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Lost Caravaggio masterpiece debuts in Germany.
Berlinde De Bruyckere responds with a new commission.
11 September – 25 September 2026

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Herr: es ist Zeit. Der Sommer war sehr groß

@offsite_arts @italyingermany

Portrait credits @n212yc

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In conversation with Berlinde de Bruyckere.

Language lingers into space between life and death.

To give form to the unspoken.
To make absence present.
To let what is fragile endure.

There is something in her work that begins where language ends, somewhere between tenderness and violence, beauty and decay.

To sit beside an artist whose work inhabits that space, and to listen to her give voice to what usually remains untold, was a rare privilege.

Some conversations end.
Others continue quietly within us.

Thanks to @tjioe.hecken @felipeschwager and the all team of @offsite_arts for this precious moment

Offsite Arts in partnership with the Embassy of Italy in Berlin, presents the first public showing in Germany of Caravaggio’s Mary Magdalene in Ecstasy (c. 1606), exhibited alongside a newly commissioned sculpture by Berlinde De Bruyckere.

Italian Embassy, Berlin @italyingermany
11 September - 25 September 2026

As part of @berlinartweek
Supported by @monopolmagazin

Special thanks to @bodyhommage @desmarddob @lilika_strezoska

With @galleriacontinua @galeriapedrocera @hauserwirth

Streaming on offsitearts.com

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Während der Berlin Art Week traten in der Italienischen Botschaft Caravaggios erstmals in Deutschland öffentlich gezeigte „Maria Magdalena in Ekstase“ und eine eigens geschaffene Skulptur von Berlinde De Bruyckere in einen eindringlichen Dialog über Körperlichkeit, Verletzlichkeit und Spiritualität – vier Jahrhunderte Kunstgeschichte im direkten Gegenüber.

@drongenhofkapel #berlindedebruyckere #caravaggio @italyingermany @berlinartweek @offsite_arts @tjioe.hecken @felipeschwager @on_art_news

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I’ve always liked September. After a slower summer, things start moving again.

A few glimpses from the past weeks: DC Open in Cologne, Berlin Art Week, the Venice Biennale, and a little time in the mountains in between.

Now back at my desk and already in the middle of preparations for Frieze London, plus a few new projects I’m excited about.

Looking forward to October. See you soon!

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Beautiful tuesday morning with @dark_dark_mountain at the Italian Embassy (@italyingermany) with @offsite_arts and #CARAVAGGIO X #BerlindeDeBruyckere

B r e a t h t a k i n g.

Thank you @tjioe.hecken and @felipeschwager for this mezmerizing moment...

More info: Offsite Arts, in partnership with the Embassy of Italy in Berlin, presents the inaugural edition of a new international exhibition series that pairs rare historical masterpieces with acclaimed living artists in extraordinary sites.

The first presentation, curated by Tjioe Meyer-Hecken and Felipe Schwager, brings Michelangelo Merisi da Caravaggio's Mary Magdalene in Ecstasy (c. 1606) to Germany for its first public showing, exhibited alongside a newly commissioned work by Berlinde De Bruyckere, presented at the Embassy of Italy in Berlin.

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What happens when art crosses the boundaries of where we expect it to belong?
For Berlin Art Week, the Embassy of Italy in Berlin @italyingermany opened its doors to an exhibition that feels unlike a typical museum visit. At its centre: Caravaggio’s Mary Magdalene in Ecstasy, shown in Germany for the first time, alongside Berlinde De Bruyckere’s newly commissioned M.M. MMXXVI.

For our new interview, The Columbist spoke with Alfonso Tagliaferri, Counsellor and Head of the Cultural Office at the Embassy, as well as Tjioe Meyer-Hecken @tjioe.hecken and Felipe Schwager @felipeschwager, founders and curators of Offsite Arts @offsite_arts.

📍There’s not much time left: the exhibition is on view until 25 September. Read the full interview and discover the story behind the exhibition via the link in bio.

