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Willow’s Apothecary by Alighted via Wandering Astray
Wandering Astray presents Willow’s Apothecary, the forthcoming EP by McLean Macionis under his Alighted moniker, releasing May 23, 2025.
The new release features selections from the interdisciplinary performance of the same name. The production is directed by acclaimed poet Arisa White and choreographer Laurel Jenkins. The performance features The Dance Company of Middlebury and cellist Robin Lane. The show premiered on January 17th, 2025, at the Middlebury College Dance Theatre, with a subsequent performance at Mechanics’ Hall in Portland, Maine, on January 25th, 2025.
Inspired by the Opera
The music of Willow’s Apothecary is inspired by the rich mythological world of White’s Post Pardon: The Opera. It draws inspiration from environmental elements. Some of these elements are woven into the fabric of the soundscape. Each track is purposefully minimal, which suits its relationship with movement.
Regarding the writing process, Macionis explains:
“The music emerged through observation, experimentation, and play. I’m particularly inspired by how dancers express themselves through their bodies. My role was to tap into that embodied state and transform it live into a musical score that followed the performance’s narrative arc, which Arisa’s text and performance guided. Though our time working together in the same room was brief, we created something that speaks to our current moment—a time in which we are all unpacking our collective history and working toward healing.”
Macionis, SongwriterAt times, the music drifts subtly in the background. It guides the listener inward. This quality is reinforced by the use of meditative sounds and textures throughout the EP. These range from singing bowls and prayer bells to vinyl crackle and field recordings. At other times, the music dances over layers of earthly rhythms, grounding the listening experience while evoking a sense of equanimity.
EP:
Artist: Alighted
Release: Willow’s Apothecary
Label: Wandering Astray
Release Date: May 23, 2025About Alighted
Alighted is a multidisciplinary artist collective based in New York City, weaving light, sound, and movement into immersive sensory experiences. His work is rooted in transformation—of light, of emotion, of self. Blurring the boundaries between the seen and the felt, Alighted crafts pieces that invite viewers to pause, reflect, and reconnect with the raw, poetic undercurrents of life.
The created soundscapes creations are quiet rebellions against the noise of the world. They achieve this through immersive visuals, layered soundscapes, or delicate textures. These are gentle reminders that beauty often flickers in the shadows before it blazes into being.
Alighted draws inspiration from fleeting moments: dusk on a city street, a forgotten melody, the hush before a storm. Symbolizing arrival, illumination, and the act of becoming—and their art reflects that journey, one spark at a time.
Taged as/in; Soundscapes, »Willow’s Apothecary«, Arisa White, EP, Laurel Jenkins, Macionis, Robin Lane, The Dance Company of Middlebury, Wandering Astray#writtenby
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When Friendships Break: Cancel Culture and Victim Blaming
How cancel culture affects personal friendships and why victim blaming can deepen emotional wounds instead of healing them.
Cancel culture isn’t just a public phenomenon—it’s creeping into our closest relationships. Here’s how emotional exile and victim blaming damage friendships, and what we can do about it.
Cancel Culture in Friendships: A Growing Concern
Once confined to celebrities and social media influencers, cancel culture has seeped into our personal lives, particularly friendships. In this new dynamic, “canceling” a friend often means cutting off contact due to a perceived wrongdoing—sometimes with little explanation, context, or opportunity for reconciliation.
While self-protection and boundary-setting are essential, cancel culture can blur the line between healthy detachment and emotional exile. I discovered, that some friendships and their surroundings are based on ego and advantages. As soon they’re not available anymore, the friendship or relation is cancelled. It’s a vicious cycle of toxic relations and narcissism.
Research has shown that being “canceled” can cause deep psychological harm. Those on the receiving end may experience shame, anxiety, social isolation and a hesitancy to trust others. What’s more, this approach can short-circuit the possibility of mutual growth, understanding and healing.
The Fine Line Between Boundaries and Exile
Boundaries are vital in all relationships. They protect mental and emotional well-being, help clarify expectations, and ensure that interactions are respectful and healthy. But canceling someone—especially when influenced by social pressure, hearsay or incomplete narratives—can quickly become a form of emotional exile.
