März – in German ‘March’ is the long month of transition in this part of the world. In between the neverending winter and the long-awaited summer, the darkness and the light, the Berlinale and the Freiluftkino season, the CTM and the Atonal. I actually love the feeling when the first, more intense rays of the morning sun burn my face on my way to work… on my bike \o/ (I love my bike, but I am not one of these Berliners riding their bikes even when temperatures drop to a negative scale!).
Two years ago, high on discovering all the new places in the city, I participated for the first time in the event organized by Berliner Festspiele in my beloved music cathedral aka Kraftwerk called ‘The Long Now’. The concept of it is to bring a super ambitious line up of electronic musicians for a 29 hours long event of the Daylight Saving Time overnight switch, allowing the participants to indulge into the darkness, even allowing some sleeping spots at the venue.
A year ago, alongside with the event, there were corresponding installations in the neighbouring Radialsystem V and Kunstraum Kreuzberg/Bethanien which were pretty amazing. ‘Extended Compositions’ showed e.g. the works of weapons transformed into instruments, shooting the music, not war ❤
In Radialsystem V, the Japanese artist Chiharu Shiota together with alif created a musical installation’Split in the wall’ with music as a concept of blood running through the veins – instruments.
The dreamy Long Now event will happen again this year from 25th March 18:59 till 26th March 23:59. Emerge in the lucid dreaming while in Kraftwerk, before the spring will take over the city.
spring again. Simple, but happiness is free when this feeling hits!
And it all makes me feel how long was my winter sleep and how great is to face
There is never enough of art in Berlin! February being a month marked by great festivals like CTM, Transmediale and Berlinale. Additionally, terribly cold and gloomy weather prompts people to spend more time not only in clubs and cinemas, but also in galleries. At the same time, there are some interesting regular exhibitions happening: and actually there are two of them focusing on Hieronymus Bosch, whose works may be never lose its powerful symbolics and complexity of describing the metaphors of the world.
I’ll start with the installation of ‘Bosch – Visions Alive’ taking place in Alte Münze among other interesting venues of Spree Werkstatten. In the dark and spacious environment, you can contemplate a 30 minutes animation of the most remarkable paintings of Bosch. Together with my friend, we stayed there for over an hour, hypnotised! This brings me to the point that maybe it’s a digestible way of bringing art and its history in a more inclusive way – since the installation is engaging people from different backgrounds. This way, the message of it can have a bigger impact.
And last weekend I decided to visit the ongoing exhibition of Hieronymus Bosch drawings and works of his copyists in Gemäldegalerie. There is not too much of original works, but those available are actually showing the impressive concept art from centuries ago. Apart from that, I was very impressed by the collection in Gemäldegalerie: if European paintings from 14th till 18th century is something you’d like to explore, this is definitely a place to go to. I spent some 3 hours last Sunday there and I still felt I rushed through it. Among the collection you will find not only Bosch, but also Rubens, Valasquez, Botticelli, Rembrandt and Bruegel.
So even though I still have not managed to visit all the important museums and galleries of Berlin in 2,5 years of time I’ve been living here, I can recommend Gemäldegalerie to those who live and breathe classical art.
I have to admit that 2016 was very abundant in terms of the art I saw: the exhibitions that made me think and the concerts I’ve attended. I do think a special focus for me is anything surpassing the boundaries in the contemporary art, with a focus on interpreting the classics and referring to the current musical trends.
I am not a professional dancer not an artist myself, but I do love exploring both (if this was not clear by the content of this blog yet). Here in Berlin I make sure to track especially anything by Sascha Waltz und Guests (from ‘Travelogue’, ‘Romeo and Juliet’ to ‘Le Sacre du Printemps’ and ‘Koerper’). This dance company has been showcased this year at Radialsystem V, Berliner Festspiele and Deutsche Oper.
Another highlight of 2016 was definitely the exhibition of Pina Bausch‘s works and deep dive into the history of her dance company, accompanied by the ‘Palermo, Palermo’ show only this month.
What I find special about the dance theater, is not only the physical, but also symbolic expression and freedom it brings. I have already confessed that for me personally letting go through dance is liberating and simply making me stronger, even if these cold and dark months have been exhausting.
Just like in the ‘Seasons’ march’ by Pina Bausch, there is a rhythm, which everyone has to find on its own, and at the end of the day, all the movements may feel similar. The work around repetition and symbols was one of the typical approaches in her Tanztheater, and I think it caries some universal truth. ‘Everything I do, I do as a dancer, everything, everything’ she said once. And I believe that dancing not only through the night/the season/and the darkness but also through the whole live can be a very good idea.
Life is a journey, and it would be very fair to say that even if I am not travelling physically, the need for discovery leads me to trying out different things almost everyday. I mostly spent my summer in Berlin working, which was a great ride itself, with short getaways within Europe I had no time to describe but needed so badly to change air and perspective. Not to mention the quantity of gigs and showcases I’ve been able to see.
Now the summer is over and I am heading to a very distant destination.
Inspired by the title of the exhibition I saw 2 weeks ago at Blain Southern Gallery in Berlin I am ready to travel to the country I have long dreamt to visit: Japan. This mind-blowing installation created by Chiharu Shiota is open until the end of November, so if you have a chance to visit it, I truly recommend it. Full of hidden meanings and symbolics, it reflects very well the fragile nature of emotional bounds related to travel.