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first slides title is ‚Solarium‘

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Berlin Art Week is a blur in the best way ✨

This year I got to curate an art walk for @thecolumbist with @bluelobster.art, wander through a handful of openings and participate in a performance with @notasong.studio for @erezrozen_artgallery opening 🪄

Some personal highlights include Caravaggio and Berlinde de Bruyckere by @offsite_arts and the reception at the Italian Embassy, @kristinhjellegjerdegallery Charlie Robert’s and Robert McNally show @charlierobertsstudio @robertmcnally, @isabellabortolozzi and @wu_tsang incredible Carmen film, and @mauriziocattelan ofc

Grateful for the art, the artists, conversations and everyone who showed up curious. Can’t wait for the next marathon…

Most 📸 by @jamilletessarim

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Felipe Schwager (@felipeschwager ) speaks about his brainchild, “Caravaggio × Berlinde De Bruyckere” - a fascinating exhibition and an artistic dialogue spanning 400 years - which he co-curated with Tjioe Meyer-Hecken (@tjioe.hecken) as a project of @offsite_arts at the Italian Embassy in Berlin (@italyingermany ).

I had the privilege of a conversation with Felipe about the making of this extraordinary project ten days ago - An art experience that keeps resonating, and one of my two favourite shows of Berlin Art Week (@berlinartweek ).

At its centre is Caravaggio’s „Mary Magdalene in Ecstasy“, painted around 1606 and long believed lost before resurfacing in 2014, brought into dialogue with a newly commissioned work by Berlinde De Bruyckere (@drongenhofkapel ). The project was initiated by Offsite Arts (@offsite_arts) in partnership with the Italian Embassy in Berlin.

What has fascinated me about Caravaggio since I first encountered his paintings as a teenager is their astonishing humanity and immediacy. There is no idealisation: there is pain, loneliness, the full weight and vulnerability of the human body - dirty feet, fingernails, flesh. Life as it is.

And this is precisely where De Bruyckere’s work enters into such a powerful, almost collaborative dialogue with him. Through wax, wood, textile and the wounded, transformed body, she responds across four centuries not by illustrating Caravaggio, but by meeting him on the terrain of vulnerability, suffering, desire and transcendence.

#caravaggio #berlindedebruyckere #berlinartweek #arttravelwithmatthiasarndt #matthiasarndtrecommends

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Berlin Art Week mood: early autumn, lots of art, new places to discover and that special buzz around the city. Always a good time to experience Berlin and even better to be part of it with The Columbist and our own little events along the way. 🖤

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A night at the Italian Embassy in Berlin for the unveiling of a lost Caravaggio masterpiece: „Mary Magdalene in Ecstasy“, shown in Germany for the first time and placed in dialogue with Berlinde De Bruyckere, creating a conversation across centuries around devotion, vulnerability and the human body.

Thank you @tjioe.hecken, @felipeschwager, @offsite_arts and @italyingermany for such a special evening!

Wearing the most wonderful dress by @delavali.official

📷 by @clemensporikys

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[ON VIEW] BERLINDE DE BRUYCKERE & CARAVAGGIO

Présentée à l’Ambassade d’Italie à Berlin dans le cadre de Berlin Art Week, l’exposition réunit « Mary Magdalene in Ecstasy » (vers 1606) de Caravage et une sculpture nouvellement commandée à Berlinde De Bruyckere.

Il s’agit de la première présentation publique en Allemagne de cette œuvre redécouverte du peintre italien. Les deux artistes, séparés par plus de quatre siècles, sont ici réunis autour d’une même attention portée au corps, à sa vulnérabilité et à son rapport à la spiritualité.

Chez Caravage, Marie-Madeleine est représentée dans un état d’abandon. La tête renversée, les yeux clos et la bouche entrouverte, son corps semble basculer entre présence physique et expérience mystique. La lumière, qui isole la figure sur un fond presque entièrement obscur, accentue cette tension entre matérialité et transcendance.

En réponse directe au tableau, Berlinde De Bruyckere prolonge sa série « Liggende Arcangelo » avec une nouvelle sculpture qui associe la figure de l’ange au corps féminin. Comme souvent dans son travail, la matière organique et les formes corporelles y sont traitées sans idéalisation. Corps plié, fragmenté ou affaissé, la figure devient le support d’une réflexion sur la souffrance, la fragilité et le soin.

Le rapprochement entre les deux œuvres ne repose donc pas seulement sur leur sujet religieux. Chez Caravage comme chez De Bruyckere, la spiritualité passe par le corps et par ce qu’il peut exprimer lorsqu’il échappe au contrôle. L’exposition met ainsi en regard deux pratiques très éloignées dans le temps mais qui accordent toutes deux une place centrale à la vulnérabilité comme expérience physique et intérieure.

@offsite_arts
@tjioe.hecken
@felipeschwager
@italyingermany
@berlinartweek

#berlindedebruyckere #caravaggio #berlinartweek

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