This growing trend is often fueled by the cultural mantra “you don’t owe anyone anything.” While empowering in some contexts, it can also erode the foundation of meaningful connections. Ghosting, silent withdrawals, or public shaming under the guise of accountability may feel decisive, but they often dodge the harder work of communication and resolution.
Especially in circles, where drug abuse is a big topic, people get cut off for not being able or willing to play the game. While co-dependency is an element within relationships, it’s also a severe danger for the mental health of the individual. What happens, if the praise and the loyalty of a friend or your partner turns into mobbing and false accusations? And what if, co-dependency has become an element of oppression?
The Hidden Damage of Victim Blaming
When a friend opens up about being hurt or harmed, the last thing they need is to be blamed for their experience. Yet victim blaming happens—often subtly— and mostly in close relationships. It might sound like, “Why didn’t you just leave?” or “Are you sure it happened that way?”
These kinds of responses undermine the victim’s reality and contribute to feelings of shame, confusion and betrayal. They can lead to gas lightning, oppression and in some cases to suicidal thoughts. Even worse, they destroy the self-esteem of individuals, which are often dealing with an already fragile condition, psychological issues or the lack of perspectives.
Psychological studies point to cognitive biases like the just-world hypothesis—the belief that people get what they deserve—as a root cause of victim blaming. This bias allows people to feel safer in a chaotic world, but it often comes at the cost of empathy and support for those who’ve been harmed. The bullied ones becomes the bully–sometimes without noticing– because of fighting back or responding to defamation and false accusation.
When friends respond with blame rather than belief, trust is fractured, and the victim may feel doubly wounded—not just by the original harm but also by the betrayal of someone they thought was a safe guard or friend.
Emotional Literacy: The Path to Healing
True friendship requires emotional intelligence: the courage to listen without judgment, the humility to own one’s mistakes, and the discernment to know when to repair or let go. Rather than defaulting to cancellation, emotionally literate friendships prioritize dialogue, vulnerability, empathy and understanding.
One promising alternative is restorative justice, an approach focused on healing rather than punishment. It invites those involved to reflect on the harm caused, take responsibility, and collaboratively seek resolution. This framework doesn’t minimize pain; instead, it creates space for accountability and empathy—two things sorely missing in many fractured friendships.
However in many cases the blame burdens the victim. Without being heard or understood, the consequences can become quite heavy and one sided. If the surrounding does not react or reflect on their own behaviour, the lack of empathy does not relay on the victim alone.
Choosing Connection Over Cancellation
Cancel culture and victim blaming in friendships reveal a deeper need in our personal lives: the need for emotional awareness, communication and compassion. While it’s important to walk away from truly harmful relationships, many friendships are worth the effort it takes to engage, repair and grow.
If we can resist the temptation to cancel and instead lean into discomfort with curiosity and care, we might rediscover what friendships are really about—not perfection, but presence.
Footnotes:
- Premier Science Journal – “Cancel Culture and Its Psychological Impact”
- https://premierscience.com/pjp-24-686 (Discusses the emotional and social effects of cancel culture, including anxiety and isolation.)
- Business Insider – “People love canceling plans—but it’s harming friendships and mental health”
- https://www.businessinsider.com/people-love-to-cancel-plans-friends-bad-health-society-economy-2025-3 (Examines how avoidance behavior and canceling social plans impact relationships and emotional well-being.)
- Verywell Mind – “Why Do People Blame the Victim?”
- https://www.verywellmind.com/why-do-people-blame-the-victim-2795911 (Explores the psychological roots of victim blaming, including the just-world hypothesis and cognitive dissonance.)
- RSIS International – “Students’ Perceptions of Cancel Culture: Reflections on Public Opinion, Attribution Theory, and Restorative Justice”
- https://rsisinternational.org/journals/ijriss/articles/selected-students-perceptions-and-attitudes-on-cancel-culture-reflections-on-public-opinion-attribution-theory-compassionate-education-and-restorative-justice (Provides insight into alternative frameworks like restorative justice for addressing harm and conflict.)
