This evening brings together explorations of survival and speculative transformation through gut-grabbing, multimedia storytelling.
This evening invites audiences to journey through the intersections of tradition, resilience, and transformation. Haunting and defiant soundscapes confront collapse with a glimmer of hope, and transcendent voice bridges temporal divides, crafting a private dimension where the sacred and the experimental flow into one another.
The Research Networking Day is an exchange platform for graduate or postgraduate students – as well as independent artists conducting self-guided research – traversing the fields of music, sound, arts, media, design, and related theoretical disciplines.
A new live show combining the work of three distinct artists in music, video and light design, pivoting off recent releases and new compositions by cellist and electronic musician Lucy Railton, “Not A Word From Me” showcases a specific encounter between the trio of Railton, filmmaker Rebecca Salvadori, and visual artist Charlie Hope.
During CTM 2025, the Resynthesising the Traditional artistic lab regrouped eight artist fellows selected via open call to engage critically and in-depth with aesthetic, discursive, and technological approaches when connecting to musical and cultural heritage.
The performance “Hands Made” by choreographer Begüm Erciyas, presented at Radialsystem as a Berlin premiere and as part of the series “Conjunctions – Acts of being in relation”, invites us to rethink our relationship with our hands, to imagine how it has changed throughout history and what their role might be in a future society.
The performance “Hands Made” by choreographer Begüm Erciyas, presented at Radialsystem as a Berlin premiere and as part of the series “Conjunctions – Acts of being in relation”, invites us to rethink our relationship with our hands, to imagine how it has changed throughout history and what their role might be in a future society.
The performance “Hands Made” by choreographer Begüm Erciyas, presented at Radialsystem as a Berlin premiere and as part of the series “Conjunctions – Acts of being in relation”, invites us to rethink our relationship with our hands, to imagine how it has changed throughout history and what their role might be in a future society.
The performance “Hands Made” by choreographer Begüm Erciyas, presented at Radialsystem as a Berlin premiere and as part of the series “Conjunctions – Acts of being in relation”, invites us to rethink our relationship with our hands, to imagine how it has changed throughout history and what their role might be in a future society.
The performance “Hands Made” by choreographer Begüm Erciyas, presented at Radialsystem as a Berlin premiere and as part of the series “Conjunctions – Acts of being in relation”, invites us to rethink our relationship with our hands, to imagine how it has changed throughout history and what their role might be in a future society.
The performance “Hands Made” by choreographer Begüm Erciyas, presented at Radialsystem as a Berlin premiere and as part of the series “Conjunctions – Acts of being in relation”, invites us to rethink our relationship with our hands, to imagine how it has changed throughout history and what their role might be in a future society.
The performance “Hands Made” by choreographer Begüm Erciyas, presented at Radialsystem as a Berlin premiere and as part of the series “Conjunctions – Acts of being in relation”, invites us to rethink our relationship with our hands, to imagine how it has changed throughout history and what their role might be in a future society.
The performance “Hands Made” by choreographer Begüm Erciyas, presented at Radialsystem as a Berlin premiere and as part of the series “Conjunctions – Acts of being in relation”, invites us to rethink our relationship with our hands, to imagine how it has changed throughout history and what their role might be in a future society.
Begleitend zu der Programmreihe „Conjunctions – Acts of being in relation“ setzt das Radialsystem das Format der „Embodied Practices“ fort. In einer vierstündigen Session präsentiert der Choreograf Alexandre Achour sein Praxisformat „Dance with me“ zum ersten Mal in Berlin.
Die immersive Performance von Kate McIntosh richtet sich explizit an ein generationenübergreifendes Publikum und feiert Mitte Februar im Radialsystem ihre Berlin-Premiere. In angeleiteten Begegnungen verwischt das Publikum die Grenze zwischen dem Imaginären und dem Realen – und zelebriert dabei das Potential tiefer Vorstellungskraft und veränderter Selbstwahrnehmung.
Die immersive Performance von Kate McIntosh richtet sich explizit an ein generationenübergreifendes Publikum und feiert Mitte Februar im Radialsystem ihre Berlin-Premiere. In angeleiteten Begegnungen verwischt das Publikum die Grenze zwischen dem Imaginären und dem Realen – und zelebriert dabei das Potential tiefer Vorstellungskraft und veränderter Selbstwahrnehmung.
