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Compilation: EMO Dance Vol.1 via Es Mi Momento
EMO Dance Vol.1: The first Es Mi Momento compilation—5 tracks bridging dark indie dance & radiant trance. A manifesto of melancholy & ecstasy.
EMO Dance Vol.1 is the first compilation from the Es Mi Momento label: five tracks that lay the foundation of our sonic identity: from slow, dark indie dance to fast, radiant trance, with vocal-driven melodies tinged with 80s influences.
It’s more than a compilation. It’s our manifesto. The project includes the eponymous track “Es Mi Momento” by Zimmer & Los Eclipses, capturing that tension between melancholy and ecstasy.
Taged as/in; Compilation, Dance, Ecstasy, Electro, EMO, Es Mi Momento, Indie, Indie Dance, label, Los Eclipses, manifesto, Melancholy, Music, Trance, Zimmer#writtenby:
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TAG DER CLUBKULTUR 2025: die Bewerbungsphase beginnt
TAG DER CLUBKULTUR 2025 feiert Clubs & Kollektive mit Kulturpreis & Festivalwoche. Berlin zeigt: Clubkultur ist Herzstück & Brückenbauer der Stadt!
Kulturpreis und Festivalwoche zelebrieren Berlins Clubszene
In einer Zeit, die geprägt ist von Kürzungen. Zunehmende Verdrängung sowie schrumpfende Freiräume kennzeichnen diese Zeit. Die Clubszene befindet sich im starken Wandel. Berlin sendet ein kraftvolles kulturpolitisches Signal. Der TAG DER CLUBKULTUR geht 2025 in seine sechste Runde und würdigt Clubs und Kollektive erneut mit einem umfangreichen Kulturpreis und einem einzigartigen Festivalprogramm. Damit zeigt Berlin einmal mehr: Clubkultur ist keine Nebensache. Sie ist Herzstück städtischer Kultur, Raum für künstlerische Exzellenz und kollektive Zukunftsentwürfe.
Die Festivalwoche reflektiert die Bedeutung der Wiedervereinigung für die Berliner Clubkultur
Ab sofort können sich Berliner Clubs und Kollektive aller Genres und Disziplinen der vielfältigen Berliner Clubszene auf den Kulturpreis im Rahmen des TAG DER CLUBKULTUR bewerben. Veranstaltungen dürfen ihre Teilnahme an der Festivalwoche einreichen, die vom 3.-12. Oktober 2025 inspiriert vom 35. Jubiläum der deutschen Wiedervereinigung unter dem Thema “Bridging Realities – 35 Years of Movement” stattfindet.
„Die Clubkultur ist ein Herzstück Berlins. Sie setzt damals wie heute bedeutende kulturelle, künstlerische und soziale Impulse und ist der kreative, widerständige Klebstoff dieser Stadt – mit Strahlkraft weit über ihre Grenzen hinaus. Damit das auch in Zukunft so bleibt, müssen wir jetzt kulturpolitische Weichen stellen.
Dank der kontinuierlichen und intensiven Zusammenarbeit mit der Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt sowie dem Musicboard Berlin den Kulturpreis und die Festivalwoche im Rahmen des TAG DER CLUBKULTUR bereits zum sechsten Mal in Folge durchführen können. Dies sendet ein starkes Signal für die Anerkennung und weitere Förderung einer vielfältigen, offenen und progressiven Clubszene in Berlin.”
Katharin Ahrend, Projektleitung TAG DER CLUBKULTUR & Co-Geschäftsführung Clubcommission Berlin e.V.Zwei neue Jurys, differenzierte Preisgelder & fünf progressive Kategorien
2025 werden insgesamt 31 Auszeichnungen mit Preisgeldern zwischen 5.000 und 20.000 Euro für bisheriges kulturelles Engagement in fünf Kategorien vergeben. Prämiert wird: Programmgestaltung & Kuration, Engagement für Community & gesellschaftlichen Zusammenhalt, Ästhetik & Raumgestaltung, Diversität & Nachhaltigkeit, Newcomer.