Taged as/in; accountability, boundaries, breakups, Cancel Culture, Communication, Conflict, Emotional Intelligence, empathy, friendships, Healing, mental health, psychology, Relationships, Resolution, restorative justice, social dynamics, support, trauma, Trust, victim blaming, vulnerability#writtenby
- Premier Science Journal – “Cancel Culture and Its Psychological Impact”
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Join the Initiative: BAI Social – Art in Solidarity
We’re thrilled to introduce BAI Social, our nonprofit initiative harnessing the power of art and education to uplift communities in need.
Introducing BAI Social (BAI’s Nonprofit Initiative)
Launched in 2024 by the Berlin Art Institute, BAI Social is a nonprofit arm dedicated to supporting artists in times of crisis. Its mission is clear and compassionate: to uplift creators and artists who are facing distress due to war, political instability, persecution, or discrimination—including refugees, displaced people, people with disabilities, and those marginalized because of their race, religion, gender identity, or sexual orientation.
In essence, BAI Social stands for artistic freedom and human solidarity, ensuring that talented voices aren’t silenced by conflict or injustice.
Importantly, BAI Social offers funded residencies for artists in need. While the core BAI Studio Program is tuition-based, BAI Social covers the participation fee for free.
BAI social offeres spaces, resources and mentorship, so that selected artists can pursue their practice in a safe and secure environment.BAI Social: How it began!
Over time, Berlin Art Institute received a growing number of inquiries from artists around the world—artists facing difficult circumstances, from displacement and discrimination to challenges that disrupted their ability to continue creating.
Their requests shared a common thread: a need for support, space, and an environment where they could safely pursue their artistic practice. Recognizing this need, we felt a responsibility to act. In 2024, we established BAI Social, a nonprofit initiative dedicated to providing opportunities for artists navigating adversity.
Photo by courtesy of Ihor Poronyk, director Odesa Museum of Western and Eastern Art, artist Sofiia Holubeva, Stephanie Jünemann & Ralf Schmitt, Directors BAI (from left to right) This mission took form when war broke out in Ukraine. Understanding the urgent need, we opened our doors to Ukrainian artists seeking refuge and continuity for their work. BAI Social provided a space where these artists could continue developing their practice, engage with peers, and share their voices despite the challenges they faced.
Today, BAI Social continues this work—not only for artists affected by war or political conflict, but for anyone who needs a safe and supportive environment to create. Whether an artist’s work reflects social issues, personal stories, or purely creative exploration, our commitment remains the same: to provide the resources, space, and community that allow artistic voices to grow and be heard. We believe every artist deserves the opportunity to continue their practice, no matter the challenges they face.Ukrainian Artists Supported by BAI Social.
One of our initial focus was to support Ukrainian artists who have sought refuge and creative community in Berlin. Meet three artists who recently benefited from BAI Social residencies, each bringing their unique voice and vision to our institute:
Oksana Metka
Oksana Metka is our current BAI Social resident in Berlin. She received her bachelor’s degree with honours from the Lviv National Academy of Arts, specializing in monumental painting at the Faculty of Fine Arts and Restoration (2015-2019). Since 2021, Oksana Metka has been actively participating in exhibitions, festivals and cultural projects in Germany. She is a painter deeply inspired by the essence of nature and the fleeting moments of life.
Mariia Lutsak
Mariia Lutsak is a Ukrainian artist. She was born in 1997 into a family of artists in Kiev and graduated from the National Academy of Fine Arts and Architecture (2018). She has been participating in art exhibitions since 2014. After the Russian invasion of Ukraine, Maria moved to Berlin. Her works are a reflection on the theme of war.
Sofiia Holubeva
Sofiia Holubeva was born in Odesa. She studied at the Kyiv Academy of Media Arts (Contemporary Art). She also studied at the National Academy of Fine Arts and Architecture in Kyiv (Fine Arts) and the Odesa Art College of Grekov (Fine Arts).
Holubeva currently lives and works in Berlin. Holubeva explores the social, psychological, and political aspects of today’s human existence. She focuses on issues of truth and responsibility. Her work also addresses subjective and objective matters. Sofia’s work is a deep self-reflection and research on human behavior.
