The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

With "Quaderno di strada" by contemporary composer Salvatore Sciarrino, Ensemble KNM Berlin dives into segmented travel memories: commonplace, at times whimsical, at others absurd. Luigi Nono's composition "'Hay que caminar' Soñando" provides artistic commentary – a dream journey through a quiet, fragmentary soundscape with gaps and frayed edges to the point of silencing.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

The performance collective Swoosh Lieu invites the audience to dive into a journey through time in which present, past and future blur together. Swoosh Lieu build a Mu/Sea/Um in which the biographies of queer pirates are played out, entangled algae fosters a proliferation of new utopias of kinship and cohabitation, and a talking octopus explains alternative marine biologies.

Choreographer and multidisciplinary artist Juan Domínguez experiments in "Rhythm Is The Place" with our perception of time, duration and rhythm, and explores the social potential generated through the live moment of a performance. The performance is presented as part of the collaboration :LOVE:  between Tanzfabrik and Radialsystem presented in Radialsystem’s spaces.

Choreographer and multidisciplinary artist Juan Domínguez experiments in "Rhythm Is The Place" with our perception of time, duration and rhythm, and explores the social potential generated through the live moment of a performance. The performance is presented as part of the collaboration :LOVE:  between Tanzfabrik and Radialsystem presented in Radialsystem’s spaces.

Choreographer and multidisciplinary artist Juan Domínguez experiments in "Rhythm Is The Place" with our perception of time, duration and rhythm, and explores the social potential generated through the live moment of a performance. The performance is presented as part of the collaboration :LOVE:  between Tanzfabrik and Radialsystem presented in Radialsystem’s spaces.

Choreographer and multidisciplinary artist Juan Domínguez experiments in "Rhythm Is The Place" with our perception of time, duration and rhythm, and explores the social potential generated through the live moment of a performance. The performance is presented as part of the collaboration :LOVE:  between Tanzfabrik and Radialsystem presented in Radialsystem’s spaces.

In "IN YOUR HEAD", choreographer Pol Pi and the soloist ensemble Kaleidoscope take on Shostakovich's Eighth String Quartet, revealing an “embodied” music. In the interplay between staves and gestures, solo and quartet, silence and the rhythm that links it, a subtle choreography unfolds that makes the music as visible as the movement audible.

In "IN YOUR HEAD", choreographer Pol Pi and the soloist ensemble Kaleidoscope take on Shostakovich's Eighth String Quartet, revealing an “embodied” music. In the interplay between staves and gestures, solo and quartet, silence and the rhythm that links it, a subtle choreography unfolds that makes the music as visible as the movement audible.

In "IN YOUR HEAD", choreographer Pol Pi and the soloist ensemble Kaleidoscope take on Shostakovich's Eighth String Quartet, revealing an “embodied” music. In the interplay between staves and gestures, solo and quartet, silence and the rhythm that links it, a subtle choreography unfolds that makes the music as visible as the movement audible.

In “Magenta Haze”, the performers engage in play with large, colourful objects, yielding a choreography of subtle tipping points between distance and proximity, solidarity and alienation, fragility and strength, and the individual and the group. Milla Koistinen invites the audience to move around the space and observe the choreography.

In “Magenta Haze”, the performers engage in play with large, colourful objects, yielding a choreography of subtle tipping points between distance and proximity, solidarity and alienation, fragility and strength, and the individual and the group. Milla Koistinen invites the audience to move around the space and observe the choreography.

In “Magenta Haze”, the performers engage in play with large, colourful objects, yielding a choreography of subtle tipping points between distance and proximity, solidarity and alienation, fragility and strength, and the individual and the group. Milla Koistinen invites the audience to move around the space and observe the choreography.

The mentoring programme “Forecast” promotes the transdisciplinary exchange of forward-looking artistic ideas on an international scale. At the festival, the six mentees of Edition 7 will present their work, which they have developed over ten months in exchange with their mentors.

Mentees: Tom Cassani, Mia Štark, Luciana Decker Orozco, Alexis Guillier, Hamza Baig, Peny Chan
Mentors: Florentina Holzinger, Ana Prvački, Laura Huertas Millán, Alia Ibrahim, Daliso Chaponda, Rully Shabara

The mentoring programme “Forecast” promotes the transdisciplinary exchange of forward-looking artistic ideas on an international scale. At the festival, the six mentees of Edition 7 will present their work, which they have developed over ten months in exchange with their mentors.

