Barbara and Axel Haubrok on threatened artistic freedom: “Berlin’s reputation is at stake”
Barbara and Axel Haubrok are Berlin collectors who are passionate not only about art, but also about Berlin and the city's cultural life. They're getting involved themselves. The Haubroks founded the Fahrbereitschaft (Carriage Service), a commercial and creative center on the historic site of the former East German government's Department of Transportation, where they exhibit art and organize events. On Sunday, the "Consider Listening" discussion series begins at the Fahrbereitschaft, which will focus on pressing issues in Berlin's art and cultural scene over ten weekends. The two collectors are convinced: The city has a problem. We met with the couple at the Berliner Verlag for a chat.
Mr. Haubrok, Ms. Haubrok, how did you come up with the idea that there was a need for a series of discussions like the one you have established called “Consider Listening”?
Axel Haubrok: We sense that art is under threat in many ways. We see budget cuts, a struggle for distribution in the city. Artists in Berlin are under enormous pressure. The market situation has also changed: art is no longer selling as well as it once did. Galleries are under economic pressure because costs are rising and the demands of successful artists are becoming ever higher. Furthermore, anti-Semitism in art is being discussed, not always justifiably. Politics has drawn many red lines. Artists see their artistic freedom in danger.
Barbara Haubrok: This has led to Berlin and Germany no longer being as highly regarded as art locations as they once were. This has an impact on art. This dilemma motivated us to launch the discussion series, in which we want to openly discuss these problems. The events will take place over ten weekends, kicking off on Sunday.
What do artists tell you about the current situation in the city?
Axel Haubrok: They're often no longer able to exhibit what they want. Galleries have also become much more cautious, no longer willing to show everything. Even artists themselves aren't always willing to exhibit together if they have different views.
Barbara Haubrok: Artists who work politically are no longer as welcome in galleries. Galleries are focusing on salable goods. The economic pressure is increasing. We know several good artists who are looking for a gallery but can't find one, even though they've exhibited at the Documenta, for example.
Is it primarily about artists who show pro-Palestinian art?
Axel Haubrok: Also, but not only. It's a fundamental trend. You only have to look at Trump: The American president is trying to dictate what is desirable and what isn't in art. I'm curious to see what kind of discussions we'll have in Germany with our new Minister of Culture.
A conservative culture minister who is now supposed to rule over a rather liberal, progressive art scene.
Axel Haubrok: Yes, that sounds contradictory, since most artists stand for internationality and openness. My concern is that this will soon no longer be desired in Germany either.
Barbara Haubrok: The general conditions for artists are deteriorating overall, and we view this with concern.
In Berlin, the anti-Semitism law proposed by Joe Chialo has sparked controversy in the art scene. How did you experience the debate?
Axel Haubrok: We had the impression that it was about putting pressure on artists. The law never came into effect, but the debate had an impact. We saw this when we organized "Consider Listening." It was indeed difficult to find discussion partners who wanted to speak out in the anti-Semitism debate, for example. Few wanted to publicly criticize art policy. We grew up in the 1960s. For us, there was only one direction: We wanted to discuss things, we wanted to move forward. That happens much less often today. Many are afraid to truly express themselves freely.
Your discussion series brings together artists, politicians, curators, directors, and art enthusiasts. Who has the greatest reservations about speaking out?
Barbara Haubrok: Those who use or depend on public budgets have become very cautious.
Have you still found discussants?
Barbara Haubrok: Yes, we did, but it was difficult.
Axel Haubrok: We see this trend everywhere. Galleries no longer want to provoke.
Does that mean that exhibitions are becoming less political, even in galleries?
Axel Haubrok: Yes. There are already some galleries that were very ambitious, experimental, and political, and now focus on painting because they can sell it better.
Let’s look at Berlin again: What would have to change for the mood in the art scene to improve again?
Axel Haubrok: Politicians should try to draw as few red lines as possible. On the other hand, there needs to be a well-equipped infrastructure. A fundamental openness toward art. Politicians shouldn't immediately fire off criticism just because a small Palestinian flag can be seen somewhere far below in some picture.