In addition to the artists supported through BAI Social since 2024, Berlin Art Institute previously welcomed Ukrainian artists Nikita Kadan and Olia Fedorova in 2019 through a partnership with the Ukrainian Institute’s EXTER residency program.Their participation, including public lectures and artistic contributions, marked an early step in BAI’s commitment to fostering international dialogue and supporting artists from Ukraine.
Join BAI Social – A Call for Collaboration!
By working together, we can expand opportunities for artists who are in need of resources, and supportive community to continue creating. At Berlin Art Institute, we are committed to a global vision of solidarity through art. But we know that with like-minded partners, we can reach even more artists and make a deeper impact.
If your organization shares these values, we invite you to collaborate with us. Whether by partnering to provide residency opportunities, recommending an artist in need or developing educational projects together, there are many ways we can work hand in hand. Let’s unite efforts to empower more artists, nurture diverse creative voices, and build a stronger, more inclusive global art community.
👉 Partner with BAI Social →
We look forward to building meaningful collaborations with us in this mission. Together, let’s champion art as a force for hope, healing, and shared humanity.
For inquiries or to discuss potential collaboration, please contact us at BAISocial@BerlinArtInstitute.com The BAI combines an international artist residency with a contemporary art school. It also functions as an innovative arts incubator. The BAI is an independent institute for artistic practice, training, discourse, and research in Berlin. All courses are conducted in English.
Phone: +49 (0)30 235 735 30
Fax: +49 (0)30 235 735 32
info@BerlinArtInstitute.com
www.BerlinArtInstitute.comSure! Here are the post/meta tags without hashtags, formatted as single words and separated by commas:
Taged as/in; Art Residency, Artist Support, Artists In Exile, BAI Social, Berlin Art Institute, Change, contemporary art, Displaced Voices, Global Art Community, Human Rights, inclusion, Nonprofit, Refugee Artists, Residency Program, resistance, Solidarity, Support Artists, Ukraine#writtenby
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Kalipo – Any Compromises via Iptamenos Discos
Berlin’s Kalipo returns on Iptamenos Discos with Any Compromises—a driving, disco-punk anthem about breaking free and chasing happiness without fear.
Berlin-based producer Kalipo is back on Iptamenos Discos with his new single ‘Any Compromises’. When Jakob Häglsperger isn’t on the road with his legendary electro-punk band Frittenbude or Dina Summer, his collaborative project with Local Suicide, he devotes himself to his solo project Kalipo. With his new single ‘Any Compromises’, he picks up where he left off with his last EP ‘WUT’.
He is always in search of the interface between electronic and indie music. He creates a driving disco-punk sound in his usual signature style. This style draws its energy from straightforward, electronically pounding beats. These beats are deeply rooted in krautrock and techno. A melodic mesh of reverberating guitars and synthesizers unfolds above this – reduced and edgy, with a harmony that is clearly oriented towards the spirit of punk.
At the center of ‘Any Compromises’, however, are Kalipo’s vocals: With a warm, relaxed voice he sings about letting go of old patterns and the uncompromising pursuit of happiness, even if this means leaving everything familiar behind and hoping for a miracle in the end.
The internationally renowned Bavarian producer has been releasing music on labels such as Audiolith, Get Physical, Ki Records, Stil Vor Talent, Heimlich and 3000 Grad for over a decade and reached over 20 million streams besides performing at festivals and clubs all over the world. His sound is unmistakably influenced by the 2000s, when indie and techno collided – a style that is now celebrating its comeback under the term indie sleaze.
Besides the original version, the bundle also includes a club version. It brings more groove to Kalipo’s otherwise rather stoic, straightforward beat. The track remains powerful and dark. With its rhythmic sophistication, it invites you to lose yourself on the dance floor in dark clubs late at night.
Listen:
Taged as/in; Any Compromises, Dark Disco, Dina Summer, Disco, edm, Electro Punk, Frittenbude, Indie, Indie Dance, Iptamenos Discos, Kalipo, Krautrock, Local Suicide, Punk, Sleaze, techno#writtenby
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Pop-Kultur 2025 wächst: Sechs Tage Programm an neuen Orten
Elfte Festivalausgabe findet vom 25. bis 30. August stattNeue Venues im WeddingApsilon, Eli Preiss, Die Nerven und weitere Acts bestätigt.
