• ,

    Neues Konzept: „Intermezzo. Revisiting Helmut Newton“

    Die Helmut Newton Foundation präsentiert mit „Intermezzo“ eine filmische Neuinszenierung der Dauerausstellung und eröffnet neue Perspektiven auf Werk und Leben.

    Neukonzeption der Dauerausstellung

    Nach über 20 Jahren wird die Dauerausstellung im Erdgeschoss der Helmut Newton Foundation grundlegend transformiert. Die ursprüngliche Idee – Einblicke in das Leben von Helmut und June Newton zu geben – bleibt erhalten, wird jedoch inhaltlich und visuell neu gedacht.

    Die Wechselausstellungen im ersten Obergeschoss setzen weiterhin zweimal jährlich neue Kontexte für die Werke von Helmut Newton und Alice Springs.

    Das filmische „Intermezzo“

    Im Zentrum steht ein immersiver Filmraum: Acht Projektoren zeigen einen Film auf vier Leinwänden in einem Endlos-Loop. Die Produktion basiert teilweise auf einem Filmporträt für eine Ausstellung in A Coruña und wurde durch bislang unveröffentlichtes Material ergänzt. Dazu zählen unter anderem neu erschlossene Archivaufnahmen von June Newton.

    Alice Springs, Helmut in pumps, Monte Carlo 1987 © Helmut Newton Foundation

    Erstmals sind Interviews mit zahlreichen Zeitzeugen in Berlin zu sehen, darunter Philippe Garner, Carla Sozzani, Jenny Capitain, Violetta Sanchez und Matthias Harder.

    Neue Präsentation der Magazine und Plakate

    Im hinteren Ausstellungsbereich bleiben rund 100 Ausstellungsplakate Newtons erhalten, jedoch in neuer Anordnung und ergänzt durch Arbeiten von Alice Springs.

    Die 16 Meter lange Vitrine zeigt nun eine neue Auswahl an Mode- und Lifestylemagazinen mit Editorials von Helmut Newton und Alice Springs, darunter: Jardin des Modes, Elle, Vogue, Vanity Fair, Egoïste, Stern, The New Yorker, Photo, Paris Match.

    Diese Präsentation verdeutlicht die Entwicklung der Modefotografie sowie den Wandel des Frauenbildes von den 1950er-Jahren bis ins frühe 21. Jahrhundert.

    Biografien und kuratorische Erweiterungen

    Ergänzend werden großformatige Texttafeln mit illustrierten Biografien von Helmut und June Newton sowie Porträtfotografien der Stiftungsgründer gezeigt.

    „Spotlight: Behind the Frame“

    Alice Springs, Advertisement for Gitanes, Paris 1970 © Helmut Newton Foundation

    Ein neues kuratorisches Format rückt ikonische Fotografien in den Fokus, indem deren Entstehung und Verbreitung nachvollziehbar gemacht werden.

    Den Auftakt bilden: „Rue Aubriot“ (1975) für die französische Vogue, sowie Alice Springs’ erste Fotografie: ein Werbebild für Gitanes-Zigaretten (1970). Zukünftig soll dieses Format auch von Gastkurator:innen weitergeführt werden und neue Perspektiven auf das Werk eröffnen. Zur Ausstellung

    Intermezzo: Revisiting Helmut Newton

    The Helmut Newton Foundation reimagines its permanent exhibition with “Intermezzo,” offering a cinematic and immersive perspective on Newton’s legacy.

    After more than 20 years, the ground floor of the Helmut Newton Foundation permanent exhibition is undergoing a major transformation. While the core idea—presenting the lives of Helmut and June Newton—remains, the display is being fundamentally reimagined. Temporary exhibitions on the first floor will continue to contextualize works by Helmut Newton and Alice Springs twice a year.

    The Cinematic “Intermezzo”

    At the heart of the new concept is an immersive film installation: Eight projectors screen a film across four large surfaces in a continuous loop. The film is partly based on a previous production for an exhibition in A Coruña and expanded with previously unseen material, including newly digitized archives from June Newton.

    For the first time in Berlin, visitors can experience interviews with key contemporaries such as Philippe Garner, Carla Sozzani, Jenny Capitain, Violetta Sanchez, and Matthias Harder.