Mentees: Tom Cassani, Mia Štark, Luciana Decker Orozco, Alexis Guillier, Hamza Baig, Peny Chan
Mentors: Florentina Holzinger, Ana Prvački, Laura Huertas Millán, Alia Ibrahim, Daliso Chaponda, Rully Shabara

This year's MaerzMusik Festival will take place from 17 to 26 March at Haus der Berliner Festspiele, Radialsystem and other venues – for the first time under the artistic direction of curator and music journalist Kamila Metwaly. The music theatre “Songs for Captured Voices” by Laure M. Hiendl, Phila Bergmann, Thea Reifler and Göksu Kunak centres around human voices that have been instrumentalised time and again throughout history and become the object of asymmetrical power negotiations.

This year's MaerzMusik Festival will take place from 17 to 26 March at Haus der Berliner Festspiele, Radialsystem and other venues – for the first time under the artistic direction of curator and music journalist Kamila Metwaly. In this programme, Juliet Fraser performs three compositions written for her, revealing the uniqueness of her voice and representing quite different approaches to the voice in general and in combination.

This year's MaerzMusik Festival will take place from 17 to 26 March at Haus der Berliner Festspiele, Radialsystem and other venues – for the first time under the artistic direction of curator and music journalist Kamila Metwaly. Riot Ensemble performs four compositions – by Bára Gísladóttir, Bethan Morgan-Williams, Alex Paxton and Oliver Thurley.

This year's MaerzMusik Festival will take place from 17 to 26 March at Haus der Berliner Festspiele, Radialsystem and other venues – for the first time under the artistic direction of curator and music journalist Kamila Metwaly. The synthesizer trio lange//berweck//lorenz reveals meandering worlds filled with colour with works by Asmus Tietchens, Andrea Neumann, Korhan Erel and Bernhard Lang.

Nico and the Navigators demonstrate with their scenic/musical revision of T.S. Eliot’s illustrious poem “The Waste Land” the enduring value of a poetic time capsule summarising the period that emerged at the end of World War I. The poem takes up crises that continue to affect us today: wars, catastrophic drought, and economic depression. Against this backdrop, this music theatre piece searches for a common future and entices its audience to engage in purposeful community within art.

Nico and the Navigators demonstrate with their scenic/musical revision of T.S. Eliot’s illustrious poem “The Waste Land” the enduring value of a poetic time capsule summarising the period that emerged at the end of World War I. The poem takes up crises that continue to affect us today: wars, catastrophic drought, and economic depression. Against this backdrop, this music theatre piece searches for a common future and entices its audience to engage in purposeful community within art.

Nico and the Navigators demonstrate with their scenic/musical revision of T.S. Eliot’s illustrious poem “The Waste Land” the enduring value of a poetic time capsule summarising the period that emerged at the end of World War I. The poem takes up crises that continue to affect us today: wars, catastrophic drought, and economic depression. Against this backdrop, this music theatre piece searches for a common future and entices its audience to engage in purposeful community within art.

Nico and the Navigators demonstrate with their scenic/musical revision of T.S. Eliot’s illustrious poem “The Waste Land” the enduring value of a poetic time capsule summarising the period that emerged at the end of World War I. The poem takes up crises that continue to affect us today: wars, catastrophic drought, and economic depression. Against this backdrop, this music theatre piece searches for a common future and entices its audience to engage in purposeful community within art.

Under the direction of Enno Poppe, the Ensemblekollektiv presents the world premiere of a reworked version of composer Michelle Lou's piece "In the Land of Milk and Honey" in early April. The concert also features a performance of Poppe’s own work “Procession”.

With its concert project “Between Realities” the Mahler Chamber Orchestra explores space and sound at the interface of different levels of reality. A special focus lies on Mendelssohn Bartholdy's suite from “A Midsummer Nights Dream”, which the Mahler Chamber Orchestra performs not only live, but also for the first time in a virtual reality performance.

Driven by the force of utopian thought, Berlin-based choreographer Sergiu Matis experiments in his new performance “Blazing Worlds” with imagining a possible future of which dance will continue to be a part. “Blazing Worlds” is presented as part of the collaboration :LOVE: between Tanzfabrik and Radialsystem presented in Radialsystem’s spaces.

Driven by the force of utopian thought, Berlin-based choreographer Sergiu Matis experiments in his new performance “Blazing Worlds” with imagining a possible future of which dance will continue to be a part. “Blazing Worlds” is presented as part of the collaboration :LOVE: between Tanzfabrik and Radialsystem presented in Radialsystem’s spaces.

Driven by the force of utopian thought, Berlin-based choreographer Sergiu Matis experiments in his new performance “Blazing Worlds” with imagining a possible future of which dance will continue to be a part. “Blazing Worlds” is presented as part of the collaboration :LOVE: between Tanzfabrik and Radialsystem presented in Radialsystem’s spaces.