Pop-Kultur Nachwuchs: Call for Participation startet am 15. Mai
Pop-Kultur braucht Raum und Zeit. Deshalb feiert Pop-Kultur Berlin seine elfte Festivalausgabe eine ganze Woche lang – vom 25. bis 30. August 2025 in verschiedenen Venues im Wedding sowie am Stammort in der Kulturbrauerei. Zu den neuen Spielstätten gehören neben dem silent green Kulturquartier der Humboldthain Club, das Studio.dB, Panke Culture, Heizhaus, Richten25, SİNEMA TRANSTOPIA und migas – hier wird in konzentrierter Form auch das Format »Pop-Kultur Lokal« stattfinden, kuratiert von der freien Veranstalter*innenszene der Stadt.
»Mit insgesamt sechs statt drei Festivaltagen entzerren wir das Pop-Kultur-Programm und machen eine Woche lang musikalische und popkulturelle Vielfalt an unterschiedlichsten Orten in Berlin erlebbar. Neben international hochkarätigen Künstler*innen freuen wir uns dieses Jahr besonders auf viele Berliner Acts und neue Talente.«
Marie von der Heydt, die Geschäftsführerin des Musicboard Berlin und Festivalleiterin von Pop-Kultur.Pop-Kultur startet im Wedding
Den Auftakt am Festivalmontag und -dienstag macht ein hochkarätiges Talkprogramm im Wedding: In Gesprächen und Panels werden spannende Fragen rund um Popkultur verhandelt. Weitere Details zum Talkprogramm werden in den kommenden Wochen bekanntgegeben.
Musikprogramm: Vielfältig, überraschend, direkt
Pop-Kultur Live Highlights x Mittwoch, 27. August
Sphärisch und visionär: ÄTNA bleibt auf genresprengenden Spuren unterwegs und erschafft zusammen mit dem ensemble reflektor neue Soundwelten in der Betonhalle im silent green. Auch Anika wird das atmosphärische Setting mit ihrer Mischung aus Dub, Post-Punk, Psychedelic und dem Gespür für das Unvorhersehbare ausloten. Für das Partyflair sorgt die ghanaisch-amerikanische Sängerin Moliy, die mit »Shake it to the Max« ein kleines TikTok-Beben ausgelöst hat.
Weitere Acts und DJs zünden danach den Festivalfunken im Humboldthain Club. Für Donnerstag, 28. August ist ein besonderes musikalisches Highlight geplant, das zu einem späteren Zeitpunkt bekanntgegeben wird.
Pop-Kultur Live Highlights x Freitag, 29. August
Am Freitag wird’s vielschichtig und pointiert mit Rapstar-Power in der Kulturbrauerei. Der Moabiter Apsilon verbindet lyrische Präzision mit modernen Trap-Beats. Dabei thematisiert er gesellschaftliche Realitäten aus postmigrantischer Perspektive.
Eli Preiss, eine der spannendsten Stimmen des österreichischen Pop-Raps, trifft den Nerv der Gen Z mit smarter Attitüde und genreoffenem Sound.
Boondawg liefert aus Düsseldorf introspektive Reime mit dunklem Groove – direkt, kantig, klar. Melancholisches Mitwippen und Tanzen zwischen Folk-Pop und düsterem Elektro-Pop bieten die in Berlin lebenden Die Heiterkeit und Dina Summer– jeweils auf ihre eigene Art.
Pop-Kultur Live Highlights x Samstag, 30. August
Indie in all seinen Facetten steht am Samstag im Mittelpunkt: DieNerven greifen tief in die deutschrockigen Saiten, während die dänische Art-Pop-Band Efterklang verschroben, zärtlich und sanft nach großen Wahrheiten sucht. Postpunkige New-Wave-Energie liefert die Berliner Band CURSES. Und Los Bitchos verzichten lieber ganz auf Text und grooven mit viel Verve zwischen 80s, Cumbia und Spaghetti-Western-Ekstase.
Pop-Kultur Nachwuchs: Call for Participation startet am 15. Mai 2025
Auch 2025 bietet Pop-Kultur wieder Raum für Newcomer*innen: 150 Talente aus Berlin und dem gesamten Bundesgebiet werden eingeladen, zwei intensive Tage mit Expert*innen und rund 40 Workshops, Talks und Networking im Herzen Berlins zu erleben.