    New Display of Magazines and Posters

    Around 100 exhibition posters by Newton remain on view in a redesigned setting, now complemented by posters from Alice Springs’ solo exhibitions. A 16-meter display case features a refreshed selection of fashion and lifestyle magazines, including: Jardin des Modes, Elle, Vogue, Vanity Fair, Egoïste, Stern, The New Yorker, Photo, Paris Match.

    This installation traces the evolution of fashion photography and shifting representations of women from the late 1950s to the early 21st century.

    Biographies and Curatorial Additions

    Large-scale panels present illustrated biographies of Helmut and June Newton, alongside framed portrait photographs of the foundation’s founders.

    “Spotlight: Behind the Frame”

    A new curatorial format highlights iconic photographs by exploring their creation and distribution through contact sheets, publications, notes, and preparatory images.

    The series launches with: “Rue Aubriot” (1975), created for French Vogue and Alice Springs’ first photograph: a Gitanes cigarette advertisement (1970). Future editions will involve guest curators, offering fresh perspectives on the artists’ work.

    #writtenby:

    Contributors Avatar
  • The Big Business of Charging More for Getting Less

    How Silicon Valley and Madison Avenue perfected the slow extraction — turning beloved products into subscription traps whilst customers quietly paid the price.

    There is a particular genius, if we must call it that, to the game now being played at scale across the technology and consumer goods industries. The rules are simple: raise prices incrementally, reduce features quietly, rebrand the resulting hollowness as a “streamlined experience,” and wait. The customers, burdened by inertia and switching costs, will almost certainly stay. The few who leave will be replaced by new users who have no memory of what the product used to be. Call it the slow extraction. Call it shrinkflation for the digital age. Or simply what it is: a systematic betrayal of the people who made these companies rich.

    The strategy did not emerge from malice alone. It emerged from a specific convergence of market conditions: the maturation of once-hypergrowth platforms, the post-pandemic evaporation of cheap capital, and the relentless demand from investors for profitability over user goodwill. What was once funded by venture euphoria now has to be extracted from the people already inside the system.

    “The customer is no longer the user to be delighted. The customer is the resource to be optimized.”

    The anatomy of a price hike

    Consider the streaming industry, which spent a decade building its audience on a promise so simple it felt almost naive: unlimited content for less than ten dollars a month. That promise was, of course, a loss leader — a land-grab disguised as a service. Netflix, Spotify, Disney+, and their peers understood that once a viewer’s watch history, playlist, and cultural habits were embedded in a platform, the cost of leaving became psychological as much as financial. They were not wrong. And now they are collecting.

    Netflix has raised its standard plan price more than five times since 2014, added an advertising tier that effectively downgrades the experience for price-sensitive users, and eliminated the cheap entry point that once made the service a genuine alternative to cable.

    Spotify, despite paying artists a fraction of a cent per stream and despite seventeen years of losses, recently increased prices in dozens of markets simultaneously. The justification offered — that users are getting “more value” — deserves to be examined with the same generosity one extends to a pickpocket explaining he needed the wallet more than you did.

    Selected examples — paying more, receiving less

    NetflixEliminated cheapest ad-free plan; 5th price hike in a decade+87% since 2014
    Adobe CCBuried annual cancellation fees; features moved to higher tiersSettled FTC lawsuit
    Twitter / XFree tier throttled; verification pay-walled; API closedLegacy features removed
    Amazon PrimeAds added to Prime Video without price reductionPay again to remove
    LinkedIn PremiumRepeated price increases; AI features justify new tier+40% in two years
    Apple OneBundled services raised together; iCloud storage plans hikedLock-in by design

    The subscription trap

    The more insidious element is not the price hike itself but the architecture built around it. Subscription models, when deployed honestly, offer genuine mutual benefit: predictable revenue for the company, continuous improvement for the user. What has evolved instead is something closer to a ransom structure.

    Adobe made this explicit when the FTC sued the company in 2024 for hiding early-cancellation fees deep inside its sign-up flow — fees that could run to hundreds of dollars. The subscription was not designed to be cancelled. It was designed to make cancellation painful enough that most people would not bother.

    Image by: Kedibone Isaac Makhumisane via Unsplash.com

    This is not an outlier. It is the template. “Dark patterns” — interface designs that manipulate users into purchases, renewals, and opt-ins they did not consciously choose — have been documented across hundreds of platforms. Roach motel design: easy to get in, nearly impossible to get out. The gym membership of the digital economy, scaled to hundreds of millions of users.

