-

Memory by Rotciv, new EP via Melodize – Out now
Rotciv returns with his dark, atmospheric EP ‘Memory’ on Melodize. Featuring remixes by Chinaski, Facets & Beartrax, out now.
Rotciv is back with his new EP ‘Memory’, which marks the 20th release on Beartrax’s label Melodize. Throughout the record, the Berlin-based and native Brazilian producer explores his signature dark, mysterious, and atmospheric vibes. These vibes are shaped by the underground and queer club nights. The dance-floors that fuel his sound are refined over almost 30 years behind the decks.



The EP maintains Melodize’s specialized sound deep-rooted in moody electronic principles. It opens with ‘Memory’, which presents a piercing, dark, synth dynamic. There are rich tonal textures in both harmony and melodies alike. Unapologetic, yet calming and reminiscent of a slow drive through the winter nights; cold, yet bold, sharp, and comforting.
First to remix ‘Memory’ with a nostalgic, synth-heavy 80’s remix is Frankfurt-based DJ, producer, and visual artist Chinaski. Integrating his signature bold synth hooks into the track, Chinaski knows how to roll in with longing sentimentality. The remix features a bouncier approach with re-envisioned acoustic percussion and catchy synth arps, along with an eery dark disco feel.
B Side
On the B side, Rotciv kicks in with ‘Trintage’, which gives a sinister sensation with its hypnotising bass synth lines alongside contrasting, choir-like pads. Seeping with articulate poly-rhythmic synth arps, Trintage guides the listener to be indulged into a dream-like state. The EP exists on the border between both digital and analogue soundscapes. The music blurs the lines between fantasy and reality.
Next up is New York-based Facets, founder of Samo Records. He takes on the next remix for ‘Trintage’. This version has a more electro-grunge techno approach. It consists of heavier four-to-the-floor kicks. These kicks accompany Rotciv’s hypnotic textures. Having shifted the synth melody rhythmically, a sense of space and tension is created within the soundworld of this track. The play between gritty bass-end synths along with softer, textured high-ends helps emphasize the groove injected into this remix.
One last remix of ‘Memory’ by Melodize’s own label founder, Beartrax, rounds out the EP. Available exclusively via digital bonus, Beartrax features his deeply hypnotic aesthetic by driving in ethereal synths alongside cosmic arps and slow-rolling rhythmic and pulsating groove lines.
This EP will be released on vinyl on the 21st of November followed by the digital release and bonus track on the 28th of November.

Tracklist:
- A1: Rotciv – Memory
- A2: Rotciv – Memory (Chinaski Remix)
- B1: Rotciv – Trintage
- B2: Rotciv – Trintage (Facets Remix)
- Digital Bonus – Rotciv – Memory (Beartrax Remix)
-

New EP: Madbot EP (incl. Belaria Remix) by Costello
Costello’s Madbot EP blends emotional depth with sharp club energy, from hypnotic techno to rave intensity, capped by a powerful Belaria rework.
With Madbot EP, Bordeaux-based electronic producer Costello sharpens his signature blend of emotional depth and club precision, delivering a release that feels both cerebral and instinctive.
Automat
Opening track “Automat” dives into melodic techno territory, driven by widescreen, cinematic synthwork that unfolds with a patient, hypnotic progression. It’s sleek yet evocative, tailor-made for late-night transitions.

Mezze
“Mezze” switches gears with a fluid triplet groove and uplifting synths that bring warmth and elevation, offering a luminous contrast to the EP’s darker edges.
Madbot
The title track, “Madbot”, hits with a rugged breakbeat pulse, its chant-like vocals echoing through layers of metallic percussion and shadowy atmospherics — a hybrid cut that blurs the line between introspection and raw kinetic force.
Closing the release, rising French electronic producer Belaria pushes “Madbot” into faster, rave-leaning territory, amplifying its tension with a sharper club focus — a high-voltage rework that retains Costello’s emotional charge while cranking up the floor energy.
Released on Lumière Noire, Madbot EP fits squarely within the label’s boundary-pushing aesthetic. It’s a statement piece from a producer steadily carving his lane in the contemporary underground.