Das Preisgeld für Clubs erhöht sich ab diesem Jahr auf je 20.000 Euro und bleibt für Kollektive bei je 10.000 Euro. Erstmals entscheiden zwei unabhängige, divers besetzte Jurys mit je fünf Expert:innen aus verschiedenen Bereichen der Berliner Clubkultur getrennt über Clubs und Kollektive. Hier treffen Pionier:innen auf neue Generationen, lokale Vertraute der Szene auf international vernetzte Perspektiven.
Unterschiedliche Genres, soziale Positionierungen und professionelle Hintergründe kommen mit einer gemeinsamen Haltung. Clubkultur als vielschichtige, progressive und bedeutende kulturelle Praxis sichtbar zu machen. Über die Auswahl der auszeichnenden Clubs entscheiden in diesem Jahr: Michael Müller, Perera Elsewhere, Anja Schneider, Tabea Burk und Christoph Reimann. Über die Auswahl der Kollektive entscheiden: Cristina Plett, Dimitri Hegemann, Wanda Gaimes, Asia James und Carmen Herold.
Infos zu allen Juror:innen finden sich hier.
Foto: Piotr Pietrus
Festivalwoche 2024, Cashmere RadioDie Preisverleihung für die ausgezeichneten Clubs und Kollektive findet in diesem Jahr am 1. Oktober 2025 direkt vor Beginn der Festivalwoche im Rahmen des TAG DER CLUBKULTUR statt und wird in einem kleinen feierlichen Rahmen vom Musicboard Berlin durchgeführt. Die Bewerbungsphase für den Kulturpreis läuft vom 23. Juli bis 20. August 2025.
Mit der Bewerbung auf den Preis können sich die Clubs und Kollektive gleichzeitig zur Teilnahme an der Festivalwoche anmelden. Alle Informationen zur Preisausschreibung und Teilnahmebedingungen gibt es hier. Für offene Fragen sind zwei Info-Calls am 29. Juli und 12. August, jeweils um 18 Uhr geplant. Interessierte können sich hierfür online anmelden.
Festivalwoche vom 3.-12. Oktober 2025
Zum Tag der Clubkultur wird auch in diesem Jahr wieder eine interdisziplinäre Festivalwoche in ganz Berlin stattfinden. Ziel ist es Sichtbarkeit, Partizipation und kulturelle Anerkennung der Clubszene zu fördern. Dieses Mal steht sie unter dem Thema „Bridging Realities – 35 Years of Movement“ inspiriert vom 35. Jubiläum der deutschen Wiedervereinigung am 3. Oktober 2025.
„Das Musicboard fördert den TAG DER CLUBKULTUR seit seiner Einführung im Jahr 2020 und damit die Anerkennung der besonderen kulturellen und musikalischen Arbeit, die aus der Berliner Clubszene hervorgeht. Wir freuen uns, dass das Projekt auch trotz der herausfordernden Kürzungen im Kulturetat weiter eine wichtige Fördersäule für die Clubkultur in Berlin bleibt.”
Marie von der Heydt, Geschäftsführung Musicboard BerlinDie Berliner Clubkultur entstand aus jener Aufbruchsstimmung der 90er Jahre: improvisiert, unkommerziell, widerständig. Sie schlug Brücken zwischen Ost und West, zwischen Milieus, Szenen und Perspektiven. Heute, 35 Jahre später, stellt sich erneut die Frage: Wie kann Clubkultur heute Realitäten verbinden? Verbindungen herstellen zwischen Generationen, Communities, Perspektiven und sozialen Kämpfen? Wie bleibt sie ein Ort für Begegnung, Austausch und kollektives Zusammenkommen Erinnern?
Clubkultur als Brückenbauer: 35 Jahre nach der Wiedervereinigung
Der TAG DER CLUBKULTUR 2025 bietet die Bühne, diese Fragen laut und sichtbar zu stellen. Die Festivalwoche (3.–12. Oktober) ist offen für alle Aktiven der vielfältigen Berliner Clubkultur: Clubs, Kollektive, Veranstalter:innen, Künstler:innen und mehr. Gesucht werden Veranstaltungen jeder Art – von Clubnächten, Open Airs über Performances und Konzerten bis zu Workshops Diskursformaten.