    Artificial intelligence as the newest pretext

    The arrival of generative AI has provided the industry with a remarkable new justification engine. Suddenly, every existing product that has added a chatbot button or an “AI-powered” summary feature is worth significantly more money. Microsoft raised the price of its 365 suite. Notion, Linear, and a cascade of productivity tools introduced AI add-ons priced at a premium — for features that, in most cases, users had not requested and will rarely use.

    The AI tax, as it has come to be known informally, has the elegant property of being almost impossible to argue against: who could be opposed to artificial intelligence? The question of whether the AI feature actually improves the product for most users is swallowed by the ambient cultural prestige of the technology itself.

    What is being sold is not intelligence. It is the idea of intelligence — a symbolic upgrade that costs the provider pennies in compute and returns many dollars in increased subscription revenue. The product has not substantially changed. The price has.

    “Who could argue against artificial intelligence? The question of whether it improves the product is swallowed by the ambient cultural prestige of the technology.”

    The loyalty penalty

    Perhaps the most quietly infuriating dimension of this phenomenon is what economists call the loyalty penalty: the fact that long-term customers, the ones who stayed through the lean years and built a product’s reputation by word of mouth, are systematically charged more than new users. Every cable company, insurance provider, and subscription platform knows this. Newcomers receive promotional pricing. Loyal users, whose inertia and attachment make them captive, pay the full rate and often more. The reward for loyalty is extraction.

    The tech industry, which long presented itself as the antithesis of rapacious old-media conglomerates, has reproduced this dynamic with a perfection that would impress any legacy telco. The user who has been on Spotify since 2012, who helped evangelize the platform to friends and family, who built fourteen years of listening history into its algorithm — that user is worth more to the company precisely because they are less likely to leave. They will pay the new price. They almost certainly already have.

    What is owed

    Regulation has been slow, for the usual reasons. Consumer protection agencies are under-resourced, technically outmatched, and operating under legal frameworks that predate the subscription economy by decades. The FTC’s action against Adobe was notable precisely because such actions are rare.

    Class-action litigation provides some deterrence but mostly enriches lawyers. Individual consumer choice, theoretically the corrective mechanism in a functioning market, is substantially impaired by the switching costs, data lock-in, and network effects these platforms have spent years engineering.

    Image by: Rubenz Arizta via Unsplash.com

    None of this is to say that companies should not charge for their products, or that price increases are inherently illegitimate. It is to say that there is a difference between honest pricing and a strategy of deliberate obfuscation — between a company that raises prices transparently and stands behind the value it delivers, and one that quietly downgrades its product, hides its fees, engineers its off-ramps to be impassable, and dresses the whole exercise in the language of customer love.

    The latter is not a pricing strategy. It is a relationship built on contempt. And the people inside it should recognize it for what it is.

    Sources:

    Netflix price history

    1. A 94% increase: A timeline of Netflix price hikes — Android Authority – Android Authority · July 2024, Standard plan up 94% in 12 years; price hike timeline since 2011
    2. Netflix Price Increases 2026: Every Plan Compared — JustCancel – JustCancel · February 2026, Netflix raised US prices 7 times since 2014; Standard plan 100% increase over 11 years; Basic plan eliminated 2024
    3. Netflix raises prices for all US plans — ABC News – ABC News · January 2025, January 2025 price hike; Standard rises to $17.99; 302 million subscribers
    4. Netflix Pricing Changes — PriceTimeline – PriceTimeline · updated continuously, Full historical pricing table, all tiers, all years

    Spotify price increases

    1. Spotify price increased again — CNBC – CNBC · June 2024, Second US price hike in a year; individual plan to $11.99
    2. Adjusting Our Spotify Premium Prices — Spotify Newsroom – Spotify · July 2023, Official statement on 2023 simultaneous price increases across 50+ markets
    3. Spotify just announced another price hike. Here’s what’s really driving it — Fast Company – Fast Company · January 2026, Third US price hike since 2011; investor pressure as saturation approaches

    Adobe FTC lawsuit & settlement

    1. FTC Takes Action Against Adobe — Federal Trade Commission – FTC.gov · June 2024, Official FTC complaint; hidden 50% early termination fee; deliberately obstructed cancellation
    2. Adobe Agrees to $150 Million Settlement — US Dept. of Justice – DOJ · 2025, 150M settlement; Adobe required to clearly disclose fees and provide easy cancellation going forward
    3. Adobe’s hidden early termination fee is “like heroin,” exec says — Top Class Actions – Top Class Actions · August 2024, Unredacted complaint revealed Adobe executive described ETF as “a bit like heroin for Adobe”