- Artist: Costello
Release: Madbot EP (incl. Belaria Remix)
Label: Lumière Noire Records
Release Date: Nov 28, 2025, get it now - Tracks:
1. Automat
2. Mezze
3. Madbot
4. Madbot (Belaria Remix)
About Costello
Costello is a Bordeaux-based electronic music producer known for blending emotional depth with precise, club-driven design. His sound bridges melodic techno, breakbeat influences, and atmospheric electronics, creating tracks that feel both introspective and physically gripping.
Steadily carving a name within the French underground, Costello’s productions stand out for their cinematic synthwork, nuanced rhythms, and a refined sense of tension. With releases on forward-thinking labels like Lumière Noire Records, he continues to push the boundaries of contemporary dance music while crafting a signature style that’s unmistakably his own.
Taged as/in; Bordeaux, club, Costello, Electronic, France, Lumière Noire Records, melodic, Music, music producer, Producer, Rave, release, techno, underground - Artist: Costello
-

Global Migration: a Crisis Amid Geopolitical Turmoil
The MMR 2025 warns geopolitical turmoil is driving migration to the edge, as harsh anti-migration measures like pushbacks and offshore processing go mainstream.
The Mixed Migration Review (MMR) 2025 lands at a time of profound geopolitical turbulence, arguing that the global migration and asylum system is at a critical turning point. After the so-called “year of elections” in 2024, the world is grappling with escalating conflicts. It is also facing economic crises. There is a radical shift in political discourse. This shift is rapidly redefining what is considered “acceptable” migration policy.
The Normalisation of the Extreme
The most alarming trend identified in the Review is the “normalisation of the extreme,” where formerly controversial and fringe anti-migration practices have become mainstream. Actions like offshore asylum processing, pushbacks, prolonged detention, and summary expulsions no longer make headlines. Their occurrence has become standard across many states.

This process has been dramatically accelerated by the return of a hardline migration agenda in the United States. President Trump’s unprecedented clampdown on irregular migration is not only threatening the US-Mexico border system, leading to historically low encounter totals in 2025, but also emboldening governments worldwide to implement harsher measures.
At a global level, the US has initiated a consultation process to reform the 1951 Refugee Convention, intensifying long-simmering debates about the future of international asylum norms. This paradigm shift poses a risk. It makes the erosion of rights appear inevitable. Some commentators warn that attacking migrants’ rights is becoming “trendy” as a political strategy.
The Double Crisis: Aid Cuts and Economic Paradox
Geopolitical instability has triggered a dual crisis impacting human mobility. On one hand, the humanitarian sector is reeling from sudden and massive foreign aid cuts by the US and nearly all traditional donors, many of whom are redirecting funds to military spending. This erosion of multilateralism and development aid is fragmenting global migration governance, which will inevitably increase displacement in some areas and constrain movement in others.
On the other hand, a paradoxical tension exists. Despiten rising anti-migration sentiment, many destination countries have a strong need and demand for migrant labour. Politicians are struggling to balance their economic policies with the perceived political necessity of harsh anti-migration measures, a tension already leading to clashes within hardline administrations.
Regional Flashpoints and Real Resistance
The drivers of mixed migration—conflict, climate shocks, and economic crises—are persistent and intensifying across regions. The Review details significant movements tied to protracted conflicts in the DR Congo, instability in Myanmar, and economic crises from Venezuela to Lebanon. It also highlights the surge in deportations of Afghans from Iran, where returnees face dire conditions and human rights violations.
Yet, the Review stresses that this hardening trajectory is not set in stone. Evidence of resistance and alternative approaches is visible globally. Courts and judicial bodies have intervened to block unlawful government measures. For example, French courts have granted refugee status to Palestinians fleeing Gaza. Italian courts have obstructed aspects of the Italy-Albania offshore asylum deal.