Foto: Jascha Müller-Guthof
Festivalwoche 2023, CalenturaAlle eingereichten Events werden Teil des offiziellen Programms und erhalten redaktionelle sowie mediale Sichtbarkeit. Hier gibt es keine Jury, kein Auswahlverfahren – nur Offenheit und Resonanz und gemeinsames Gestalten. Alle Interessierten können vom 23. Juli bis 3. September 2025 Veranstaltungen einreichen. Informationen zum Open Call und Teilnahmebedingungen gibt es hier.
Opening am 3. Oktober
Die Festivalwoche wird am 3. Oktober mit einem öffentlichen Opening feierlich durch die Clubcommission Berlin e.V. eröffnet. Im letzten Jahr zählte der TAG DER CLUBKULTUR über 80 Veranstaltungen in nur acht Tagen. 2025 soll daran angeknüpft werden. Clubkultur ist kein Trend – sie ist ein kulturelles Fundament. Berlin lädt ein, es sichtbar zu machen.
Foto: Andrea Rojas
Festivalwoche 2023, PuticlubÜber den TAG DER CLUBKULTUR:
Der TAG DER CLUBKULTUR wurde 2020 von der Clubcommission, der Senatsverwaltung für Kultur und Europa und dem Musicboard Berlin ins Leben gerufen. Er wird heute von der Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt sowie dem Musicboard Berlin gefördert.
Ursprünglich als Lebenszeichen der Berliner Clubs in existenzbedrohenden Zeiten konzipiert, hat sich der TAG DER CLUBKULTUR inzwischen zu einem etablierten Kulturpreis und Festival entwickelt. Mit dem Preis wird jährlich das kulturelle und künstlerische Engagement der Berliner Clubs und Kollektive ausgezeichnet wird.
Website
info@tagderclubkultur.berlin
InstagramCopyright © 2025 Clubcommission Berlin e.V., All rights reserved.
Taged as/in; 35YearsOfMovement, BerlinClubCulture, BerlinNights, Brückenbauer, ClubcommissionBerlin, Clubkultur, Clubscene, Festivalwoche, Kulturpreis, Musicboard Berlin, MusicboardBerlin#writtenby:
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LAMOMALIJe suis Mali (The Avener & Bovalon Remix)
amomali’s “Je suis Mali” gets an Afro house rework by The Avener & Bovalon! A vibrant blend of Malian heritage and electronic elegance. Out now!
Always driven by a spirit of collaboration, Lamomali – the musical adventure led by -M-, Fatoumata Diawara, and kora masters Toumani and Balla Diabaté – continues its dialogue between cultures and continents. “Je suis Mali”, a heartfelt tribute to the Malian people, gets a unique afro house rework by The Avener & Bovalon.
A major figure on the international electronic scene, The Avener made a global impact with “Fade Out Lines” (1.5 million copies sold), a Victoire de la Musique, and tours across the world’s most prestigious stages. Ten years on, he returns to his house roots with an ever more immersive vision.
Blending Mandingue heritage with electronic elegance, this remix becomes a vibrant bridge between the rituals of Bamako and the sleepless nights of European clubs.
Artist: Lamomali
Release: Je suis Mali (The Avener & Bovalon Remix)
Label: Wagram Music
Release Date: July 22© FATdrop 2025
Taged as/in; afro house, Bamako, Bovalon, Clubs, collaboration, culture, Electronic, global, heritage, House, Je suis Mali (The Avener & Bovalon Remix), Lamomali, Mandingue, Music, The Avener, vibrant, Wagram Music#writtenby:
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Interview with Carsten Schulz on “Lockdownbeats”
How the pandemic’s silence inspired capturing Berlin’s club emptiness and supporting the scene. A deep dive into cultural identity.
What was the trigger for the “Lockdownbeats” series?
The silence of the pandemic. I noticed that something was missing: the sound of the clubs, the life of the night. I wanted to make this emptiness visible by photographing the clubs in exactly that state. At the same time, I felt the need to do something for the scene.
The idea was to create awareness with a photo book and support DJs and clubs during this difficult time. I discussed this concept intensely with Juliane Behnfeldt, and together we launched the project. Like many things during that time, this endeavor took longer than planned, but we always held on to our goal.