    Amazon Prime Video ads

    1. Amazon to run ads with Prime Video — CBS News – CBS News · September 2023, Ads added to previously ad-free tier; paying to remove them amounts to 26–33% price increase
    2. Amazon to Hike Fee for Prime Video Ad-Free Tier to $5/month — Variety – Variety · March 2026, Ad-free surcharge raised again to $4.99/month; ad load has roughly doubled since launch
    3. Amazon Prime Video has ads now. Here’s how to stop them — PCWorld – PCWorld · updated 2026, Ad load doubled from ~2–3 min/hour at launch to ~4–6 min/hour by 2025

    Dark patterns — research & regulation

    1. FTC/ICPEN/GPEN Results: Dark Patterns in Subscription Services — FTC – FTC.gov · July 2024, 76% of 642 subscription sites used at least one dark pattern; 67% used multiple; 27 authorities in 26 countries
    2. FTC study finds dark patterns used by majority of subscription apps — TechCrunch – TechCrunch · July 2024, 81% of sites prevented turning off auto-renewal; 70% provided no cancellation info; 66% required payment info for free trials
    3. Six dark patterns used to manipulate you when shopping online — OECD – OECD · September 2024, OECD taxonomy of dark patterns; EU Digital Services Act enshrines ban on dark patterns

    #writtenby:

    Alexander Renaldy Avatar
  • ,

    New Almbum bypdqb – Future Traumatic Stress Disorder

    pdqb’s Future Traumatic Stress Disorder fuses collapsed futures, unfinished pasts, and post-temporal dance – no two listeners hear the same.

    Every tone on this record was sampled somewhere else: in collapsed futures, unfinished pasts, and inside stress loops that never resolved. The tracks are not composed – they are retrieved, stitched together from moments that already happened and moments that haven’t happened yet.

    The music is unstable. It depends on who listens and in which dimension they are. The tracks re-arrange themselves, revealing different harmonics. They also reveal different fears and different exits. No listeners hear the same, even if they play it at the same time.

    The überskilled Detroit remixers provide a solution for Earthbound listeners. These listeners are unable to time-travel or shapeshift. By filtering pdqb’s multidimensional signal through machine discipline, they force a temporary alignment. This creates a version of a track that sounds the same to most listeners. Only then does collective rhythm become possible, a shared timeline where bodies on a dancefloor move to the same future at once.

    Details:

    Artist: pdqb
    Release: Future Traumatic Stress Disorder
    Label: Synaptic Cliffs / SC 024
    Release Date: March 27, 206

    pdqb is an entity without a fixed form, moving through multiple timelines at once, performing in all of them simultaneously.

    #writtenby:

    Felix Göllner Avatar
  • ,

    Nicole L’Huillier: Klangräume zwischen Traum & Wirklichkeit

    In Rehearsal Room verwandelt Nicole L’Huillier Klang, KI und Stimme in ein immersives Schlaflabor, das Besucher*innen zum Träumen und Horchen einlädt.

    Experimenteller Klangraum in Berlin

    Im Frühjahr 2026 zeigt die Schering Stiftung die Ausstellung „Rehearsal Room“ der chilenischen, in Berlin lebenden Künstlerin Nicole L’Huillier. Der Titel verweist sowohl auf den Probenraum als auch auf eine besondere Klangumgebung. L’Huillier verwandelt den Ausstellungsraum mithilfe von Komposition, künstlich erzeugten Klängen und Vokalstimmen in einen Ort des Experimentierens, der die Besucher*innen auf die Welt des Träumens einstimmt.

    [:de]Poträt Nicole L’Huillier [:en]Potrait Nicole L’Huillier

    Klang als körperliche Erfahrung

    Die Klänge sind sorgfältig ausgewählt und arrangiert, sodass sie die Besucher*innen direkt beeinflussen: Gehirnaktivität und Herzrhythmus passen sich den beruhigenden Frequenzen an. So entsteht ein Synchronisationsraum, der Ruhe und Rückzug bietet, zugleich aber zur bewussten Auseinandersetzung mit ungewohnten körperlichen und kognitiven Erfahrungen einlädt. L’Huillier kombiniert dabei digitale Sounds mit Stimme, Gesang und Naturaufnahmen, um eine vielschichtige Soundscape zu schaffen.