Driven by the force of utopian thought, Berlin-based choreographer Sergiu Matis experiments in his new performance “Blazing Worlds” with imagining a possible future of which dance will continue to be a part. “Blazing Worlds” is presented as part of the collaboration :LOVE: between Tanzfabrik and Radialsystem presented in Radialsystem’s spaces.

In „safe&sound“ nutzt die Berliner Choreografin Lee Méir Loops, Polyrhythmik sowie lineare und zyklische Zeitformen, um sich mit Fragen der Zugehörigkeit, der Freiheit und kollektiven Entscheidungsfindung auseinanderzusetzen. Im perkussiven Spiel von Tanz, Gesten, Stimme und Gegenständen widerstehen und folgen sechs Performer*innen dem Sog der Harmonie, dem Verlangen nach Synchronität und der Versuchung, sich dem „Groove hinzugeben“.

Die Solo-Performance „Personne With Voice“ von Isabelle Schad und Laurent Goldring geht vom Konzept „Personne“ aus. Eine allmähliche Verschiebung bewegt die Bedeutung des Konzepts durch verschiedene Identitätsschichten, egal ob sie als Persönlichkeit, Bühnenfigur oder als Subjekt ohne individuelle Merkmale verstanden werden.

In ihrer Choreografie beschäftigen sich Ana Laura Lozza und Bárbara Hang mit den Spuren, die zurückbleiben, wenn Körper sich begegnen und wieder voneinander trennen. „The rest of dance“ ist ein Tanz, der aus dem besteht, was zurückbleibt. Eine exzessive Dimension, die im Körper immer präsent ist. Ein Überrest als Reserve für das, was kommen wird.

In „safe&sound“ nutzt die Berliner Choreografin Lee Méir Loops, Polyrhythmik sowie lineare und zyklische Zeitformen, um sich mit Fragen der Zugehörigkeit, der Freiheit und kollektiven Entscheidungsfindung auseinanderzusetzen. Im perkussiven Spiel von Tanz, Gesten, Stimme und Gegenständen widerstehen und folgen sechs Performer*innen dem Sog der Harmonie, dem Verlangen nach Synchronität und der Versuchung, sich dem „Groove hinzugeben“.

In ihrer Choreografie beschäftigen sich Ana Laura Lozza und Bárbara Hang mit den Spuren, die zurückbleiben, wenn Körper sich begegnen und wieder voneinander trennen. „The rest of dance“ ist ein Tanz, der aus dem besteht, was zurückbleibt. Eine exzessive Dimension, die im Körper immer präsent ist. Ein Überrest als Reserve für das, was kommen wird.

Die Solo-Performance „Personne With Voice“ von Isabelle Schad und Laurent Goldring geht vom Konzept „Personne“ aus. Eine allmähliche Verschiebung bewegt die Bedeutung des Konzepts durch verschiedene Identitätsschichten, egal ob sie als Persönlichkeit, Bühnenfigur oder als Subjekt ohne individuelle Merkmale verstanden werden.

In „safe&sound“ nutzt die Berliner Choreografin Lee Méir Loops, Polyrhythmik sowie lineare und zyklische Zeitformen, um sich mit Fragen der Zugehörigkeit, der Freiheit und kollektiven Entscheidungsfindung auseinanderzusetzen. Im perkussiven Spiel von Tanz, Gesten, Stimme und Gegenständen widerstehen und folgen sechs Performer*innen dem Sog der Harmonie, dem Verlangen nach Synchronität und der Versuchung, sich dem „Groove hinzugeben“.

Die Solo-Performance „Personne With Voice“ von Isabelle Schad und Laurent Goldring geht vom Konzept „Personne“ aus. Eine allmähliche Verschiebung bewegt die Bedeutung des Konzepts durch verschiedene Identitätsschichten, egal ob sie als Persönlichkeit, Bühnenfigur oder als Subjekt ohne individuelle Merkmale verstanden werden.

In „safe&sound“ nutzt die Berliner Choreografin Lee Méir Loops, Polyrhythmik sowie lineare und zyklische Zeitformen, um sich mit Fragen der Zugehörigkeit, der Freiheit und kollektiven Entscheidungsfindung auseinanderzusetzen. Im perkussiven Spiel von Tanz, Gesten, Stimme und Gegenständen widerstehen und folgen sechs Performer*innen dem Sog der Harmonie, dem Verlangen nach Synchronität und der Versuchung, sich dem „Groove hinzugeben“.