Die immersive Performance von Kate McIntosh richtet sich explizit an ein generationenübergreifendes Publikum und feiert Mitte Februar im Radialsystem ihre Berlin-Premiere. In angeleiteten Begegnungen verwischt das Publikum die Grenze zwischen dem Imaginären und dem Realen – und zelebriert dabei das Potential tiefer Vorstellungskraft und veränderter Selbstwahrnehmung.
“Terminal Infinity“ is an audiovisual, performative and immersive installation. Using music, dance and lighting design, it addresses the transition of humans into an increasingly technological world and reflects on the effects of technological progress on our environment and our identity.
“Terminal Infinity“ is an audiovisual, performative and immersive installation. Using music, dance and lighting design, it addresses the transition of humans into an increasingly technological world and reflects on the effects of technological progress on our environment and our identity.
“Terminal Infinity“ is an audiovisual, performative and immersive installation. Using music, dance and lighting design, it addresses the transition of humans into an increasingly technological world and reflects on the effects of technological progress on our environment and our identity.
The project “KNM CONTEMPORARIES – Music in the Making” by Ensemble KNM Berlin understands music as an open, communicative and social space, and features contemporary compositions presented through concerts and accompanying lectures. On the occasion of “11 Years of Maidan – Fighting for a Free Ukraine”, a special edition of “KNM CONTEMPORARIES” takes place in spring 2025, offering concerts, an exhibition and workshops for displaced families from Ukraine.
A large-scale composition of interviews, images and sounds tells of the respective political systems, experiences of war and fascism, personal fates impacted by violence and resistance, and the political function of art and culture. The movements of these multidirectional and transnational memories are shaped by the embodied knowledge of Flamenco: Sharing emotions becomes a kind of empowerment of the body, a source of dialogue and an expression of resistance. In this way, remembering itself becomes a radical political practice in the installation, opposing silence.
Die Performance „Third Skin“ (Premiere 2023) der deutsch spanischen Choreografin und Künstlerin Ana Lessing Menjibar, die Anfang März im Radialsystem gezeigt wird, ist eine poetische Reaktion auf die Öffnung ihrer Familiengeschichte.
A large-scale composition of interviews, images and sounds tells of the respective political systems, experiences of war and fascism, personal fates impacted by violence and resistance, and the political function of art and culture. The movements of these multidirectional and transnational memories are shaped by the embodied knowledge of Flamenco: Sharing emotions becomes a kind of empowerment of the body, a source of dialogue and an expression of resistance. In this way, remembering itself becomes a radical political practice in the installation, opposing silence.
In the performance “Dance for Nothing (revisited)”, presented at Radialsystem as a German premiere, the choreographer Eszter Salamon revisits John Cage’s “Lecture on Nothing” (1949). In 2010, Salamon first approached this work, widely regarded as one of the most important texts of 20th-century experimental literature, in her solo performance “Dance for Nothing”, which combined Cage’s words with movement.
Die Performance „Third Skin“ (Premiere 2023) der deutsch spanischen Choreografin und Künstlerin Ana Lessing Menjibar, die Anfang März im Radialsystem gezeigt wird, ist eine poetische Reaktion auf die Öffnung ihrer Familiengeschichte.
A large-scale composition of interviews, images and sounds tells of the respective political systems, experiences of war and fascism, personal fates impacted by violence and resistance, and the political function of art and culture. The movements of these multidirectional and transnational memories are shaped by the embodied knowledge of Flamenco: Sharing emotions becomes a kind of empowerment of the body, a source of dialogue and an expression of resistance. In this way, remembering itself becomes a radical political practice in the installation, opposing silence.
Die Performance „Third Skin“ (Premiere 2023) der deutsch spanischen Choreografin und Künstlerin Ana Lessing Menjibar, die Anfang März im Radialsystem gezeigt wird, ist eine poetische Reaktion auf die Öffnung ihrer Familiengeschichte.
A filmic speculation on history and memory and a cinematic manifesto against forgetting: The short films “Reappearance” (2022) and “Sommerspiele” (2023) by choreographer and film maker Eszter Salamon combine the visions and gestures of two female artists from different generations.
