-in-residence program so that she could concentrate on her work outside Berlin for a while. It was important to her that the location was rural and surrounded by nature.
A friend had found a flyer in a café and told Nadine about the Utopiaggia residency. The rural location, around 30km from Perugia, and the residency’s connection to a commune that has existed nearby since the ‚80s, made her curious. Nadine is interested in alternative ways of living, community structures, and how artistic life in the countryside can be organized. During her stay, the weather was rainy and cool; quite different from what she had expected. Nevertheless, or perhaps because of this, Nadine found the time to be particularly focused and work-intensive. She went hiking, made sketches, and worked them out later into paintings and illustrations. Her series in the current exhibition is also presented following this structure: from the outside, landscape and environment, moving step by step inward, to the house itself. The eight pictures from the series are notes in her diary: impressions from two weeks in Umbria. They were created while exploring the woods around the village of Greppolischieto, a former school camp, and the commune. Nadine plans to apply to Utopiaggia again in the future. For her next stay, she wants to focus her artistic attention on the community: on the networks surrounding the school and the commune, on how people live there, and how their everyday lives are embedded in the Umbrian landscape. She feels that there is still much for her to discover.

02/03/2026

GREGOR HUTZ / Digitally altered, high-res drone shots
“Casa del Mobile” / 2025 Pantalla & Berlin
Umbria was my home until I was eight years old. Since then, I have maintained a lifelong connection to the area. I have returned at least once a year—to visit my father, who lived near San Venanzo until 2015; today, I continue to return as a filmmaker, photographer and freestyle pomologist.”
“Pantalla does not look as picturesque as other towns in the Monti Martani or Monte Peglia, which rise along the slopes of the Tiber Valley. The valley itself, through which the Strada Statale runs, does not meet classic postcard standards. However, if we move beyond ‘beauty’ as a criterion for architecture and prefer the ‘interesting’ instead, buildings from the recent past take on a new light.
When they show patina and a character of their own, they become wonderful additions to a multi-millennial history of civilization in the region.
chiusa

01/03/2026

MARION DIETERLE / Acrylic painting on canvas
„Here“ / 2023 Umbria / 70x46 cm
„Winter, Sky“ / 2025 Umbria / 70x50 cm
„Tissues“ / 2024 Umbria / tempera and acrylic on canvas, three parts 3x39x19 cm
Marion Dieterle has been living in Umbria since 2021. Before moving there, she worked in Cologne, having originally trained as a dancer. Her move to Italy also brought about a change in her artistic practice. Today, she focuses on painting, complemented by performative installations. Her work is the result of her everyday contact with the landscape and its natural rhythms. In 2024, Marion Dieterle founded an artist residency. So far, eleven artists from different disciplines have been guests, including musicians, visual artists and authors. This curatorial work has become an important part of her own artistic practice. The collaborative work and thinking on site expand her own work and shift the focus from individual production to an open, process-oriented understanding of art.
The large painting shows the view from Greppoleschietto towards Lago Trasimeno. It is based on a recurring visual impression: changing light moods and colours, distant horizon lines. The hilly landscape creates a pronounced sense of depth, reinforced by the shifting light and the play of shadows cast by the clouds. This continuous change – throughout the day as well as with the changing seasons – forms the basis of the painting.
The three smaller works focus on excerpts, details. Micro-views of the landscape. Marion Dieterle is painting what she perceives as a phenomenon specific to this place: a permanent glow in the landscape. Even in winter, the warmth of summer remains visible – in the light, in the colours, in the vegetation. Leaves, soils and surfaces continue to carry this stored heat. .dieterle

26/02/2026

LINDA NAU / Analoge photography
„Nur zum Meer ist es ein wenig weit“
Greppolischieto, 2016
Linda Nau grew up in Umbria in a commune not far from Perugia. At the age of sixteen, she left the region to move to Germany—first to Munich, later to Cologne. She studied Communication Design at the University of the Arts, focusing on photography and mastering analogue techniques that would later define her artistic practice.
For her graduation project, Linda returned to her roots to photograph the commune and her parents’ nearby house. The work was produced using an analogue Pentax 67 medium-format camera. In total, she shot approximately 40 rolls of film, resulting in around 400 photographs - of which she published 45 in a book. The series is a reflection on the place she still calls home, yet one she felt compelled to leave early on.
Linda describes Umbria as a place of contrasts: idyllic yet rough, marked by a sparse landscape, cold winters and dry summers. Through the lens, she revisited her childhood—the slowness of rural life and the immense sense of freedom, set against feelings of loneliness and being cut off from the wider world.
For a long time, she perceived these lands as rather unphotogenic. It was only through the process of photographing them that she began to recognize their aesthetic potential. The exhibition offers insight into this rediscovery: Linda’s engagement with the land of her childhood and memories between freedom and isolation, roughness and beauty.