    Zusammenarbeit und Sounddesign

    DE: Installationsansicht der Ausstellung „Rehearsal Room“ im Projektraum der Schering Stiftung, Berlin, 2026, Foto. EN: Installation view of the exhibition “Rehearsal Room” in the Schering Stiftung Project Space, Berlin, 2026.

    Der Klangraum ist das Ergebnis von L’Huilliers langjähriger Arbeit mit Frequenzen, die den Zugang zu veränderten Bewusstseinszuständen ermöglichen. Unterstützt wurde sie dabei vom kolumbianischen Produzenten und Klangkünstler Nyksan, der über das Berliner Künstler*Programm des DAAD eingeladen wurde. Gemeinsam entwickelten sie vor Ort den Soundtrack der Ausstellung.

    Drei immersive Zonen

    Ruhezone: Kissen und Akustikschaummatten mit beruhigenden Geräuschen – etwa Katzen-Schnurren, Herzrhythmen oder Meeresrauschen – lassen die Besucher*innen in eine wirkungsvolle Klangwelt eintauchen.

    Traumchor: Ein digital-analoger Hybridchor erzeugt Flüsterlaute und wispernde Geräusche, die aus Traumberichten einer Onlinedatenbank generiert wurden. Nur wer aufmerksam horcht, kann die Geschichten erkennen.

    Forschungszone: Expert*innen der Schlafforschung, darunter Prof. Dr. Björn Rasch (Université de Fribourg) und Dr. Karen Konkoly (Northwestern University), erläutern die gesundheitlichen Vorteile von Schlaf, die Wirkung von Frequenzen auf die geistige Aktivität und das Potenzial luziden Träumens. Künstlerische Beiträge zu kollektivem Träumen ergänzen die Ausstellung, etwa von Nomasmetaforas oder Precious Okoyomon.

      Traumforschung trifft Kunst

      Installationsansicht von „Rehearsal Room“, Nicole L’Huillier, 36. Ljubljana Biennale of Graphic Arts, 2025
      Foto: Gregor Gobec. MGLC Archive

      Die Ausstellung entstand in enger Zusammenarbeit mit Traum- und Schlafforscher Dr. Adam Haar Horowitz, der sich auf hypnagogische Bilder beim Einschlafen spezialisiert. Er sensibilisiert sowohl durch seine wissenschaftliche Arbeit als auch durch Projekte mit Künstler*innen für die Bedeutung von Träumen, Tagträumen und mentalem Abdriften.

      Immersiver Erfahrungsraum

      „Rehearsal Room“ ist zugleich Schlaflabor und immersive Erfahrung. Der Fokus liegt auf Akustik, Technologie und Resonanz, auf körperlichem Hören und der bewussten Auseinandersetzung mit unbewussten Prozessen. Die Ausstellung lädt dazu ein, in Klang und Traum einzutauchen und den eigenen Wahrnehmungshorizont zu erweitern.

      Erfahren Sie mehr über das Projekt hier.

      #writtenby:

      Contributors Avatar
    1. ,

      Atmospheric Architect Thaylo shares new single ‘Hidden Sky’

      Atmospheric producer Thaylo unveils ‘Hidden Sky’ on March 27 via PLAYY. Records, blending dark melodic techno with hypnotic rhythms and emotive depth.

      RELEASE DATE: 27 March 2026
      LABEL: PLAYY. Records

      Rising producer Thaylo is getting ready to unveil his second single of 2026, a track titled ‘Hidden Sky’, set to hit the airwaves on March 27th via PLAYY. Records. Thaylo boasts a whopping 6.2 million streams on Spotify alone, his unique productions, known for their infectious rhythms and emotive melodies, have resonated with audiences across the globe, and earned support from industry titans like Martin Garrix, Nora En Pure, and Solomun, as well as spots on prestigious labels such as Purified, Colorize, and Kontor.

      Image Credits: Gaetan Chekaiban

      Top 100 Progressive House Releases on Beatport

      Thaylo recently opened for electronic heavyweight KOROLOVA at Dublin’s premiere electronic music night club Index, while he also released a melodic techno anthem ‘Belong’, with Labo T label founder Teho. Additionally, Thaylo is still basking in the success of his mesmerising 2025 EP, Drown In Your Eyes, which drew praise from global tastemakers. He has earned recognition in the Top 100 Progressive House Releases on Beatport. He also secured a spot in the Top 100 Deezer (Indonesia).

