Berlin’s Volksbühne theater recently inaugurated a temporary public swimming pool in front of its building, sparking intense debate and controversy in the city. The pool, named Volksbad, was unveiled in late summer by Matthias Lilienthal, the theater’s newly appointed director, aiming to mark a new chapter for the institution and comment on Berlin’s deteriorating public infrastructure.

Constructed over several weeks, the 25-meter-long pool offers free access to residents through an online reservation system and features showers, changing rooms, and a small concession stand. Lilienthal described the installation as both a symbolic “hug” for the city and a critique of Berlin’s aging amenities, citing instances when public pools were frequently closed and pointing to issues such as delayed public transport and underfunded schools.

However, the project quickly became embroiled in controversy. Early technical problems, including non-functioning showers, were soon resolved, but public reactions proved more divisive. Criticism emerged over the €300,000 budget spent on the pool, which some argued could have funded additional theater productions. More notably, tensions rose following a decision to reserve a swim session exclusively for Each One Teach One, a nonprofit serving Black youth in Berlin. This decision drew accusations of racial discrimination from a local politician affiliated with the Christian Democratic Union, who protested that taxpayer-funded resources should not restrict access based on skin color.

The incident sparked viral social media responses, amplified by right-wing outlets and the far-right Alternative for Germany (AfD) party, which Germany’s intelligence services have designated extremist. Critics decried the pool’s policy as exclusionary, while defenders—including Lilienthal—argued the reservation was a legitimate measure under German anti-discrimination laws intended to ensure safe, inclusive spaces for marginalized communities. Ultimately, the booked session was canceled amid threats and intensified public scrutiny.

The episode highlighted shifting social dynamics in Berlin, a city historically known for its left-leaning cultural climate and working-class roots. Lilienthal, who previously directed the Münchner Kammerspiele theater in Munich and had a long association with the Volksbühne, reflected on Berlin’s changing demographic and political landscape. He noted that the rise of right-wing influence among working-class voters, alongside gentrification and the decline of traditional industries, has altered the city’s character, making inclusive cultural initiatives more contentious.

Although the pool was not designed as an artistic work, Lilienthal described it as a “public intervention” intended to provoke dialogue. The theater’s future programming aims to reflect diversity and global perspectives, with upcoming performances involving artists from Japan, Korea, Brazil, and featuring Black dancers.

Despite the early challenges and polarized responses, the Volksbad has begun to attract visitors, including families like Berlin resident Friederike Schwerin and her daughter, who expressed enthusiasm for the pool despite the surrounding disputes. As the pool moves past its initial controversies, it stands as a symbol of Berlin’s continuing debates over public space, cultural representation, and social inclusion.