06/09/2025

RASKULL by Michael Joseph
Cambridge, MA 2018 / Photography
Michael Joseph is an acclaimed portrait photographer, known for his black-and-white street portraits. The shot „Raskull“ is from the Lost&Found series published by Kehrer Verlag in 2023 (link in story). For the series, Michael Joseph documents a contemporary American subculture – people moving across the country by hitchhiking and hopping freight trains. He portrays a generation that, for various reasons, has stepped out of mainstream culture or never had access to it – instead living a nomadic life on the road. The portraits are raw and direct, capturing bruises, dirt, and scars – authenticity grounded in trust between photographer and subject.
For many years, Michael Joseph followed these travelers, spending time with them and staying in touch over time to trace the course of their lives. Out of many encounters and fragments, he has created an authentic and layered portrait of this overlooked community. Having „Raskull“ as part of our group show is an important addition. The image stands as an example of Michael Joseph’s approach: not only to portray people, but to share in their journeys and make their reality visible. Beyond its artistic qualities, his photography is about testimony and credibility. And in an age when images can be endlessly manipulated – or even generated entirely synthetically – documentary photography retains its relevance. The knowledge that a photograph is unaltered gives it a gravity that goes beyond aesthetic interest. Michael Joseph’s work reminds us that photography, in its original power—as evidence of what truly existed—remains significant. To create such an image, patience and empathy are essential. It is about building genuine human relationships. It is about trust in the process and trust in others. Thus, it is not only the viewers who can learn something. The artist develops and builds skills that are fundamental for a harmonious coexistence and an open and balanced society.

04/09/2025

UNSHIELDED by Gabriel Denaes
Vienna 2024 / Agfa Agfamatic 2000, using 2021 LomoChrome Metropolis 110 ISO 100–400 film
Parallel to the trend of using AI to generate images, an increasing number of artists are deliberately embracing analogue technology. This creates a distinct aesthetic and places stronger emphasis on the artistic process itself—a development that may also apply to other areas of life and to contemporary art in particular. That is why this edition of the group show once again features an analogue photograph: UNSHIELDED by photographer and educator Gabriel Denaes. The story begins about twenty years ago, with the technical innovation of digital cameras that simplified photography. Soon after, the constant availability of cameras led to countless decent photos, which spread inflationarily across the internet. In this way, a new visual language emerged—together with a new type of photographer: the blogger or content creator, skilled at dancing with the algorithm. With the introduction of AI into image creation in the past two years, this development has taken another turn. Today, the reasons for taking a photograph at all—especially with all the hurdles of analogue photography in contrast to the simplicity of AI image generation—must be completely reconsidered. The fact that these supposed disadvantages of “handmade art” are increasingly becoming something artists consciously seek out is beautifully evident in Gabriel Denaes’ image. The technical error, caused by incorrectly inserted film, not only defines the final composition of the photograph but also confidently communicates that behind the image lies a process deliberately distancing itself from an automated visual culture.

03/09/2025

NEVER WORK by Darren Cullen
Risograph print on cartridge paper. Blue soy-based ink - London 2024
The British artist Darren Cullen (Spelling Mistakes Cost Lives) is known for his sharp, satirical works that mock some of the most powerful institutions of our time. His projects have taken on the oil giant Shell, exposed the realities of military recruitment, and questioned the ideology of constant growth and neoliberalism. Darren Cullen’s work has been exhibited at Banksy’s Dismaland and acquired by the Victoria & Albert Museum for its permanent collection in London.
I’ve admired his work for many years—not only for its aesthetic and conceptual strength, but for the enduring courage behind it. In a cultural landscape where artists often avoid confrontation, he consistently pushes against authority with a clear moral compass. The piece „Never Work“ embodies this approach: using the familiar, conservative imagery of mid-20th-century advertising—idealized femininity, tidy hair, a TV set—the artist turns the message on its head. Instead of affirming productivity, efficiency, and consumption, his statement subverts them with humor. I’m proud to include this image in the show, as it reminds us of something funny: that art can still be, even today, political and satirical.

