Feb 09, 2026 Exhibition

Beverly Buchanan: Weathering as a Quiet Insistence

Beverly Buchanan at Haus am Waldsee, Berlin. The exhibition has ended, but its material logic and urgency make it impossible to let it disappear quietly.

Beverly Buchanan, Lamar County, GA, 2003, oil pastel on paper, 56x76 cm, Courtesy of the Estate of Beverly Buchanan and Andrew Edlin Gallery, New York

Beverly Buchanan – Weathering – Haus am Waldsee

Artist
Beverly Buchanan
Exhibition
Weathering
Curated by
Anna Gritz, Beatrice Hilke, Pia-Marie Remmers
Venue
Haus am Waldsee
City
Berlin, Germany
Photography
Julian Blum - @exhibitiondocumentation
Dates
2 October 2025 – 1 February 2026

The rooms were held in a restrained yellow wash, light but not neutral. Drawings, small-scale shack sculptures, and weathered constructions sat with an almost domestic calm. Nothing announced itself as monumental. Instead, the exhibition unfolded through proximity, repetition, and scale shifts, inviting slow movement rather than overview. The atmosphere was quiet, but not passive.

Weathering centers on the late Buchanan’s lifelong engagement with built fragments, dwellings, and the marks left by use, erosion, and neglect. The shack works in particular operate as condensed structures, neither models nor monuments. Made from wood, metal, cardboard, buttons, and paint, they carry the logic of survival rather than representation. Their material decisions feel provisional and deliberate at once, as if permanence had been consciously refused.

Beverly Buchanan, *Buchanan self-portrait in mirror on Konica*, 1976, b/w photography, 15x10 cm, Courtesy of the Estate of Beverly Buchanan and Andrew Edlin Gallery, New York (right) Beverly Buchanan, *Marsh Ruins,* 1981, colour photograph, 9x13 cm, Courtesy of the Estate of Beverly Buchanan and Andrew Edlin Gallery, New York

Beverly Buchanan, Three Families (A Memorial Piece with Scars) — Beverly Buchanan, *Three Families (A Memorial Piece with Scars) [with legend],* 1989, photo printout on paper, 10x23 cm, Courtesy of the Estate of Beverly Buchanan and Andrew Edlin Gallery, New York

What made this exhibition urgent was not its historical framing, but its clarity. Buchanan’s work continues to insists that memory resides in structures that are allowed to change, decay, and persist without protection. The collaboration with Ima-Abasi Okon extended this logic into the space itself, turning walls and circulation into carriers of residue rather than neutral containers.

The exhibition is now closed. Still, it demands to be shown. Not as documentation, not as a recap, but as a reminder that some practices do not conclude when the doors shut. They continue to weather.

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