Furthermore, while the EU shifts rightward, Spain stands out as an exception, pursuing a more divergent path with ambitious regularisation programmes. Critically, activists and communities are on the frontlines, with protests against immigration enforcement and local communities, such as Lampedusa, demonstrating powerful “gestures of hospitality.”
The MMR 2025 concludes by offering a sobering choice. We can continue the path towards the erosion of rights. Alternatively, we can leverage evidence, political leadership, and resistance to pull the window of acceptability back towards proportionality, legality, and protection for all people on the move.
The Robert Bosch Stiftung: Working for a Just and Sustainable Future
The Robert Bosch Stiftung is one of Europe’s largest company-affiliated foundations, committed to solving major social challenges in the spirit of its founder, Robert Bosch. Operating in the core areas of Health, Education, and Global Issues, the Foundation works to foster sustainable systemic change. It addresses contemporary crises like migration, inequality, and climate change, while supporting institutions like the Bosch Health Campus and promoting evidence-based policy.
For more information, visit the Robert Bosch Stiftung website.
Taged as/in; 1951 Refugee Convention, 2025, Courts, education, Extreme, Global Issues, health, migrant labour, Mixed Migration Centre, Mixed Migration Review (MMR), Normalisation, offshore asylum processing, prolonged detention, pushbacks, regularisation programmes, resistance, Review, Robert Bosch Stiftung, summary expulsions -

She Exists Elsewhere: Still to come this November
Women in Central Asian cinema emerge from the margins—intimate, unruly, and irreducible—as films reveal both transformation and its contradictions.
In the history of Central Asian cinema, women have often existed elsewhere — in the margins of the frame, in silences that resist translation, in gestures that outlive the stories written for them. On screen, their images carried the weight of allegory.
This November, curator-in-residence Malika Mukhamejan invites you to look beyond these projections and towards the intimate, the unruly, and the irreducible.

For THE PAST IS NOT ANOTHER COUNTRY: DOING ARCHIVES DIFFERENTLY, Malika presents two early Soviet works that reveal cinema’s dual function as both instrument and witness of transformation: Без страха (Without Fear) + Джамиля (Dzhamilya).
This will be followed by the launch of She Exists Elsewhere: Women in Central Asian Cinema, a series which brings together contemporary and archival films, invited guests, discussions, a lecture and a food intervention as a way of questioning, staging and interrogating the role of women in Central Asian cinema.
We welcome influential writers and thinkers Emilia Roig & Mohamed Amjahid for a SİNEMAplural+ in conversation special. Drawing on their recent books, together they will discuss capitalism, racism and authoritarian politics – and how radical care, solidarity and a shift in consciousness can enable social change (in German)
With SİNELECTION we present a preview screening of Mahdi Fleifel’s poetic journey into the heart of exile, إلى عالم مجهول (To a Land Unknown), followed by a talk with one of the film’s protagonists, Angeliki Papoulia. Plus, more chances to see Hysteria and Das Deutsche Volk.
Finally, Common Visions hosts students and early-career scholars from the Humboldt University for panel-talk Resilience in Times of Democratic Backsliding in Central Europe, followed by a screening of Arjun Talwar’s Listy Z Wilczej (Letters from Wolf Street) and BAFNET return for Zwischen den Zeilen, zwischen den Welten, an evening of film, food and literature (in German).
THE PAST IS NOT ANOTHER COUNTRY
Без страха(Without Fear)
A young Soviet officer is tasked with modernizing a village. This story is set in late-1920s rural Uzbekistan amid Soviet “unveiling” campaigns. The officer is also encouraging women to remove the veil. When a teenage Komsomol girl publicly burns her paranja, reform collides with tradition and religious authority, with tragic consequences. Khamraev’s film remains a keystone of Uzbek cinema for its complex portrait of “emancipation” as imposition, and the costs borne by women’s bodies.

THE PAST IS NOT ANOTHER COUNTRY
Джамиля(Dzhamilya)
In a remote Kyrgyz village during WWII, Dzhamilya marries a man she does not love. As her husband departs to the front, she forms an intense bond with the returning soldier Daniyar. Framed by the memories of the young artist Seit, the film adapts Chingiz Aitmatov’s novella into a tender, conflicted meditation on desire, duty, and the price of transgressing communal norms.
These early Soviet works reveal cinema’s dual function as both instrument and witness of transformation. Within the frames of Без страха (Without Fear) and Джамиля (Dzhamilya), female emancipation is imagined as the visible proof of modernity’s arrival: unveiling becomes spectacle, desire becomes allegory.
Yet behind these grand gestures, the individual subject remains indistinct — her interior world subsumed by the collective ideal she is made to embody. What emerges is a cinema negotiating its own contradictions. The movie strives to construct the image of a liberated woman. However, it leaves the contours of her selfhood unresolved. The image hovers between representation and projection.
Zum vollständigen Programm des SİNEMA TRANSTOPIA

