HOUSE, nestled in the heart of Berlin, stands as a fusion of history and innovation, under the artistic direction of Juliet Kothe and Georgina Pope; intended to be an environment that explores Berlin’s escapist realities while embracing the beauty of ruins. Former head of the Boros Foundation, Kothe collaborates with projects like STUDIO BERLIN and is currently working on a book on female body image and representation, while Pope is Founder of THE FAIREST. In its conceptual and artistic efforts, HOUSE is autonomously motivated, offering a journey through the history of turmoil and hopeful futures of the city. Housed in an unrenovated Wilhelmine building, its main exhibition space was once a 1930s shooting range, echoing the city’s former passion and entertainment with the motto “Berlin schießt!”(Berlin shoots). The space features a reception hall, a forgotten courtyard, and a king size bar that are all currently used for various events and interventions.

Currently on show the immersive art exhibition “Very Friendly,” curated by Agnes Gryczkowska, explores the world of violence, fear, and the unseen. The installation takes place in the raw, decaying space of a Manchester building, juxtaposed to Throbbing Gristle’s song ‘Very Friendly,’ drawing viewers into a disorienting narrative. The lyrics of the song hint at the infamous duo Ian Brady and Myra Hindley, marking a historical reference point for the exploration of darkness.

The guest, identified only as L, enters an eerie setting where the lines between fact and fiction are blurred. With layers of shields and protections, the physical space mirrors an experience akin to a Matryoshka doll and its psychological impression. The exhibition features installations like “Incarnation IV,” where violence is transformed into an act of revolt, and “Less Sauvage Than Others,” showcasing seven bronze-cast pistols as a puppetry of defense.

The story is told in a disjointed sequence, capturing the deranged world of serial killers, the True Crime obsession, and the unsettling dance with violence. The terrifying story of a murder, bodies unable to flee, and theatrical blood splatters, all serve as manifestations of the spectre of violence that permeates the experience.

“Very Friendly” goes beyond the bounds of conventional art,  through the use of the unseen and the unknown knowns, prompting a reflection on the societal norms. The exhibition masterfully captures the essence of the age of networked information insanity, where violence trickles sickly and sticky. L, caught in the infinite tragedy of a system reproducing itself through violence, questions his presence in a space that mirrors the collapse at the heart of order.

This curated experience takes the audience on an intense journey that challenges them to face ingrained rules that control our lives, invisible threats and the devastating effects of violence on human psychology. “Very Friendly” inspires introspection on the fragility of safety, the gravity of the unknown, and the echoes of real and imagined fears that linger behind steel walls.

There is nothing quite like a curator’s narrative. Each stroke, a song; every hue, a melody. Art breathes, and the soul listens. To follow we have the curators manifesto describing every emotion and its artefact in this exhibit.