You went right into the heart of Berlin’s club culture, but without the music, without people. What do these spaces tell us about the city, about its cultural identity?
The spaces tell of a city that fell silent overnight. They are symbols of a free, creative culture that has made Berlin world-famous. At the same time, in this emptiness, they appear strange and unfamiliar, as if one were seeing places for the first time that one thought they knew. Deserted, they seem almost vulnerable, and yet powerful, because one senses what can happen there when life returns.
Your pictures often appear calm, almost contemplative – but they come from places that are usually very loud. What role does formal clarity play in your photography?
Formal clarity helps me to focus on the space itself. Without distraction from movement or light installations, space for reflection is created. The reduction creates a kind of photographic silence, fitting the emptiness of the clubs during the lockdown.
At the same time, I leave a lot of room for what happens on site. I often work spontaneously and react to the respective mood and light in the moment. Some pictures are almost coincidental because the space suddenly tells something I hadn’t planned.
How important is the documentary dimension of your work to you?
Very important. I see “Lockdownbeats” as a document of its time. These photos preserve a moment of collective standstill, captured in places that are otherwise never still. At the same time, the images remain open enough to allow for interpretations.
Some of the portrayed DJs are icons of the scene themselves. How did you select them, and what was important to you in their portraits?
It was important to me to show personalities who not only shape but embody the club scene. The selection came about partly through existing contacts, and partly through recommendations within the scene. A central element for me was that the portraits should be taken in their own clubs – in the places that shape their work and their lives.
The portraits should not appear staged but rather develop from the situation. For me, it was crucial that their seriousness and humanity became visible, as the pandemic deeply affected many of them personally.
The club landscape has changed since the pandemic. What do you observe – and what worries you?
The club scene appears more fragile and less stable than before. Besides real estate speculation, which threatens many clubs and venues, I also observe that fewer people are going to clubs overall. Perhaps going out habits have changed; many have become more reserved, perhaps also more comfortable.
The social interaction in nightlife, which used to be self-evident, no longer seems to be for some. What worries me is that important places of encounter, freedom, and creativity could disappear, and with them, a piece of the city’s cultural identity.
What does nightlife personally mean to you?
Nightlife for me is another world – a place beyond everyday life, where routines and boundaries disappear. Here, people experience a special atmosphere of music, light, and mood. For a short time, you become part of something bigger. This unique experience and the feeling of freedom are, for me, the essence of nightlife – and also make it so photographically appealing.
Carsten Schulz: LOCKDOWNBEATS
Exhibition Dates: September 10th – November 1st, 2025
Opening Reception: September 10th, 2025, 6 – 10 pmLocation: janinebeangallery
Torstrasse 154
10115 Berlin, Germany
www.janinebeangallery.comTaged as/in; art, berlin, Carsten Schulz, Clubs, culture, Interview, LOCKDOWNBEATS, nightlife, Pandemic, Photography#writtenby:
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Why I’m Not Everyone’s Darling: A Candid Look at My Vision
Unapologetically challenging art & culture. My vision isn’t for everyone, and that’s precisely the point. B’SPOQUE’s mission continues.
Dear Reader undefined,
As Editor-in-Chief of B’SPOQUE Magazine, I’ve come to understand that my approach to art, culture, and social commentary isn’t for everyone. And frankly, I’m perfectly fine with that—at least most of the time. My goal has never been to win a popularity contest, but rather to provoke thought, challenge norms, and foster genuine connection through meaningful discourse and social interaction.
However, pursuing this vision comes with plenty of personal sacrifices: countless hours in front of a screen, navigating mean gossip, and maintaining a breathtaking pace. Sometimes, I even face severe headaches from external pressures and miss personal appointments.
But hey, thank you for nine years of challenges, inspiration, and the occasional inhumane humiliation if I misplaced a word or phrased a sentence incorrectly. Some of the comments I’ve heard and read were devastating at first, but quite funny in the end. No matter what, let’s end this war.
Are You Calling Me Arrogant?