Das Programm findet am 25. und 26. August im silent green Kulturquartier statt, richtet sich an Musiker*innen, Produzent*innen, DJs, Manager*innen, Label-Gründer*innen, Booker*innen – und alle, die Popkultur kreativ oder unternehmerisch gestalten wollen. Interessierte können sich vom 15. Mai bis 5. Juni 2025 bewerben.
Pop-Kultur Live 2025: Bestätigte Acts & Commissioned Works (CW)
Andreya Casablanca (CW) / Anika / Apsilon / AratheJay / ÄTNA & ensemble reflektor / Becky Sikasa / Bernadette la Hengst & Chor der Statistik (CW) / Boondawg / Canty / Celina Bostic & Sarah Lasaki (CW) / Ceren / CURSES (Live) / Das Beat / Dina Summer / Donkey Kid / Ebbb / Efterklang / Eilis Frawley / Eli Preiss / FAYIM (CW) / Fritz Ali Hansen / The Gilberts / Güner Künier / Gut Health / Die Heiterkeit / Hér / Horizontaler Gentransfer / Kerosin95 / Kyla Vėjas! / Liv Oddman / Los Bitchos / Luna Simao / Meryl Streek / Migluma / Moliy / Muzi / Neromun / Die Nerven / Nzambisa (DJ) / Phuong-Dan (DJ) / Post Neo / Ralph Heidel & guests (CW) / Riot Spears / Saeko Killy with the Club Mirage Band (CW) / Sira Faal / Super Besse / Teresa Rotschopf (CW) / The Underground Youth / YELKA / Yung FSK18 / Zoon Phonanta
Festival-Website www.pop-kultur.berlin
Ticketshop: https://tickets.pop-kultur.berlin/Taged as/in; Andreya Casablanca (CW), Anika, Apsilon, AratheJay, ÄTNA & ensemble reflektor, Becky Sikasa, Bernadette la Hengst & Chor der Statistik (CW), Boondawg, Canty, Celina Bostic & Sarah Lasaki (CW), Ceren, CURSES (Live), Das Beat, Die Heiterkeit, Die Nerven, Dina Summer, Donkey Kid, Ebbb, Efterklang, Eilis Frawley, Eli Preiss, FAYIM (CW), Fritz Ali Hansen, Güner Künier, Gut Health, Hér, Horizontaler Gentransfer, Kerosin95, Kyla Vėjas!, Liv Oddman, Los Bitchos, Luna Simao, Meryl Streek, Migluma, Moliy, Muzi, Neromun, Nzambisa (DJ), Phuong-Dan (DJ), pop kultur, Post Neo, Ralph Heidel & guests (CW), Riot Spears, Saeko Killy with the Club Mirage Band (CW), Sira Faal, Super Besse, Teresa Rotschopf (CW), The Gilberts, The Underground Youth, YELKA, Yung FSK18, Zoon Phonanta#writtenby
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Estonian Pavilion: “Let me warm you” -La Biennale di Venezia
Estonia’s pavilion “Let me warm you” at #BiennaleArchitettura2025 questions if insulation can do more—reviving mass housing both socially & spatially.
The Ministry of Culture of Estonia presents the installation and exhibition “Let me warm you” curated by architects Keiti Lige, Elina Liiva, and Helena Männa, the Pavilion of Estonia at the 19th International Architecture Exhibition of La Biennale di Venezia (May 10th – November 23rd, 2025). The Pavilion explores whether current insulation-driven renovations are merely a compliance measure to meet European energy targets or if they can serve as an opportunity to enhance the spatial and social quality of mass housing districts.
“Let me warm you”
To highlight this issue, the Estonian Pavilion will cover the facade of a Venetian building with insulation panels, the same practice used in Estonia for mass housing. The palazzetto is located in Riva dei Sette Martiri 1611 on the waterfront. It sits between Corso Garibaldi and the Giardini, within the Castello neighborhood (Address: Riva dei Sette Martiri 1611, Castello, Venice). On the ground floor of the same building, a room, wrapped in plastic film, will host an exhibition showing how social dynamics within different stakeholders have an effect on spatial solutions.