I love the feeling of the unknown waiting for me, this time multiplicated by the fact that none of the languages I speak may become handy, but rather the open mind and empathy. Exactly a year ago, a good friend of mine boarded the plane to Japan to travel for a couple of months in Asia. I was happy to trace herself while she was discovering beautiful places, spaces and faces. Now I find myself in this amazing state of mind, ready for the new adventures, albeit for much more limited period of time.
The hunger for travel is a state of mind. And so is Berlin – very often I start missing this city the moment I board the plane. I will be back soon and will focus on seeking for novelty in my everyday life. Till I book another trip…
After almost 2 years I’ve been living here, I have to admit I am never bored of exploring Berlin. Its diversity and creative energy is endless, as I roam around the streets, lakes, clubs, and widely defined ‘places’. Today I’d like to focus on a controversial topic of playgrounds in Berlin.
Why? As me and my friend Marta (who is the author of several pictures in this post and my partner in crime when it comes to discovering abandoned, inspiring and often horrid places) made some previous research about playgrounds, we couldn’t find the answer the origin of their specific design, to put it nicely. It’s interesting, since I know that other different secrets of Berlin have been investigated thoroughly (including the secret life of homeless Christmas trees).
Well, sometimes ill-designed amusement parks (such as Spree Park) or city attractions (like the Parks of Walking Sticks I was very tempted to see in Latvia) can be particularly romantic or even become a symbol of the city (e.g. bear sculptures in Friedrichshein are far from being cheerful).
There is a fine thin line between ‘inspiring’ and ‘scary’ though as you can see from some of the pictures we took from Spandau to Marzahn, as well as from Pankow to Tempelhof. Most of the playgrounds were empty, and I am not wondering why: the creatures looked pretty horrid, or at least very sad.
However, I wanted to say that I am not an enemy of this type of playgrounds, much as I enjoy abandoned or post-industrial places. I think that simple, wooden objects and toys can actually boost creativity in children while they explore their world. Maybe there is some underlying psychological theory beyond the specific design of these playgrounds?
To prove my argument, above I’d like to attach fragments of the book I found on the board of MS Polargirl while travelling in arctic Svalbard. You can clearly see that the author plays with the common objects found within the natural habitat (including reindeer’s bones or skulls) to create new faces, funny gnomes or island’s demons. Are Berliner playgrounds the caricature of the city?
Berlin, the acclaimed city of music, film and creative industry in general, received a very special gift last week.On 8th March 2016, Jeff Mills presented the premiere of his soundtrack for the ‘Symphony of the Great City’ within the Cinemix series. I have to say, that I am still speechless after his performance in a small studio cinema in Hackescher Markt. I am far from being a psychofan, but sitting not even 2 m away from the turntables of the maestro made it for unforgettable experience.
While the original movie is interesting enough to watch anytime, falling under the cinematic Berlin to-dos, the special history and link between Jeff Mills, Underground Resistance, the industrial revolution, and finally the bridge of techno music for Detroit and Berlin, made the Cinemix premiere one of its kind. Legend of the early Tresor years captivated the mood, rhythm and musical landscape of the city, and I bet no one could rewrite the soundtrack better than he did, given his unique connection to Berlin.
Previously we could watch Jeff Mills’ Cinemix production of Fritz Lang’s ‘Metropolis’, as below:
It is incredible, how relevant techno OST can be even after 90 years of the original movie premiere. During the screening of ‘The Symphony of the Great City’ I was stunned, how much the city changed, and at the same time, how much the energy remained the same. Alienation, industrialization, and on the other hand: consumption, excessive and extravagant social/night life describes the early years of 20th Century in Berlin much as the hype these days.
So in case you are curious to check the movie, here is the original footage of the Symphony of the Great City. I can only hope that Jeff Mills’ OST will become one of the most important, timeless masterpieces, universally defining Berlin as a cosmopolitan, dynamic and forward-thinking city.
November and December days equal for a very dark season in Berlin. You wake up in the night, then work, then it’s night again. People have different ideas how to counteract the winter sleep and the tiresome feeling, and for me resorting to the overwhelming culture and events in Berlin seems to play the trick.
This year I have absolutely fell in love with the neon lights and the overall psychodelic atmosphere of the colourful Christmas markets, especially the one based in a normally very lonely and grey corner of Jannowitzbruecke. What a change, and for some reason it was synchronised very well with the premiere of the new Gaspar Noe’s movie ‘Love’ in 3D, and even more with his memorable ‘Enter the Void’.
Similarly as last year, there were also a few memorable Boiler Rooms in town lately: starting from the 5th anniversary of the programme, through 29th Nov anniversary29th Nov anniversary to Bas Mooy, SNTS and Samuel Kerridge.
Last but not least, like always in December, I joined Feed Frequencies event in KW Institut of Art for a very special, pre-Christmas electronic Feierabend. Cosy matrresses, candles and clicks and snares made by Scott Monteith from Deadbeat and Prequel Tapes made it for a very special night.
So there are various ways to close off the year, and after some very intense weeks at work and in Berlin in general, I leave for a long-awaited natural retreat miles away, in the middle of the Atlantic Ocean, on the remote islands of Cape Verde. Stay tuned for more news on Lusofonetica very soon next year. Frohe Weihnachten und einen guten Rutsch ins Neues Jahr!