      His tracks have also been featured on several high-profile Spotify Editorial Playlists, including Chill TracksMelancholiaAfterhoursOpen AirElectronic Risingand Summer House 2025. Thaylo hails from and is based in Grenoble, France. He knew he was destined to be a DJ and producer when he first watched the Tomorrowland aftermovies. From that point on, he dedicated himself to creating his own music, driven by the dream of one day hearing his tracks played on such iconic stages—or better yet, performing them himself.

      a progressive and entirely immersive experience

      Renowned for his live performances showcasing his captivating melodies, infectious rhythms, and eclectic sonic palette, Thaylo also produces, mixes and masters his own music. He’s influenced by a vast array of artists including M83, Ludovico Einaudi and Solomun. Thaylo crafts a sound that traverses the boundaries between melodic, progressive, and deep house. His music is sure to be enjoyed by fans of the above as well as those of John Digweed, Saint Vie, and Jan Blomqvist.

      “’Hidden Sky’ is a track that blends emotion with rhythmic energy. Driven by a melancholic atmosphere and immersive pads, it’s the perfect piece to perform live.”

      Thaylo

      ‘Hidden Sky’ takes a turn from Thaylo’s usual melody-driven euphoria, steering into darker, more introspective energy while retaining his hypnotic, emotive blueprint. Sweeping bass and restless yet steady rhythms guide the song through waves. It undulates continuously. Layers of texture, arpeggios, and vocals weave in and out of the mix. This creates a progressive and entirely immersive experience. Listen on spotify

      Details:

      Pre-save ‘Hidden Sky’

      Upcoming Shows: 

      28 March – Block, Dublin – (supporting act for LYKE) 
      08 May – 4You Festival – Wadern, Germany 

      Thaylo:

      Instagram – Facebook – Soundcloud – TikTok – Youtube – Spotify

      PLAYY. Records:

      Website – Instagram – Facebook – X – Soundcloud –  Youtube 

      #writtenby:

      Playy Avatar
    2. ,

      DESIGN REAL – Berlin Design Week 2026: Preview

      Berlin Design Week 2026: Talks, Ausstellungen, Touren & offene Studios. Jetzt Tickets für Berlin Design Day und THE BERLIN FORMAT sichern!

      Die Berlin Design Week 2026 (28.–31. Mai) präsentiert ein vielschichtiges Programm aus Talks, Ausstellungen, Designtouren und offenen Studios. Zwei zentrale Veranstaltungen stehen ab sofort im Vorverkauf. 

      BERLIN DESIGN DAY

      28. MAI 2026 

      Den Auftakt macht der Berlin Design Day – co-veranstaltet von Berlin Design Week und Berlin Design e.V. Von 14:30 bis 19:00 Uhr diskutieren Designerinnen, Architektinnen und Kreative über Gestaltung, Architektur und die Zukunft der Branche.

      Mit dabei: Julia Krüger (Senior Innovation Manager Kreativ- und Medienwirtschaft, Berlin Partner), Nick Stübe (Berlin Design e.V.) und Alexandra Klatt (state of DESIGN GmbH, Kopf der Berlin Design Week). Weitere Speaker folgen. 

      Tickets: lu.ma/berlindesignday 19 € 

      THE BERLIN FORMAT

      29. MAI 2026 

      The Berlin Format ist das Herzstück der Berlin Design Week 2026 – ein Abend mit Talks und Panels in drei Themenblöcken: AI & Design, Architektur & Forschung sowie Design & Demokratie. 

      AI & Design:

      Prof. Dr. Oliver Nickel (SWELL GmbH & AMD University) zu empathischer KI, Barbara Silva (phoenix design Stuttgart) zur Produktdesign-Perspektive, Birgit Baier (Bempowered, ehem. Frog Design & Razorfish) zur digitalen Business-Transformation. 

      Architektur & Forschung:

      Marwan Zabanoot (Architekt & PhD-Forscher, University of Bath) zu urbaner Identität und Heritage Conservation, Justin Allen (Allen Kaufmann Studio & Objects, Berlin) zur zeitgenössischen Architekturpraxis. 