My writings, particularly within B’SPOQUE, often delve into areas some might find uncomfortable or even controversial. Take, for instance, my exploration of “The Dialectic of Arrogance in the Artistic Sphere.” I argue that a certain level of self-assurance—what some might label arrogance—is not just beneficial but essential for artists to maintain their integrity and resist the pervasive forces of commodification.
This isn’t about promoting elitism. It’s about advocating for the unwavering conviction needed to create authentic work. We live in a world constantly seeking to dilute it. I understand this perspective might rub some the wrong way, especially those who champion a more conventionally collaborative or accessible art scene.
Ain’t no mountain high enough for the collective
But true artistic autonomy, in my view, demands this kind of unapologetic self-belief. This does not exclude collective efforts, as the magazine has truly been manifesting with the support of the collective within the years.
I’ve learned, even within my own community, we often need to sort out fundamental differences before we can engage with a genuine sense of manners and gallantry. Call me old-school, but I always have a reason to provoke and to evolve from the truths found in failure and misunderstandings.
Don’t Let Me Say: “I Told You So”…
I also don’t shy away from critical social commentary. One our featured articles “Hello Fascism… some important things to watch out for” is a prime example. I see the rise of fascism as a palpable and present danger, and I believe it’s crucial to speak directly and urgently about it. Emilia Roig’s voice has inspired me many times. It has affirmed that my thoughts are in sync with those of other authors.
When she points out the alarming trend of “critical voices slowly disappearing from mainstream media,” her intention is not to be alarmist. We want to sound a necessary warning. This directness, while perhaps unsettling for those who prefer a more subdued or apolitical stance on social issues, is, to me, a moral imperative.
In 2022 I myself have been writing about the unwanted rise of right wing policies. The result was a shit storm on all sides. And to be honest, navigating morals has always been challenging. Why are others allowed to do the same things without consequences?
Meanwhile, I have to apologize for the good I’ve tried to spread into the world? People have been scrutinizing my every move. They judge my appearance and behavior. They won’t stop until they’ve found something to blackmail me or push me aside. But this won’t stop me from following my path as an artist myself.
To Inspire or Not to Inspire?
B’SPOQUE’s mission, and my personal commitment, is to “craft fresh narratives in social and ethical discourse.” We aim and claim to consistently push boundaries. This means my editorial direction will naturally challenge traditional viewpoints. For those who gravitate towards more conventional or less overtly critical perspectives on culture and society, my work might feel too challenging, too direct, or even abrasive. And that’s precisely the point.
“There are more things in heaven and earth, …, than are dreamt of in your philosophy…”
We’re talking about ego and vanity here. To be precise, until a certain point in my life, I had neither. However, I’ve grown older and experienced the fact that not biting back would simply silence me and destroy the work of the dreaming kid at the age of fourteen, hoping one day this magazine would come into life.
Ultimately, my strength—and perhaps my perceived flaw—lies in my dedication to independent thought and my willingness to confront complex, often uncomfortable, truths. I aim to stimulate critical thinking and dismantle the status quo. Mine has been questioned several times, not just by my readers, also by my closest friends and my allies.
“A lie is sweet in the beginning and bitter in the end. Truth is bitter in the beginning and sweet in the end.”
DJ Kotze from the Track XTCHowever, all this does not mean, that I would tolerate rudeness, cruelty or false accusations. If that means I’m not “everyone’s darling,” then I consider it a sign that I’m doing exactly what I set out to do, and I wouldn’t have it any other way. Blood, sweat and tears went into this publication and I am proud as f*** for each and everyone believing in us!
All Images by Lians Jadan
Without art, cultures, the social engagement, and the commentary part, my work as editor of the B’SPOQUE magazine, wouldn’t have come to life. My personal vision and the accompanying challenges, my thought provoking honesty and the collective discourse, will always remain in fashion. At least in and for my beloved Berlin.
Sincerely your,
Alexander RenaldyTaged as/in; art, B’SPOQUE, berlin, challenge, commentary, culture, discourse, editor, fashion, honest, magazine, personal, social, thought, Vision#writtenby:
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Hidden gem: Wetware Unveiled by pdqb – LP
Mysterious, playful & dark. Synaptic Cliffs unveils Wetware Unveiled by pdqb — decoded dream hacks on green splatter vinyl. Where is pdqb now?