Location
SİNEMA TRANSTOPIA
Lindowerstr. 20/22
Haus C13347 Berlin
sinematranstopia.comDirections
U6 S + U Wedding
S41, S42
Bus: 120, 147, N6, N20For ticketing, lost & found, and program information:
The October 2025 program at SİNEMA TRANSTOPIA is supported by the Berliner Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt, the DROSOS Stiftung, the Fonds Soziokultur, the Allianz Foundation and the Hauptstadtkulturfonds.
Taged as/in; Archive, berlin, centralasia, Cinema, culture, memory, November, resistance, Screening, Sinema transtopia, women -

DZHUS Captures Trauma in a Transformable Clothing Campaign
Irina Dzhus transforms grief into avant-garde, turning survival into creation. “ABSOLUTE” reveals her raw journey from trauma to radical artistic rebirth.
In a requiem for an unembodied existential projection, Ukrainian designer Irina Dzhus translates ‘patterns into patterns’, converting grief into avant-garde.

Having previously escaped the war and a family abuse experience, she has stumbled upon a seemingly safe personal life situation that turned into a macabre rendezvous with her most sacred fears. The artist behind DZHUS was forced to activate her familiar survival mode. She used her creative power as an urgent coping mechanism.
The “ABSOLUTE” act premiered at Berlin Fashion Week. It is now placed at the conceptual Jaga Hupało Space of Creation in Warsaw. It is attributed with objects by local design visionaries. These include Zieta Studio, Anna Drozd-Tutaj, and Organic Lighting.
A Stage Built from Memory and Metaphor
At the centre stage, framed with a cube construction, stands a chair, as a starting point for a profound insight. Instead of music, Irina Dzhus tells her story. Link by link, she unveils a sequence of events, dialogues, and sensations. They have led her to the agonising animation of unexperienced absolute happiness.





The silhouettes are naïvely structured as Irina Dzhus refers to modernist comics and spiritualistic motifs. She freezes her memories within transformable outfits, replaying them in a loop mode. Irina focuses on accessories. They serve as an eloquent medium in the true events. She shapes her sculptural apparel from pre-owned headpieces and scarves. Alongside the upcycling kintsugi homage, anatomical metaphors reflect on fetishes and phobias.
Silhouettes as Emotional Architecture
The imagery includes mouths, either smoking or ritualistically stitched. It features a hybrid of a deconstructed male face and an aged female corpus. There is also a garment wearable as long as 2 giant gloves hold each other.
A men’s coat with an inbuilt embracing figure portrays Irina Dzhus’ obsessive correlation with the protagonist. This semi-supernatural, blindingly luminous outline became indivisible from the artist’s identity. A mirroring indicator of her very existence, both a euphoric dream and a paralysing dystopia.





The “ABSOLUTE” project turned out to be life-determining for Irina Dzhus. This rebellious explosion of ideas on the ground of sorrow and helplessness has vividly shown her she would never lose [get rid of] her creative force, no matter how tragic circumstances.
The artist realized this ‘blessing-slash-doom’ foundation of her personality. It imprisoned her within a duty. This realization made her question the freedom of choice, not just in terms of strategies, but in life itself.