      Design & Demokratie:

      Maria Stasevich (OBLIK Berlin), Prof. Dr. Felix Kosok (Professor für Kommunikationsdesign, German International University Berlin, Direktor des Designdiskurses World Design Capital Frankfurt RheinMain 2026) und Luc(as) de Groot (LucasFonts Berlin, Designer von Calibri und Consolas) über Haltung, Verantwortung und digitale Zukunft. 

      Weitere Speaker folgen. 

      Inklusive Drinks & Fingerfood. 

      Tickets ab sofort: lu.ma/theberlinformat · 79 € 

      BERLIN DESIGN WEEK  

      TERMIN: 28.–31. MAI 2026 

      ORT: BERLIN 

      MOTTO: DESIGN REAL 

      WEB: BERLINDESIGNWEEK.COM 

      Über die BERLIN DESIGN WEEK 

      Die Berlin Design Week ist ein jährliches Designfestival, das die Vielfalt des Designs in Berlin und darüber hinaus präsentiert und feiert. Seit 10 Jahren bringt sie Designerinnen, Architektinnen, Unternehmen und Organisationen in der UNESCO City of Design Berlin zusammen – und bietet ihnen eine Plattform für die neuesten Trends und Innovationen im Designbereich. 

      Die Berlin Design Week ist ein Projekt der state of DESIGN GmbH

      #writtenby:

      Contributors Avatar
    3. ,

      Das Programm der Uferstudios im April 2026

      Immersive Bühnen, dystopische Visionen und körperliche Grenzerfahrungen: Die Uferstudios laden zu intensiven, vielschichtigen Performance-Erlebnissen ein.

      Im April finden sich die Uferstudios zwischen immersiven Bühnenräumen, dystopischen Zukunftsentwürfen und körperlichen Grenzerfahrungen wieder. Den Auftakt bildet die prämierte Inszenierung BERLAU :: KÖNIGREICH DER GEISTER, in der RAUM+ZEIT Biografie als begehbaren Erfahrungsraum inszenieren.

      Mit NO FIXED ADDRESS entwirft Natalia Maria Michailidou eine beklemmende Vision einer überwachten Gesellschaft, in der Isolation zur Norm wird. Und die Performance-Installation CENTER[O]POSITIVE von POLLUX verschiebt Wahrnehmung und Präsenz in einem dynamischen System aus Feedback, Bewegung und Live-Elektronik.

      BERLAU :: KÖNIGREICH DER GEISTER – RAUM+ZEIT

      1. &  2. April 2026, 4. & 5. April 2026, ab 17.36 Uhr • Studio 14

      Die mit dem Friedrich-Luft-Preis ausgezeichnete Inszenierung von RAUM+ZEIT nähert sich fragmentarisch der Biografie von Ruth Berlau – dänische Kommunistin, Fotografin und enge Weggefährtin Bertolt Brechts. Zwischen Dokument und Fiktion, Nähe und Distanz verbindet sich Virtual Reality und Live-Performance zu einer immersiven Erfahrung, in der das Publikum Berlaus Spuren individuell folgt.

      NO FIXED ADDRESS – Natalia Maria Michailidou 

      No fixed address, Kamera Natalia Maria Michailidou Editing Daria Zaikina

      11. & 12. April 2026, 20.30 Uhr • Studio 1

      NO FIXED ADDRESS (NFA) entwirft eine dystopische Zukunft, in der menschliches Leben nur noch dysfunktionale Systeme aufrechterhält. Fünf Performer*innen bewegen sich in einer überwachten Ordnung – sichtbar und zugleich unsichtbar. Die Arbeit untersucht die psychologischen Folgen von Ausgrenzung und die Erosion von Beziehungen und Selbst. Als immersives Zusammenspiel von Klang, Körper und Raum wird NFA zur Warnung: Was bleibt, wenn Isolation zur Norm wird?