Bad news: Not much is known about pdqb, and what we do know is most likely either wrong or made up. The man who is credited for the productions is said to have gone insane due to being possessed by an alien parasite. His whereabouts remain unknown.
Good news: Fortunately, Synaptic Cliffs owns about a dozen releases from whoever or whatever is behind the mysterious abbreviation and will publish every single one of them…because they are ultra awesome.
With the original tapes of this Mini-LP, pdqb left a fragmented note in the ’90s stating that he decoded eight tracks originally produced with the NCO6. There were 27 test subjects who were all given some strange form of brain implants. A certain wetware could be unveiled in that manner. He conducted that research long before he developed a machine capable of hacking into the dreams of everyone who has ever lived.
However, the music could best be described as playful and dark, old-school Techno/Electro/Industrial blended with Chiptunes, IDM/Braindance, and Electronica. It is pressed on a beautiful green splatter vinyl.
Artist: pdqb
Release: Wetware Unveiled
Label: Synaptic Cliffs
https://pdqb.bandcamp.com/album/wetware-unveiled• green vinyl with black splatter
• mastered by the infamous Mike Grinser
Tracks:
A1 Ankh – 3:19
A2 Hypothermia – 3:58
A3 Kegelreibahle, spiralrechtsschneidend – 1:15
A4 Black Kimchi – 1:43
B1 Sycorax – 2:31
B2 Abysmopalütse (Alpha) – 2:43
B3 Abysmopalütse (Omega) – 3:30
B4 Mäckchen – 2:30© FATdrop 2025
Taged as/in; 2025, Bandcamp, braindance, Electro, Electronica, Experimental, greenvinyl, IDM, industrial, NewRelease, splattervinyl, techno, underground, vinyl#writtenby:
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New EP: pdqb – Beyond Diskmind (out Aug. 15)
Travel through time with pdqb & Scape One! Beyond Diskmind brings 3 future-era Electro gems powered by the Diskmind machine. Out 15 Aug on Synaptic Cliffs.
In 2047, amidst the deafening yet oh-so-familiar soundscape of the Movement Festival in Detroit, we met again: I, pdqb, and Scape One, known as two of the most respected electronic music composers worldwide. The air pulsed not only with the latest beats but also with a barely perceptible energy only the two of us knew. We hadn’t simply flown in; we’d arrived with our fantastic “Diskmind” time-travel machine, an incredible invention, capable of effortlessly catapulting us through the centuries.
“It’s unbelievable, isn’t it?” I shouted over the bass, eyebrows raised. “A machine that lets us travel through all of history, and there isn’t a single song that honors it! Not one!”
Scape One nodded vigorously, his gaze sweeping over the stage lights. “That’s absurd! How can such a revolutionary invention remain unsung? It’s almost an insult to music history itself.”We looked at each other, a silent understanding in our gazes. The mission was clear: The “Diskmind” needed its anthems. And who, if not us, who used and loved it, should create them?
And so, we decided to become the musical chroniclers of the “Diskmind,” ready to tell the story of our time machine across four different eras…
For Synaptic Cliffs, it’s an extraordinary honor to present these three Scape One variations of the original song ‘Diskmind’ (first released on The Electrifying Dojo, 2025). Each masterpiece was recorded in different future decades of the 21st century (of ourse with the help of the Diskmind time travel machine) and reflects the corresponding trend in electronic music. A1: A timeless, pristine Electro composition from the year 2035. A2: An IDM marvel from late summer 2075, recorded in the Zero gravity of Space Station 775. B: An Experimental Electronica symphony recorded at pdqb’s Studio 577 on Mars Outpost 47A in the year 3011. Only musical equipment that doesn’t currently exist was used for this release.
pdqb – Beyond Diskmind
Artist: pdqb
Release: Beyond Diskmind
Label: Synaptic Cliffs
Release Date: August 15, 2025Tracks:
A1 Diskmind (Scape One’s Flux Capacitor) – 5:05
A2 Diskmind (Scape One’s Quantum Mechanics) – 4:57
B Diskmind (Scape One’s Temporal Paradox) – 11:45Get it here: https://pdqb.bandcamp.com/album/beyond-diskmind
Taged as/in; detroit, Electro, ElectronicMusic, Experimental, IDM, MovementFestival, pdqb, ScapeOne, SynapticCliffs, TimeTravel, vinyl#writtenby:
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CHRIS LEVINE INNER LIGHT EXHIBITION AT CAMERA WORK GALLERY
Experience Inner Light by Chris Levine at Camera Work Gallery, Berlin — iconic portraits & light art transforming perception. July 26–Sep 20.
