Freie Berliner Kunstausstellung

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The Freie Berliner Kunstausstellung (FBK) was a unique art event in Berlin that ran from 1971 to 1995. For 24 years it was the only large non-juried art exhibition in Europe, coming after the closing of the juried Große Berliner Kunstausstellung. It was organized by a registered association started in 1970 with support from the Senate of Berlin.

Leadership and history
The association’s first chair was Hans-Joachim Zeidler (1971–1974), followed by Ernst Leonhardt (1981–1990) and Karin Rech (1991–1995). The first FBK took place in the exhibition halls at Funkturm Berlin in 1971. The show grew out of the counterculture of the 1960s and, in spirit, connected Berlin’s art scene to a longer tradition that reached back to the Weimar Republic. There were earlier non-juried exhibitions in the 19th century too, and even a 19th‑century poster by Ludwig von Hofmann tied to this history.

How it worked
The FBK was different by design because there was no jury. Artists themselves ran the exhibition with the help of the association. The show had two divisions: a Free Division for professional artists, and a Groups division for non-professional artists who exhibited as groups. A Hanging Commission arranged about 1,200 works in the Free Division, while the groups set up their own spaces. Roughly two‑thirds of the exhibitors were professional artists and one‑third were hobbyists.

Artists and program
Over the years, many notable artists participated, including Louise Rösler, Walter Stöhrer, Fred Thieler, Jürgen Draeger and others. The FBK presented a wide range of art—drawings, paintings, sculpture, installations, photography and more. The event ran for about four weeks each year, typically from April to June, at the Funkturm Berlin.

The FBK offered a lively program beyond the exhibition itself. There were art bazaars, guided tours, a daily Kinderatelier (children’s art room), readings, and music. There were also experimental projects, such as a potency automaton (1986) and an art licensing machine (1989). In the early 1990s the program expanded to include daily artist–visitor discussions and outside art displays.

Funding and growth
The FBK was financed by the Senate of Berlin, with support from sponsors and donations from artists. Its budget grew from about 120,000 DM in 1971 to over 760,000 DM by 1993, and rent increased as the show expanded. In the mid‑1990s, however, the Senate began cutting grants, and by 1995 the exhibition faced financial trouble. An art auction in 1995 helped raise money, but it proved impossible to continue the event on the previous schedule.

End and legacy
The last FBK in 1995 was supposed to be the 25th anniversary, and organizers hoped to switch to a two-year cycle, but that plan did not materialize. Despite the challenges, the FBK left a lasting mark on Berlin’s cultural life. It was a space of experimentation, controversy, and open participation that helped shape the city’s artistic landscape and inspired discussions about what art can be and who gets to show it.