»Der postfeudale, kapitalistische Staat gewährt oder entzieht Menschen Freiheiten, um Privateigentum zu schützen. Wie ein Schatten legt sich dies auf den Alltag und sucht Versuche der Umverteilung heim.
Nino Bulling’s Comicstrip Gemeinheitsteilung hält sensibel Momente fest, wo dies in Vergangenheit und Gegenwart Berlins und Umgebung deutlich wird. Der Feudalismus endete hier vor gut 200 Jahren, und die Erlangung der Bürger:innenrechte für ehemalige Leibeigene ging mit der Abschaffung des Gemeinguts einher. Nino Bulling bezieht sich auf Archivmaterial aus der historischen Gemeinheitsteilung – das heißt der Auflösung von Gemeineigentum und Nutzungsrechten – eines Dorfes in Brandenburg, wo er möglicherweise selber Land eben wird. Verknüpft wird dies mit einem Inventar von Bullings persönlichen Gegenständen im Rahmen der frühzeitigen Auflösung seines Finanzkollektivs, das über zwölf Jahre hinweg das Einkommen seiner Mitglieder teilte. Zwei Privatisierungsprozesse bilden so den Kern eines Tagebuchs, das nachzeichnet, wie Eigentum und die mit ihm verbundenen Systeme von Kontrolle und Strafe unseren Alltag prägen: von unseren Beziehungen zu Haushaltsgegenstände und materiellen Andenken bis zur buchstäblichen Gleichsetzung von Geld mit Zeit im Gefängnissystem.«
(Text: Arbeitsgruppe Sich Unverfügbar Verknoten)

»As post-feudal capitalist states grant or withhold freedoms in order to protect property, so property shadows everyday life, also ghosting attempts to redistribute wealth and create alternatives in everyday life. Common Enclosures (2025) is a series of comic strips in which Nino Bulling has sensitively recorded a number of such moments from the past and present in Berlin and surrounds. Feudalism drew to an end in this area in an uneven process around 200 years ago. For former serfs, the acquisition of citizenship went hand in hand with the abolition of the commons. Nino Bulling draws on archival material from the historic process of Gemeinheitsteilung – that is, the enclosure and annulment of common property and rights of use – in the Brandenburg village where they may inherit a piece of land. This is connected with an inventory of their personal belongings as their finance cooperative, in which members' incomes were pooled and shared for twelve years, comes to a premature end. These two processes of privatization structure a journal that records how property – and the punitive systems built to secure it – shape the everyday: from our relationships, to household objects and keepsakes, to the literal equation of money as time in the criminal justice system.«
(Text: Working Group Knotting Unruly Ties)

Sich Unverfügbar Verknoten / Knotting Unruly Ties
nGbK
Mit AG Art Worker Solidarity, Mel Baggs, Casa Kuà, Vika Kirchenbauer, Bär Kittelmann, knowbotiq, İz Öztat, Amanda Priebe, Anikẹ Joyce Sadiq, Sickness Affinity Group, Steckenpferde Webserie AG
06/25 – 08/25
Kuration: Jyl Franzbecker, Tyan Fritschy, Sonja Hornung, Mizu Sugai, Ülkü Süngün

Gemeinheitsteilung: Druck auf Velours
Übersetzungsbooklet: Risographie
Grafikdesign: Bär Kittelmann

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»Third Surface is the name given to the newest formal experiment from Berlin Atonal, following its successful Metabolic Rift and Universal Metabolism exhibitions. It functions as a hybrid exhibition embedded within Berlin Atonal 25. Its format draws on the spirit of late-night venues from Weimar Berlin—spaces where the trauma of war and the shadow of fascism collided with the desire to gather, speak, and stay awake. These historical antecedents find their contemporary echo in a darkly furnished installation: a field of small tables, clustered chairs with a stage at its centre. The setting foregrounds social interaction and improvisation. A shifting programme of performance, sound, moving image, textiles, sculpture and works on paper unfolds within this setting. The works act less as statements than as prompts—subtle cues directing the murmur of voices and the tone of exchange. Third Surface operates as a speculative model: a controlled experiment in how nightlife might be reimagined, namely, beyond Eurocentric templates, outside the logic of hedonism, apart from the language of retreat.«
(Text: Mousse Magazine)

»For Third Surface, Bulling turns to Pasolini’s „Le ceneri di Gramsci“ to examine the textures of a time „which is now dawning.” Their new work filters this poetic sediment through the emotional language of pressure: if you keep on pressing where does it go? How do you think of sex, friendship and the future when death leaks out over everything.«
(Text: Adriano Rosselli)

Third Surface
Berlin Atonal
Mit Noor Abed, Kristoffer Akselbo, Basma Al-Sharif, Ben Russell & Guillaume Cailleau, Roberto Cuoghi, Kamal Aljafari, Tanja Al Kayyali, Bill Kouligas & Niklas Bildstein Zaar, Steinar Haga Kristensen, Nelson Makengo, Tot Onyx, Joanna Rajkowska, Mouneer Al Shaarani, Ran Zhang
06/25
Kuration: Adriano Rossell
Pressure: Druck auf Toilettenpapier

Dieses Zine versammelt Zeichnungen und Comics, die während der Besetzung des Oranienplatz in Berlin-Kreuzberg 2013 entstanden.
Gedruckt und verteilt anlässlich der Ausstellung We Who Move The World Forward in der ACUD Galerie, Berlin.

»Oranienplatz in Kreuzberg was squatted by the Refugee Protest Movement on 6 October 2012. The occupation of the square lasted one and a half years. In April 2014, Berlin police evicted the remaining inhabitants residing in Oranienplatz. 
The Oranienplatz Comics Workshop was an impromptu setup throughout the summer of 2013. Pens, ink, and paper were provided by a group of artists who had met at the square, and the workshop was open to squatters, friends dropping by, and passersby. The comics workshop was also part of a larger artistic program that cumulated in an exhibition and theatrical performance in the main blue-white striped tent called The Fleeting Republic / République En Fuite.


Most drawings gathered together in this archive do not strictly articulate in the form of comics, although the workshop’s name refers to that intention, and on some days, paper with pre-printed panels was distributed. Maybe this is because the sense of temporality needed to string panels into a story was somewhat suspended in the limbo of the occupation. Ten years later, one might look at these drawings as footnotes of the get-togethers on Oranienplatz. They are traces of resistance, journal entries, protest signs, dream notes, and maps of Oranienplatz’s „fleeting republic”.«
(Text aus dem Imprint der Publikation)

The Fleeting Archive: Oranienplatz Comic Workshop
16 Seiten
Risografie
Grafikdesign: Bilge Emir
Preprint: Marc Hennes
Druck: Nino Bulling

We We Who Move The World Forward – Voices of resistance in Germany’s
migration histories
ACUD Galerie
Mit: Aïssatou Ciss…, International Women* Space, Cana Bilir-Meier, Imad Gebrael, Yergalem Taffere, Wilson Mungai, Ina Wudtke, Nino Bulling, Muhammed Lamin Jadama, Thabo Thindi, Zwoisy Mears-Clarke, HerrFrau Meko, Garden Archives/Fetewei Tarekegn
02/24 – 03/24
Kuration: Anguezomo Mba Bikoro, Fetwei Tarekegn