Materialised back in early 2024, the collection has established DZHUS’ cathartic creativity vector. Since, the brand has been developing a declarative audiovisual campaign that it now unveils.
PHOTO & VIDEO CREDITS
- Concept & Direction: Irina Dzhus
Brand: DZHUS
Location: Jaga Hupało Space of Creation - Beauty & Hair:
Jaga Hupało · Antonia Wolff · Alicja Smoniewska - Photo:
Julia Jaracz · Konewka Studio - Video:
Patryk Patynowski - Objects & Design:
Zieta Studio · Anna Drozd-Tutaj · Organic Lighting - Footwear:
House Martin - Models:
Asia Dyrkacz · Maggy Words Modlibowska · Polie Nimaeva · Lena Shtyk · PURL - Backstage:
Kolas Vodonovsky - Catering:
Fundacja Viva · Primavika · Cultured Foods
Your kind support means everything to us.
Taged as/in; avantgarde, berlin, BFW | Berlin Fashion Week, catharsis, Conceptual, design, fashion, Irina Dzhus, performance, survival, transformation, traumaart, visionaries, warsaw - Concept & Direction: Irina Dzhus
-

Local Suicide – Houdini EP via Iptamenos Discos
Iptamenos Discos presents Houdini by Local Suicide — their darkest EP yet, blending EBM, dark disco & techno with remixes by David Carretta & Alpha Sect.
Iptamenos Discos announces Houdini, the new EP by label founders Local Suicide. The record features three of their darkest and most powerful originals to date, alongside striking reworks from French electroclash pioneer David Carretta and rising Greek EBM force Alpha Sect.

The Houdini EP took shape in Local Suicide’s Berlin studio during countless late-night sessions with Skelesys. This was the same creative period that gave rise to their joint hit Moustache. It also produced the Surface Of The Sun EP and Faster Faster on Curses’ Next Wave Acid Punx compilation. The result is their darkest material yet. It pushes their technodisco sound into heavier territory with hypnotic basslines, industrial textures, and analog vintage synths. This makes it one of the boldest records in the Iptamenos Discos catalogue to date.
Darkwave, Techno & Theatrical Energy
The EP opens with Obsessions, a song in between darkwave and techno, built around a brutal bassline, analog synths and stark vocal mantras. The repeated line “Obsessions, they come and go” mirrors the tune’s relentless pull and its looping, claustrophobic energy.
Submission, a collaboration with long-term collaborator Skelesys, matches its intensity with a brooding low end and distorted, heavily processed vocals. The chant “Resistance, no submission” runs through the track like a declaration of defiance, turning tension into power.
The title track Houdini is slightly more accessible while keeping the same shadowed atmosphere. Haunting organ melodies and the lyric “The great Houdini, the big escape” evoke transformation and release, paying homage to the legendary illusionist while adding a theatrical edge.
Remixed with Precision and Power
French legendary DJ/producer David Carretta reimagines Obsessions with his signature retro-futurist touch. Known for fusing industrial precision with Italo-inspired synths since the 1990s, he brightens the track with shimmering disco melodies. He adds an uplifting tone. This creates a version that contrasts with the original’s darkness while making it instantly dancefloor-ready.
Strasbourg-based Alpha Sect, the project of Greek artist George McCall, takes Submission into uncompromising dimensions. Rooted in electro and body music with punk influences, his remix starts as a heavy EBM stomper before evolving into a club-ready track that balances intensity with release.
Local Suicide’s Houdini EP will be released on Iptamenos Discos as a limited 12” vinyl and digitally on the November 21st, 2025 with three original tracks and two remixes.

Details:
- Release Date: November 21st, 2025
- EBM, Dark Disco, Darkwave
- Catalog Number IDI025
- Save & Order here
Taged as/in; Alpha Sect, Dark Disco, darkwave, David Carretta, EBM, Houdini EP, Iptamenos Discos, Local Suicide, new release, technodisco, vinyl -

Alighted – Drift new EP out on the 14th of November
Opposites attract: Alighted’s double single “Drift” and “Fatal Sunlight” explores darkness and lift, two contrasting sound worlds united in one release.
Opposites attract, as the saying goes. Alighted’s latest double single takes on this old adage: two tracks exploring distinct sound spaces, united on one release.
The title track, “Drift,” draws inspiration from its name in more ways than one. In an interview about the film Dallas Buyers Club, Matthew McConaughey describes his character (Ron Woodroof) as a dreamer; he has good intentions but drifts from the path of right action when things don’t go his way. Most of us can relate to this experience of folding or falling when life delivers unexpected challenges. The music explores these sensations through sound, drawing on influences from film scores, club music, and more. It is a mid- tempo exploration of the shifts in our internal compass.
The second track, “Fatal Sunlight,” offers a necessary lift from the darkness. Despite its seemingly dark tone, the title is lifted from the comedic television series “What We Do in the Shadows.” The energy of the music mirrors the show: from darkness emerges something lighthearted. The pace quickens. Synthesizers twinkle like stars across the night sky. Listen closely, and you’ll discover sounds of the natural world tucked into the sound design, scurrying through the gaps in the rhythm. The track offers the perfect—and polar opposite—ending to the release.

