Agustín Genoud // Ash Fure
CTM Festival 2025
Concert
Ticket Prices
24 Euro, reduced 19 Euro
Tickets are sold via the CTM Festival ticketing platform:
www.ctm-festival.de/festival-2025/tickets
The evening’s program unites two visionary explorations of sound and embodiment. Both performances probe the boundaries of human experience in the face of transformation, dissolving and expanding the traditional artistic form of the concert to immerse audiences in gut-grabbing, multisensory encounters with sound.
"Liederbuch der Apokalypsen" is an A/V premiere by Agustín Genoud blending choral performance, expanded voice, live electronics, and video art into apocalyptic themes from a post-human perspective. Developed during a DAAD Artists-in-Berlin residency in 2024, the work regroups performers Audrey Chen, Anna Clementi, Alessandra Eramo, Nina Guo, Christian Kesten, Elisabetta Lanfredini, Ligia Liberatori, and Ute Wassermann to embody a range of voices through extended vocal techniques and experimental processing.
Ash Fure’s "ANIMAL" dismantles conventional boundaries in music through a raw, physical interaction with sound. Using a custom rig of subwoofers and polycarbonate sheets, Fure transforms sound into an intensely visceral force, inviting audiences to experience its friction, vibrations, and physicality. Originally conceived as a »listening gym,« the piece draws on influences from techno, Berlin’s club culture, and experimental classical music, pushing the boundaries of perception.
Further informations: www.ctm-festival.de
Cast
With
Agustín Genoud
Audrey Chen
Anna Clementi
Alessandra Eramo
Nina Guo
Christian Kesten
Elisabetta Lanfredini
Ligia Liberatori
Ute Wassermann
Ash Fure
Biographien
For Agustín Genoud, sound isn’t just something we hear—it’s a way to rethink and reshape the world. His performances vibrate with this philosophy, blending voice, materiality, and sensuality in ways that challenge our sense of the familiar, turning everything upside down and inside out. Born in Argentina in 1984, he grew up straddling the analogue and digital worlds, shaped by music videos, video games, and the rising tides of online culture. Now moving between pop and art, the physical and the virtual, Genoud stages his work as a dance between humans and machines.
Ash Fure's compositions are defined by their raw, unmediated power, blending acoustic interferences with performative intensity. She dissects and deconstructs complex sound relationships, transforming them into dynamic musical forms that teeter on the brink of collapse, exploring movement, plasticity, and immersive sonic landscapes. By merging organic materials like cotton and latex with dynamic soundscapes, she crafts interactive spaces that blur the lines between human and non-human actors, creating a shared, vibrating hyper-environment.
Programme
Agustín Genoud
„Liederbuch der Apokalypsen“
(World Premiere)
With Audrey Chen, Anna Clementi, Alessandra Eramo, Nina Guo, Christian Kesten, Elisabetta Lanfredini, Ligia Liberatori and Ute Wassermann
Ash Fure
„ANIMAL“
(German Premiere)
CTM 2025 will visit Radialsystem over seven consecutive days from 27 January to 2 February, uniting music experimentation and performances with a 5-day discourse programme and an artistic lab.
This festival edition will run without an overarching theme, instead exploring a series of new and ongoing thematic strands. One of several points of focus will be on how traditional art forms and aesthetics can be reinterpreted within modern sound and performance, outside of (self-)exoticisation and the uneven power dynamics created by mass-cultural and other stereotypes.
→ To the complete programme of CTM Festival 2025 at Radialsystem
Credits
Co-produced by DAAD Artist-in-Berlin Program and CTM Festival. The CTM 2025 Festival programme at Radialsystem is funded by the Berlin Senate Department for Culture and Social Cohesion, Goethe-Institut, Federal Foreign Office, SHAPE+ and tekhné programs of the European Union, Pro Helvetia, the Embassy of the Netherlands, and Deutschlandfunk Kultur.
Media partners: Deutschlandfunk Kultur, Refuge Worldwide, The Wire, The Berliner, Rausgegangen, taz. die tageszeitung and tip Berlin.
The evening’s program unites two visionary explorations of sound and embodiment. Both performances probe the boundaries of human experience in the face of transformation, dissolving and expanding the traditional artistic form of the concert to immerse audiences in gut-grabbing, multisensory encounters with sound.
"Liederbuch der Apokalypsen" is an A/V premiere by Agustín Genoud blending choral performance, expanded voice, live electronics, and video art into apocalyptic themes from a post-human perspective. Developed during a DAAD Artists-in-Berlin residency in 2024, the work regroups performers Audrey Chen, Anna Clementi, Alessandra Eramo, Nina Guo, Christian Kesten, Elisabetta Lanfredini, Ligia Liberatori, and Ute Wassermann to embody a range of voices through extended vocal techniques and experimental processing.
Ash Fure’s "ANIMAL" dismantles conventional boundaries in music through a raw, physical interaction with sound. Using a custom rig of subwoofers and polycarbonate sheets, Fure transforms sound into an intensely visceral force, inviting audiences to experience its friction, vibrations, and physicality. Originally conceived as a »listening gym,« the piece draws on influences from techno, Berlin’s club culture, and experimental classical music, pushing the boundaries of perception.
Further informations: www.ctm-festival.de
Cast
With
Agustín Genoud
Audrey Chen
Anna Clementi
Alessandra Eramo
Nina Guo
Christian Kesten
Elisabetta Lanfredini
Ligia Liberatori
Ute Wassermann
Ash Fure
Biographies
For Agustín Genoud, sound isn’t just something we hear—it’s a way to rethink and reshape the world. His performances vibrate with this philosophy, blending voice, materiality, and sensuality in ways that challenge our sense of the familiar, turning everything upside down and inside out. Born in Argentina in 1984, he grew up straddling the analogue and digital worlds, shaped by music videos, video games, and the rising tides of online culture. Now moving between pop and art, the physical and the virtual, Genoud stages his work as a dance between humans and machines.
Ash Fure's compositions are defined by their raw, unmediated power, blending acoustic interferences with performative intensity. She dissects and deconstructs complex sound relationships, transforming them into dynamic musical forms that teeter on the brink of collapse, exploring movement, plasticity, and immersive sonic landscapes. By merging organic materials like cotton and latex with dynamic soundscapes, she crafts interactive spaces that blur the lines between human and non-human actors, creating a shared, vibrating hyper-environment.
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