EXHIBITION FROM JULY 26 TO SEPTEMBER 20
AT CAMERA WORK GALLERYBeginning Saturday, July 26, 2025, CAMERA WORK Gallery presents Inner Light, Chris Levine‘s first solo exhibition in Germany. The show brings together more than 30 works by the British light artist, whose iconic portraits and immersive installations are known worldwide.
The central theme of the exhibition centers around light as a medium for changing consciousness. The exhibition invites visitors to enter a state of inner peace and expanded perception. In Chris Levine’s portraits and light sculptures, visual clarity and meditative intensity merge to create an aesthetic experience that goes far beyond what is visible.
You may order the exposé with all works from the exhibition Inner Light by Chris Levine from the Gallery. REQUEST OVERVIEW OF WORKSAbout Chris Levine
Chris Levine is one of the most influential and innovative voices in art. His work exists at the intersection of art, technology and perception. He has achieved international fame with his work Lightness of Being, a reduced yet intensely expressive portrait of Queen Elizabeth II, which has long been regarded as a symbol of his aesthetic signature. The exhibition also shows the work Banksy (3D), the only known portrait of the anonymous street artist to date.
Formally, Levine combines elements of minimalist art with contemporary laser and light technology. His compositions demonstrate calm and clarity and, with their almost spiritual visual language, are more reminiscent of meditative states than the technical processes behind their creation. For Levine, light is not just a means of design, but a metaphysical medium – fleeting, transcendent and compacting. Chris Levine does not demand an immediate reaction: he opens up contemplative spaces in which light becomes a carrier of sensation and presence.
Inner Light
In addition to key works from his oeuvre to date, the exhibition Inner Light also presents new perspectives on a body of work that deliberately straddles genre boundaries between photography, installation, portraiture and projection. Chris Levine’s works have been presented at the National Portrait Gallery (London), the Moco Museum (London), Sotheby’s and, as a monumental light installation, in front of the pyramids of Giza. His works can be found in numerous important private and public collections worldwide.
SELECTED WORKS FROM THE EXHIBITION
CHRIS LEVINE
BANKSY (3D – HOUGHTON HALL SERIES)
2021
Lightbox with Dichroic Glass
Signed by the artist
75 x 55 cm (Unique)
INQUIRY
CHRIS LEVINE
GILBERT & GEORGE
2024
Archival Pigment Print with Silkscreen and Hand Embellishments
Signed by the artist and Gilbert & George
59 x 42 cm (Ed. of 25)
INQUIRYCAMERA WORK AG
KANTSTRASSE 149
10623 BERLIN
TEL +49 (0)30 3100776
WWW.CAMERAWORK.DETaged as/in; art, berlin, CAMERA WORK AG, contemporary, exhibition, gallery, Installation, laser, Light, meditation, minimalism, perception, Photography, Portrait, sculpture#writtenby:
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Connecting Roots: Collective Stories, Individual Identities
Connecting Roots: 20 Jahre CrossCulture Programm in der ifa-Galerie Stuttgart. Kunst als Sprache für Erinnerung, Identität und kollektive Heilung.
Ausstellung: 1. August – 21. September 2025
Eröffnung: 31. Juli 2024 | 19-21 UhrPerformance zur Eröffnung: Al-Qibla | Live-Performance der Klangkünstlerin Yara Mekawei, 20–21 Uhr
ifa-Galerie Stuttgart
20 Jahre CrossCulture Programm
Mit der Ausstellung Connecting Roots: Collective Stories, Individual Identities feiert das ifa – Institut für Auslandsbeziehungen 20 Jahre des CrossCulture Programms (CCP). Im Zentrum stehen verschiedene Formen des Erinnerns – von Diaspora über historische Narrative bis zu persönlichen Heilungswegen.