Bio — Alighted
Alighted is an electronic music project that moves fluidly between cinematic atmosphere and rhythm-driven experimentation. Alighted’s music is built on a foundation of detailed sound design, immersive textures, and a deep sensitivity to mood. It aims less to fit into a genre and more to build a world. This world is shaped by contrast, emotional nuance, and a sense of quiet narrative unfolding beneath the surface.
Alighted draws inspiration from film scores, contemporary electronic production, and the subtle drama of everyday life. He crafts tracks that balance introspection with momentum. His work often explores dualities: the pull between darkness and light, stillness and motion, tension and release. These opposing forces form the core of the project’s identity, offering listeners a space to drift inward while remaining attuned to an underlying pulse.
Alighted’s compositions are known for their spaciousness and detail. Layers of synthesizers, field recordings, and rhythmic fragments are woven together with a cinematic sensibility, creating soundscapes that feel both intimate and expansive. While electronic in form, the project draws meaning from emotional realism—capturing fleeting internal states and turning them into musical arcs.
Releases such as Drift demonstrate this approach clearly, pairing shadowed, slow-burning meditations with brighter, quickened movements that break through like sunlight. Each piece is designed as a fragment of a larger whole, inviting the listener to piece together their own internal story through sound.
Whether performing live or composing in the studio, Alighted treats music as a space for exploration. It is a place where influences collide. Atmospheres shift, and emotions find form. The project continues to evolve with each release. It is guided by curiosity and contrast. There is a commitment to crafting sonic experiences that resonate long after the final note fades. @alightedmusic
Taged as/in; ambient, contrast, double single, Electronic, moodshift, new release, soundtrack, synths -

HAUS#1: Sibylle Fendt – BEVOR ES SO WEIT IST
Intime Fotografien von Sibylle Fendt zeigen letzte Lebensmomente zu Hause – voller Nähe, Ruhe und Menschlichkeit. Eine einfühlsame Würdigung des Abschieds.
08.11.–30.11.2025, HAUS#1, Berlin
Die deutsche Fotografin Sibylle Fendt widmet sich in ihrer Arbeit BEVOR ES SO WEIT IST Menschen, die ihre letzte Lebensphase im Kreise von Familie und Freunden zu Hause verbringen. Die intimen Fotografien zeigen, wie die vertraute Umgebung in der Zeit des Abschieds ein wichtiger Anker sein kann, der trotz des Schmerzes Geborgenheit und Halt gibt.
Über 18 Monate hinweg hat Fendt 17 Menschen kennengelernt und gemeinsam mit ihren pflegenden Wegbegleiter*innen zu Hause porträtiert. Viele von ihnen blickten auf lange Krankheitsgeschichten zurück und kehrten nach kräftezehrenden Behandlungen nach Hause zurück, um zur Ruhe zu kommen und ein letztes Mal aufzuatmen.
Intensive Momente des Abschieds


