THE MONUMENTS | REVIEW
Kühlhaus Berlin
Thursday, June 18th, 2026
Site-specific Installation and durational performance
Context & Structural Development
The concept for REVIEW emerged during the initial scripting phase for the 17th and final chapter of The Monuments project, titled ERA. In drafting the finale, the necessity arose to articulate and synthesize the trajectory of the preceding 16 chapters. Consequently, REVIEW was developed as a standalone intermediate act to process the past four years of material before constructing the project's conclusion. The presence of a strong group of members of The Monuments Patrons Club made the night even more special.
Spatial & Performative Architecture
The event transformed the 5th floor of Kühlhaus Berlin—the project’s active studio and material engine room since 2021—into a live, 4-hour immersive environment. Rather than a standard presentation or historical reenactment, the space functioned as a live resampling of the project's physical and performative archive:
Material Activation: The primary room-installation from Chapter 2: The Last Dolphin was completely reinstalled, alongside distinct physical fragments from Chapters 1, 3, 5, 8, 9, 14, 15, and 16.
Sonic & Social Layering: Music functioned as a continuous structural element shifting with the live imagery, operating alongside the project's two functional social anchors: the Adore Bar and the 4Tables pop-up restaurant.
Audience Dynamics & Loop Structure: The boundary between the stage and the public was eliminated. Visitors moved freely inside the core of the room-installation, positioned directly alongside live performance elements, shifting video feeds, lighting loops, and the contrasting moods of the 50-minute scripted loop. Existing material was placed into new contexts and dialogues, enabling a dynamic structure and meaningful shifts of mood.
All photos by Christian Jungeblodt ©
Artist Reflection
"Since my early beginnings, I realized how difficult it is to descend from the adrenaline and the high of creating, showing, and finalizing a work—coming back to reality is a process. Today, I know that whatever I do it takes me a full week to navigate the necessary extremes of the post-creative aftermath, and so I take it all in.
Writing this now, the impulse is to go back. Back to those four hours where everything clicked, where it all came together in a way that makes you want to inhabit that reality indefinitely. That is the ultimate force and driver of what art does — for me. We didn't approach this as a reenactment; it was an opportunity to sample the material we have built together over 48 months. The intent was for the audience to walk directly into the center of the stage and share the immediate heat of the moment. It executed exactly as intended. And that, my friend, is what I call “fuck yeah”!" - JAŠA
Project by JAŠA | Performance by Mattias Gimigliano, Gáspár Bálint-Hazai, Laura DeAngelis, Lion Siegel, Vincent Schneider, Lennard Becking, Martin Marion | Sound and music by Mario Babojelič and Andres Marino | Clothing by Yves Eke | Lighting by Luka Gyoha | Technical support by Denis Metting | Studio assistance by Lorenzo Fasi | Interns: Alice Nevia Ranalli, Nina Bennardo | Design and Communications by Rosa Lux | Production assistance by Tinka Legvart | Supported by Kühlhaus Berlin | Special thanks to Andrea Wenzler, Dieter Siegel, Franci Zavrl & Gáspár Bálint-Hazai | Enabled by The Monuments Patrons Club