Ein dreitägiges Rahmenprogramm begleitet das Eröffnungswochenende ab dem 31. Juli, den Abschluss der Ausstellung in der ifa-Galerie Stuttgart bildet im September erneut ein dreitägiges Programm.
Kuratiert von Elham Khattab (Direktorin von Out of the Circle, Ägypten) und Omar Chennafi (Marokko) Für Connecting Roots: Collective Stories, Individual Identities wurden 15 Künstler:innen aus zehn Ländern ausgewählt – darunter Aserbaidschan, Bangladesch, Bolivien, Marokko und Tunesien. Sieben von ihnen sind ehemalige CCP-Stipendiat:innen. Die Werke und Beiträge kreisen um die Themen Erinnerung und Identität, kollektive Heilung, Umwelt und zukunftsorientiertes Erinnern.
Sie thematisieren Fragen wie: Wie können wir als Individuen mit unseren jeweiligen Wurzeln zu einer Gemeinschaft werden, die Unterschiede feiert? Wie können wir Erinnerung auf dem Weg in eine integrativere Zukunft nutzen?
Die Künstler:innen widmen sich diesen Themen mit Fotografien, Installationen, Videos, Klangkunst, Performances und Workshops und präsentieren dabei Kunst als Sprache des transkulturellen Dialogs, die persönliche Wurzeln mit kollektivem Gedächtnis verbindet.
Connecting Roots: Collective Stories, Individual Identities bringt vielstimmige Perspektiven zusammen, jede erzählt eine eigene Geschichte und gibt dem Erinnern Raum: Als Teil von Familiengeschichten, aus der Perspektive von Frauen oder als Heilungsprozess mit Blick in die Zukunft.
Mit Beiträgen von Aneek Mustafa Anwar, Ashot Danielyan, Farah Khelil, Izz Aljabari, Jorge Ernesto Barrón, M’hammed Killito, Mohamed Thara, Monon Muntaka, Qafar Rzayev, Said El Haddaji, Sameh El Tawil, Souad Mani, Yara Mekawei, Yassine Alaoui Ismaili aka Yoriyas, Zahra Amber.
Über das ifa
Das ifa – Institut für Auslandsbeziehungen, setzt sich gemeinsam mit Partnern weltweit ein für die Freiheit in Kunst, Forschung und Zivilgesellschaft. Es gibt Aktivist:innen, Künstler:innen und Wissenschaftler:innen eine Stimme, fördert Kooperationen und verfolgt seine Ziele verstärkt mit europäischen Partnern.
Basierend auf seinen Kernkompetenzen Kunst, Forschung und Zivilgesellschaft baut das ifa Netzwerke auf, um nachhaltige Wirkung zu erzielen. Das ifa wird gefördert vom Auswärtigen Amt, dem Land Baden-Württemberg und der Landeshauptstadt Stuttgart.
Im Jahr 2005 wurde das CrossCulture Programm des ifa – Institut für Auslandsbeziehungen gegründet, um transkulturelle Verständigung zu fördern und zivilgesellschaftliche Netzwerke nachhaltig zu stärken. Jedes Jahr sammeln rund 55 Stipendiat:innen in Gastorganisationen in Deutschland oder in einem der über 40 Partnerländer professionelle Erfahrungen.
Durch berufsbezogene Aufenthalte fördert und befähigt das Programm insbesondere Akteur:innen aus Kultur, Bildung, Menschenrechte, Nachhaltigkeit, Wissenschaft und Medien, zusammen zu arbeiten.
www.ifa.deifa – Institut für Auslandsbeziehungen
ifa-Galerie Stuttgart
Bettina Korintenberg
Galerieleitung und Bereichsleitung ifa-Galerien
Charlottenplatz 17
70173 Stuttgart
ifa-galerie-stuttgart@ifa.de
www.ifa.de@ifa.visualartsifa-Galerie Stuttgart, Foto: Andreas Koerner
Taged as/in; art, ausstellung, community, Diaspora, Erinnerung, Galerie, Heilung, Identität, Klangkunst, Kultur, performance, Stuttgart, vernissage#writtenby:
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