Das Zuhause wurde zum Ort größtmöglicher Nähe – ein Raum, in dem die Sterbenden Regisseur*innen ihres eigenen Abschieds sein konnten: ein letztes Seufzen, ein letztes Lachen, ein letztes Händedrücken, bevor sie hofften, sanft in den Tod hinüberzugleiten.
Die Arbeit möchte keinen Schrecken verbreiten, sondern diese letzte Lebensphase wertschätzen. Sie zeigt auf einfühlsame Weise die unbeschreiblich intensiven Momente zwischen den Sterbenden, ihren Angehörigen und der Fotografin.
Gezeigt werden rund 30 Fotografien. Das begleitende Buch umfasst 75 Abbildungen und Zitate der Abgebildeten. Die Ausstellung entsteht in Kooperation mit dem Museum für Sepulkralkultur und wird kuratiert von Ingo Taubhorn.
Programm
Kurator: Ingo Taubhorn
Impulsvortrag
24.11.2025 | 18:00 Uhr
Dr. Dirk Pörschmann (Direktor, Museum für Sepulkralkultur, Kassel)
„Es lebe die Endlichkeit!“
Gast: Dr. Thomas Schindler, Palliativarzt, Berlin
Die Künstlerin ist anwesend.Finissage
30.11.2025 | 16:00 Uhr
Die Künstlerin ist anwesend.Öffnungszeiten:
Freitag–Sonntag, 14:00–19:00 UhrOrt:
HAUS#1
Waterloo-Ufer o. Nr. (Nähe U1/U3/U6 Hallesches Tor)
10961 BerlinDas Buch zur Ausstellung
„Niemand hat keine Angst.“
Parallel erscheint das gleichnamige Buch, in dem die Porträtierten selbst zu Wort kommen und über Wünsche, Werte, Ängste und Zweifel sprechen. Ergänzend schildert Fendt in einem Essay die letzten Lebenstage ihres eigenen Mannes im Kreis der Familie – eine persönliche Erfahrung, die sie zur Umsetzung dieses Projekts motivierte, unterstützt vom Palliativarzt Dr. Thomas Schindler. Das geteilte Schicksal verband Fotografin und Protagonist*innen auf besondere Weise. Jeder Weg war einzigartig.

Sibylle Fendt: Bevor es so weit ist
Deutsche Ausgabe- Leineneinband
- 23,5 x 29,5 cm
- 140 Seiten
- 77 Farbabbildungen
- Deutsch
- Zum Buch
Über die Künstlerin
Sibylle Fendt (*1974) lebt in Berlin und ist Mitglied der renommierten Agentur Ostkreuz. Ihre sozialkritisch geprägten Arbeiten wurden vielfach ausgezeichnet, u.a. mit dem Förderpreis für Dokumentarfotografie der Wüstenrot-Stiftung sowie einer Teilnahme an der World Press Photo Masterclass (2003). 2024 erhielt sie den Vonovia Award für Fotografie für die hier ausgestellte Arbeit.
www.sibyllefendt.de
Instagram: @sibyllefendt
Ostkreuz-Profil: ostkreuz.de/fotografen/sibylle-fendtÜber das HAUS#1
HAUS#1 ist ein privat initiiertes, privat finanziertes Kulturprojekt in Berlin. Der Ort – ein ehemaliges, verfallenes Toilettenhäuschen mit Kiosk – wurde 2003 entdeckt und zu einem Ausstellungs- und Veranstaltungsraum mit präzisen architektonischen Eingriffen umgebaut.
Seit 2005 finden dort Veranstaltungen und Ausstellungen statt, insbesondere in den Bereichen Fotografie, bildende Kunst, Architektur und Städtebau. HAUS#1 belebt diesen besonderen Stadtraum und macht ihn temporär neu erfahrbar.
Kuratorische Vision
Seit Anfang 2025 besteht eine Zusammenarbeit mit Ingo Taubhorn, dem ehemaligen Chefkurator des Hauses der Photographie der Deichtorhallen Hamburg. Den Auftakt bildete die von ihm kuratierte Reihe EIN HAUS, FÜNF AUSSTELLUNGEN, SECHS KÜNSTLERINNEN, die über 1.000 Besucher*innen anzog.
Es folgten Ausstellungen wie KlimaZeugen von Thorsten Klapsch, Max von Valentin Hansen (in Kooperation mit Visor) und Ideal City_2003 – ongoing von Birgit Naomi Glatzel.
www.haus1-berlin.de
Instagram: @haus1Text: © Johanna & Philipp Rentschler
Taged as/in; Abschied, ausstellung, berlin, Buch, Dokumentarfotografie, Emotionen, Fotografie, HAUS1, Intensität, Kultur, Kunst, Kurator, Leben, Lebensende, Nähe, Ostkreuz, Palliativ, Porträt, Tod, Würde






You must be logged in to post a comment.