      CENTER[o]positive – POLLUX

      POLLUX Horizontal 1 by Theo Ilichenko

      17.- 19. April 2026, 19.00 Uhr • Studio 1

      CENTER[O]POSITIVE ist eine Performance-Installation von POLLUX, die Klang, Körper und Feedback in ständiger Variation zusammenführt. Zwischen Wiederholung und Bruch verschieben sich Wahrnehmung, Erinnerung und Realität in Echtzeit. Ein immersives Zusammenspiel aus Bewegung, Live-Elektronik und resonanten Objekten, das Instabilität, Transformation und neue Formen von Präsenz erfahrbar macht.  

      neworks – Asya Ashman & Therese Bendjus

      neworks Asya Ashman + Therese Bendjus Belmon © Aïsha Mia Lethen Bird

      ada Studio 24. & 25. April 2026, 19.00 Uhr • Studio 7

      Asya Ashman und Therese Bendjus/Belmon untersuchen Zerstörung als Kraft zwischen Zusammenbruch und Erneuerung. In Tanz, Sound und performativen Praktiken erforschen sie Wut, Verlust und Ermächtigung als verkörperte Zustände. Die Arbeit fragt nach dem Verhältnis von Zerstörung, Dekonstruktion und Gewalt – und danach, was im Beenden von Dingen liegt.

      Informationen zum weiteren Programm der Uferstudios gibt es auf der Homepage.

      Texte von: Lea-Maria Kneisel

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    4. ,

      On The Road by Dina Summer via Iptamenos Discos

      A nocturnal journey of freedom and longing—Dina Summer fuse darkwave and post-punk into a restless ode to motion, where the road itself becomes home.

      There is a specific, restless yearning that belongs only to the highway at night. It is a space where the modern nomad finds solace not in arriving, but in the perpetual state of motion. With their latest single, Berlin trio Dina Summer capture precisely this dialectic of freedom and displacement. Having rightfully catapulted themselves to the vanguard of Europe’s dark electronic scene with their celebrated 2025 sophomore album ‘Girls Gang’, the band now picks up exactly where they left off, yet steers into decidedly more expansive territory.

      A profound meditation on rootlessness.

      For this endeavor, they have once again enlisted the formidable talents of Joshua Murphy, the Australian multiinstrumentalist known for his work with Crime & the City Solution, an artist whose very presence evokes the beautifully weathered mythology of post-punk.

      This collaboration results in an electronic post punk ballad. The track thrives on the friction between the shimmering, stoic coolness of Berlin club synthesizers. It also exhibits the organic, urgent warmth of rock instrumentation.

      Lyrically, the track strips away excess to reveal a profound meditation on rootlessness. When the vocals declare, “There is no place to call my own / Just the open road to roam”, it is not sung as a tragedy, but as a hopeful, almost spiritual revelation.

      The road twisting and turning becomes a metaphor for the unpredictability of the modern human condition, where each new place offers “a lesson to learn”. The song’s imagery draws inspiration from Jack Kerouac’s seminal novel ‘On the Road’. It channels the same restless longing for movement. It hints at discovery and freedom that defined the Beat generation.

      Gazing at a vast and starry sky

      Where their previous work often inhabited the claustrophobic darkness of the dancefloor, this new single gazes upward at the “vast and starry sky”. It is powerful, deeply atmospheric, and driven by an irrepressibly optimistic melody that cuts through the melancholy. In the end, it serves as a reminder that sometimes the only home we have is the momentum of moving forward.

      Details:

      Buy / Stream Link

      Official Video

      Release Date: March 25th, 2026

      Post Punk, Dark Wave, Dark Disco

      Catalog Number IDI027A

      #writtenby:

      Alexander Renaldy Avatar
    5. ,

      Spazio Viruly presents “UNBOXING: A Room as Instrument” 

      From April 20th to 26th, 2026, Spazio Viruly presents UNBOXING: A Room as Instrument, a site-specific exhibition during Milan Design Week 2026.

      Hosted by Superattico  (Via Bartolomeo Eustachi, 40) in Milan’s vibrant Porta Venezia Design District, this exhibition brings together the work of two Rotterdam-based designers: Matthijs Koerts and Merijn Haenen. Both designers dismantle familiar devices into their essential components—energy, tension, light, and sound. They reassemble them into immersive spatial installations. These installations invite new ways of experiencing these forces and materials.

      During the week, the exhibition will feature a series of public events, including listening sessions and artistic performances. Milan-based dancer Eleonora Cattaneo will bring the installation to life. She previously collaborated with Spazio Viruly for the Rotterdam Art Week. She will perform two live shows. Additionally, the exhibition space will be complemented by a specially designed soundscape, adding an extra layer to the sensory experience.

      INFO

      Location: Superattico, Via Bartolomeo Eustachi, 40, 20129 Milan
      Date: 20—26 April 2026
      Hours: 2pm—10pm

      www.spazioviruly.com

      Copyright © 2026, MINT LIST, All rights reserved

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