01/09/2025

STUDIES IN LINE by Lydia Prien
Berlin 2025 / Colored Pencil on 190g/m²
In addition to the prints we are presenting in the group exhibition, we are also showing some originals. These works highlight the challenges and significance of a hand-painted picture. There is no way to digitally alter the work, and it is practical proof of genuine craftsmanship. Overall, these skills have already declined due to advancing computer technology, and the development of AI will likely mean that even fewer people will be willing to go the extra mile to perfect this art form.
That is why the aesthetic and technical expertise of artist Lydia Prien is a great enrichment to our collection. Thank you for trusting us to exhibit your drawings and for reminding us how little time has passed since pictures were done only by hand. The changes that these developments will bring can only be guessed at this point.
If things continue as they are, there might soon be very little demand for hand-painted pictures, for hand-made art. Just as there is now only a small market for hand-painted tableware. And if the incentive that comes with professionalization is missing, fewer and fewer people will devote themselves entirely to creating art. Lydia Prien gives us an answer to the question of what art production freed from economic principles might look like—she did not paint these pictures to sell them. The entire process, from the idea to the creation to the moment when the works are visible to the public at Kaffeemitte, is purely driven by intrinsic motivation. And that is perhaps what we can learn from artists like Lydia Prien: creating and exhibiting art creates joy and meaning! And in this race, AI will never be able to catch up with us.

31/08/2025

THE HIGH PRIESTESS by Botticchio
Acrylic paint on canvas / Berlin 2018
For more than 30 years, Botticchio has worked in the world of high fashion, representing international brands in the showrooms of Milan and Paris. She describes her role as similar to that of a gallerist: presenting bold, sometimes challenging creations to buyers who select exclusive pieces for their stores worldwide.
Painting, however, has been part of her life for even longer – a practice she began in childhood, which continues to be her personal space for creation.
Like many artists, Botticchio moves between two realms: the free expression of ideas and the necessity of making a living. After decades in the business, the artist seems to have mastered this skill – mirrored in the pair of paintings she presents in the group show: The High Priestess, in this case depicted wearing a dress by Chitose Abe, is a motif from the tarot. This card represents equilibrium – the High Priestess sits between two pillars, symbolizing the harmony of opposites: light and dark, conscious and unconscious, masculine and feminine. It may also be read as the tension between the desire to be a free artist and the reality of earning an income.

29/08/2025

WALDVILLA by Lubomír Fiala
Vlkov, Czechia 2020 / Wax tempera
For the third edition of the „Woman Portrait Gallery“ at Kaffeemitte, I sought an artist from another generation to contribute a female portrait. This led me to Lubomír Fiala, born in 1949 in Plzeň. In the context of the group show, I was interested in Fiala’s perspective as an experienced craftsman and professional carpenter — as well as his choice of materials for painting. Fiala works with wax tempera, a traditional technique in which pigments are mixed with wax and water to create a naturally luminous and durable surface. From this starting point—the rare wax tempera technique and Fiala’s artistic background—I began to consider a possible connection between the materials he uses and the motifs in his paintings. His works often feature animals, plants, and recurring motifs such as trees in the wind, roosters, or monkeys. In the piece proposed for the exhibition, a female figure seamlessly blends into an organic world, intertwined with leaves, branches, and animals, as if part of a natural puzzle. And so, Fiala’s work reminds me of concepts like „Mother Nature“ or „Pachamama“. While these qualities aren’t exclusive to mothers, they are archetypically associated with them: the nurturing, elemental presence of nature itself. This work, therefore, conveys the awareness that we all, regardless of gender, are part of nature.

Adresse

Weinmeisterstraße 9a
Berlin
10178

Öffnungszeiten

Montag	09:00 - 17:00
Dienstag	09:00 - 17:00
Mittwoch	09:00 - 17:00
Donnerstag	09:00 - 17:00
Freitag	09:00 - 17:00
Samstag	09:00 - 17:00
Sonntag	11:00 - 15:00

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+491794646700

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http://www.kaffeemitte.de/

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