A large-scale composition of interviews, images and sounds tells of the respective political systems, experiences of war and fascism, personal fates impacted by violence and resistance, and the political function of art and culture. The movements of these multidirectional and transnational memories are shaped by the embodied knowledge of Flamenco: Sharing emotions becomes a kind of empowerment of the body, a source of dialogue and an expression of resistance. In this way, remembering itself becomes a radical political practice in the installation, opposing silence.
Die Performance „Third Skin“ (Premiere 2023) der deutsch spanischen Choreografin und Künstlerin Ana Lessing Menjibar, die Anfang März im Radialsystem gezeigt wird, ist eine poetische Reaktion auf die Öffnung ihrer Familiengeschichte.
Die neunten Edition des internationalen und transdisziplinären Men-torship-Programms „Forecast“ kommt vom 14.-15. März mit dem „Forecast Festival 9“ im Radialsystem zu ihrem feierlichen Ab-schluss.
Die neunten Edition des internationalen und transdisziplinären Men-torship-Programms „Forecast“ kommt vom 14.-15. März mit dem „Forecast Festival 9“ im Radialsystem zu ihrem feierlichen Ab-schluss.
Jennifer Walshe und Matthew Shlomowitz beschreiben „Minor Characters“ als „Liederzyklus für das 21. Jahrhundert“. Ihre musikalische und theatrale Erkundung der Art und Weise, wie das Internet die Realität vermittelt, lädt das Publikum dazu ein, oft übersehene Nuancen wahrzunehmen – ähnlich wie bei der Beobachtung von kleinsten Details in der Natur.
Die 24. Festivalausgabe von MaerzMusik findet vom 21. bis 30. März 2025 statt. An insgesamt zehn Festivaltagen – davon zwei im Radialsystem – stellen multidisziplinäre Projekte und Konzerte traditionelle Dualismen infrage und präsentieren neue, vernetzte Perspektiven.
Dieser Abend verbindet Musik, Klang und Bewegung. Das für Saxofon, Synthesizer, E-Gitarre, E-Orgel und verstärkte Objekte komponierte Werk „limina“ des Komponisten Mark Barden erzeugt eine hypnotische, immersive Umgebung, die dazu einlädt, tief in die zugrundeliegenden Klangstrukturen hineinzuhören. Neben „limina“ wird das Solostück „Sensation 1“ der dominikanisch-US-amerikanischen Choreografin Ligia Lewis aufgeführt.
Nguyễn + Transitory bewegen sich mit „Drifting to the Rhythms at the Southeast of Nowhere“ durch verschiedene traditionelle Tanzformen aus dem südostasiatischen Raum. Das Werk des zwischen Berlin und Chiang Mai lebenden Duos erkundet Verletzlichkeit, Desorientierung und Vertrauen als Formen des Widerstands gegen den Status quo.
Die 24. Festivalausgabe von MaerzMusik findet vom 21. bis 30. März 2025 statt. An insgesamt zehn Festivaltagen – davon zwei im Radialsystem – stellen multidisziplinäre Projekte und Konzerte traditionelle Dualismen infrage und präsentieren neue, vernetzte Perspektiven.
Das New Yorker Quartett Yarn/Wire hat sich der Förderung und Aufführung experimenteller zeitgenössischer Musik verschrieben. Im Rahmen von MaerzMusik 2025 feiert das Ensemble sein Berlin-Debüt mit einem Konzert im Radialsystem. Das Programm umfasst Kompositionen von Sarah Davachi, Jad Atoui, Clara Iannotta und Catherine Lamb.
Nguyễn + Transitory bewegen sich mit „Drifting to the Rhythms at the Southeast of Nowhere“ durch verschiedene traditionelle Tanzformen aus dem südostasiatischen Raum. Das Werk des zwischen Berlin und Chiang Mai lebenden Duos erkundet Verletzlichkeit, Desorientierung und Vertrauen als Formen des Widerstands gegen den Status quo.
