The Flag Bearers—Rachel Monosov
As part of Featured 2026
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Kottbusser Straße 10, 10999 Berlin
Limited wheelchair accessible WC
Accessible to wheelchairs
Künstlerhaus Bethanien is committed to making its exhibitions and programs accessible to all visitors.
The exhibition entrance is located directly at Kottbußer Straße 10. It is at street level and is generally accessible for independent wheelchair users. The exhibition spaces on the second floor (first floor above ground level) can be reached by stairs or elevator. To use the elevator, please contact a member of our gallery staff.
The main exhibition gallery is on ground level; however, it is separated from the entrance area by two steps. Gallery staff will be happy to provide access via a portable ramp upon request. Folding stools are available at the entrance. These may be used either as a walking aid or as a seat (tested for users weighing up to 242 lbs / 110 kg). Please ask a member of our gallery staff for assistance. Please note that the number of folding stools is limited. If all stools are already in use, there may be a short wait.
Getting here: The nearest accessible subway station is Kottbusser Tor (U1, U3, U8). From Kottbusser Tor, the gallery is approximately a 5-minute walk (300 m / 980 ft) along Kottbußer Straße. Künstlerhaus Bethanien can also be reached from Schönleinstraße station (U8), although this station is not wheelchair accessible.
Parking: Unfortunately, Künstlerhaus Bethanien does not have on-site parking or designated accessible parking spaces.
General Information: Service dogs assisting visitors with disabilities are welcome in the gallery.
U8 Schönleinstraße
U1/U3/U8 Kottbusser Tor
There are no parking zones in Kreuzberg, you can park without a parking ticket. The Künstlerhaus does not have its own parking spaces.
›The Flag Bearers‹, curated by Jorgina Stamogianni, is the seventh chapter of the exhibition series ›Becoming B‹. In her solo exhibition, ›The Flag Bearers‹, Rachel Monosov draws inspiration from the Surrealist imagery of Edgar Ende (1901–1965), which she transmutes into sculptural installations that are activated through performance.
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