Barbara Haubrok: On the one hand, there are political funding cuts. On the other, exhibitions aren't taking place because participating artists aren't willing to explain that when they critically address Israel, they are also mentioning Hamas terror.
Berlin is strongly influenced by culture. Has the city already suffered damage from this narrow discourse?
Barbara Haubrok: Yes. In the past, when you said you were from Berlin, everyone would say, "How great!" Today, that's not necessarily the case. In Los Angeles, we're no longer greeted so positively when people hear we're from Berlin. When we're asked about great exhibitions, we often don't have good answers ready. But that may be subjective.
Is Berlin in danger of becoming a city where artists will no longer settle?
Axel Haubrok: I see a risk here, yes. Art is like capital, like a shy deer. It can go anywhere. In the past, artists didn't come here for the money, but because Berlin was a cool city. So it's certainly possible that other centers will establish themselves.
Cheap living doesn’t exist here anymore either.
Barbara Haubrok: Well, that's the way things are going; you can't blame Berlin for that. But what's happening is that many artists are now looking to see what other interesting places there are. Paris is very popular right now. But Paris is also doing a lot to promote art.
Axel Haubrok: Berlin wasn't the best place for galleries anyway. The galleries came to Berlin because the artists were here and wanted to be represented here. Not because there are so many collectors here. And if you look at cities like Paris, they're not only exciting and architecturally interesting, but they also have large galleries. There aren't any of those in Berlin, nor are there any large auction houses. The European art market takes place in Paris and London, not in Berlin.
And then you also have greater artistic freedom there.
Axel Haubrok: Yes. That's another factor. If you go to the Venice Biennale, you'll naturally find art there critical of Israel. That's about political art itself. Of course, Berlin and Germany have a special past. That's something you have to recognize. But if we really talked about it, discussed the particular sensitivities that need to be considered here, instead of resorting to bans and pressure, we would achieve much more and not jeopardize artistic freedom and Germany's position as a center of art.
Barbara Haubrok: But we don't want to speak ill of Berlin. We came here because we find it an exciting city. We feel at home here. We want to encourage Berlin to move forward, to look ahead, and to maintain – and further develop – its open character. That's what we're all about.
Axel Haubrok: We want to have open discussions, identify the problems, and talk about what initiatives could be launched to improve the situation. That's why we've invited autonomously organized artist groups to our panel discussions. We've launched a scholarship with the UdK. We want to build a bridge between artists and gallery owners. We're trying to be discursive; we want to bring people with different opinions together, not simply bludgeon Berlin to the ground.
Are there any highlights that are particularly close to your heart?
Axel Haubrok: We've put together an exhibition that you can view in our car service. There's a thematic connection between the discussion series and the exhibition. In addition to the discussions, we've also planned performances and a concert by 2raumwohnung, for example, and Burgtheater actresses Bibi Beglau and Caroline Peters are taking part. But we're not interested in big names. Everyone who participates also supports us in terms of content, helping us spark a broad debate. We've tried to bring our network together to attract as many people as possible to Lichtenberg. Everything is free to see. We want to be as accessible as possible and attract more than just art experts. Nevertheless, as a private initiative, we want to provide inspiration, but by no means take over the work of the Berlin Senate, as Joe Chialo envisions. Private initiatives cannot be a stopgap for the lack of support from the Senate.
Barbara Haubrok: You have to look at it positively: Berlin's culture has made it attractive. That's a marketing factor, a location factor. Companies that want to locate their executive boards get better people if they're located in an interesting place. Berlin must maintain that. We want to promote it.
Axel Haubrok: Berlin needs culture. This must be clear to everyone.
Consider Listening, an event series , May 4 to July 6, 2025, every Sunday, starting at 2 p.m., Fahrbereitschaft, Herzbergstraße 40–43, 10365 Berlin-Lichteberg. The opening event on Sunday, May 4, at 5 p.m., will be moderated by Tomasz Kurianowicz, editor-in-chief of the Berliner Zeitung. The topic: "Does Berlin still need culture?" A discussion on the importance of art for the capital will be held with Christina Weiss, Klaus Lederer, and Michael Müller. Further information: https://haubrok.org/
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