„Spiegelneuronen“ ist eine Einladung zu einem ‘körperlichen Nachdenken’ über das Verhältnis von Individuum und Gesellschaft: Der dokumentarische Tanzabend von Stefan Kaegi/Rimini Protokoll in Zusammenarbeit mit Sasha Waltz & Guests, der Ende August im Radialsystem seine Deutschlandpremiere feiert, ist ein Experiment.
„Spiegelneuronen“ ist eine Einladung zu einem ‘körperlichen Nachdenken’ über das Verhältnis von Individuum und Gesellschaft: Der dokumentarische Tanzabend von Stefan Kaegi/Rimini Protokoll in Zusammenarbeit mit Sasha Waltz & Guests, der Ende August im Radialsystem seine Deutschlandpremiere feiert, ist ein Experiment.
„Spiegelneuronen“ ist eine Einladung zu einem ‘körperlichen Nachdenken’ über das Verhältnis von Individuum und Gesellschaft: Der dokumentarische Tanzabend von Stefan Kaegi/Rimini Protokoll in Zusammenarbeit mit Sasha Waltz & Guests, der Ende August im Radialsystem seine Deutschlandpremiere feiert, ist ein Experiment.
„Spiegelneuronen“ ist eine Einladung zu einem ‘körperlichen Nachdenken’ über das Verhältnis von Individuum und Gesellschaft: Der dokumentarische Tanzabend von Stefan Kaegi/Rimini Protokoll in Zusammenarbeit mit Sasha Waltz & Guests, der Ende August im Radialsystem seine Deutschlandpremiere feiert, ist ein Experiment.
In “Travelogue I – Twenty to eight”, Sasha Waltz paints a moral picture of the present with humour, aggression and sensuality that hasn’t lost any of its urgency or relevance since premiering in 1993: a true dance classic.
In “Travelogue I – Twenty to eight”, Sasha Waltz paints a moral picture of the present with humour, aggression and sensuality that hasn’t lost any of its urgency or relevance since premiering in 1993: a true dance classic.
In “Travelogue I – Twenty to eight”, Sasha Waltz paints a moral picture of the present with humour, aggression and sensuality that hasn’t lost any of its urgency or relevance since premiering in 1993: a true dance classic.
In “Travelogue I – Twenty to eight”, Sasha Waltz paints a moral picture of the present with humour, aggression and sensuality that hasn’t lost any of its urgency or relevance since premiering in 1993: a true dance classic.
With the musical theatre evening “The whole Truth about Lies”, NICO AND THE NAVIGATORS once again transform Radialsystem into a lie detector.
With the musical theatre evening “The whole Truth about Lies”, NICO AND THE NAVIGATORS once again transform Radialsystem into a lie detector.
With the musical theatre evening “The whole Truth about Lies”, NICO AND THE NAVIGATORS once again transform Radialsystem into a lie detector.
With the musical theatre evening “The whole Truth about Lies”, NICO AND THE NAVIGATORS once again transform Radialsystem into a lie detector.
In the third “Encounter” of its transtraditional music laboratory, the Trickster Orchestra takes up the theme of “comprovisation” – the multifarious creative practices situated between composition and improvisation that play a central role in a transtraditional music praxis.
In the award-winning performance “Anda, Diana”, presented at Radialsystem as a Berlin premiere, the dancer and acrobat Diana Niepce offers an intimate look into the process of her self-reconstruction after a fall that led to an irreversible spinal cord injury.
Radialsystem presents the German premiere of “On Stage” by the internationally successful visual artist and choreographer Maria Hassabi. Considered one of her most radical and personal works, “On Stage” is both a feminist reflexion and an insight into her artistic development.
In the award-winning performance “Anda, Diana”, presented at Radialsystem as a Berlin premiere, the dancer and acrobat Diana Niepce offers an intimate look into the process of her self-reconstruction after a fall that led to an irreversible spinal cord injury.
Radialsystem presents the German premiere of “On Stage” by the internationally successful visual artist and choreographer Maria Hassabi. Considered one of her most radical and personal works, “On Stage” is both a feminist reflexion and an insight into her artistic development.
To accompany the series “Conjunctions – Acts of being in relation”, Radialsystem continues the format of “Embodied Practices”. In a 90-minute session, dancer and choreographer Diana Niepce invites participants to a laboratory that uses improvisation to explore the logics of physics that guide the body in movement.