“With this project, we question whether insulation is just a bureaucratic checkbox for meeting EU targets or a real chance to tackle social and spatial challenges. It exposes the clash between bold global ambitions and the everyday realities of people navigating collective decisions.”
assert curators Keiti Lige, Elina Liiva, and Helena Männa.To cope with climate change, one half of the world is installing ever thicker insulation layers. The other half is using increasingly powerful cooling systems. As Europe races toward its transition to climate neutrality by 2050, Estonia has an ambitious goal. It pledges to upgrade all the apartment buildings pre-2000 to at least energy efficiency class C. This sweeping renovation effort is part of a larger European movement to modernize aging housing stock in response to the climate crisis. Insulation should not be treated as a mere quick fix or a ‘bandage.’ Instead, it is a meaningful upgrade in quality of life.
Given the high costs and long-term impact of these renovations, the real challenge is finding a balance between ambitious climate policies and the everyday needs of the people who live in these spaces.
INSTALLATION
The installation, mounted directly onto the existing building’s façade, will use the same materials and design elements typically found in Estonian renovations. Set against the ornate architecture of Venice, this stark contrast serves as a powerful visual statement. In Estonia, Soviet-era apartment block renovations often proceed with little architectural input. This approach reinforces a problematic disregard for the character and potential of these spaces. By juxtaposing a fiber cement-clad façade with Venice’s rich historic fabric, the installation aims to spark a dialogue between inhabitants and architects about the cities and spaces we aspire to live in. YouTube video mock up: www.youtube.com/watch?v=O5ULxLue3zc.
EXHIBITION
On the ground floor of the palazzetto, an exhibition will delve into the social forces shaping renovation decisions. In Estonia, where most apartment buildings are privately owned, renovation choices are often driven by financial constraints, leaving little room for spatial improvements beyond insulation.
The exhibition space (an existing apartment) itself will be wrapped in plastic film. This symbolizes the relentless push for renovation. It also exposes how technical fixes often overshadow the deeper connections and real needs people have with their homes. At its centre, a model of a Soviet-era housing block brings human interactions to the forefront, using theatrical dialogues and exaggerated spatial outcomes to depict how different relationships and interactions have its impact on space.
The exhibition shines a light on the complexities of collective living and renovation decisions. It invites visitors to reflect on the tension between policy-driven energy goals and the lived realities of those affected by them.
The exhibition is accompanied by a catalogue that captures the tragicomedy of an apartment building in six scenes. Based on real people’s stories, it explores themes ranging from the fear of change to the revitalization of the neighborhood.“Intelligens. Naturale. Artificiale. Collettiva.”
The Biennale Architettura 2025 is curated by architect Carlo Ratti under the theme “Intelligens. Naturale. Artificiale. Collettiva.”, and will be about the built environment as one of the largest contributors to atmospheric emissions, placing architecture among the main culprits in the degradation of our planet. As the climate crisis accelerates, architects must offer solutions, substantial and non-cosmetic, effective and quick to achieve.
In this sense, the Estonian exhibition responds to Ratti’s call for pavilions: “This year’s head theme offers good ground to discuss what happens to architecture when the Architect is excluded from the process. Renovation processes that residents plan themselves according to their best knowledge provide a good example. They show how collective intelligence, or lack of it, affects our spatial environment. The Estonian Pavilion gives the message that the architectural quality of the living environment should not be overlooked in renovation processes.” explains Johanna Jõekalda, advisor on architecture and design at the Ministry of Culture of Estonia, Commissioner of the Estonian Pavilion.
With “Let me warm you”, visitors to the Biennale Architettura 2025 will actively engage with the pavilion and the building. By rethinking renovation strategies, Estonia could set an example for Europe: transforming outdated housing not just for energy efficiency, but for a more sustainable and livable future.
CREDITS AND INFO
Pavilion of Estonia:Let me warm you
Website: www.letmewarmyou.com
Instagram: @estonianpavilionAddress: Riva dei Sette Martiri 1611 (Castello neighborhood), Venice
Opening hours: Tuesday–Sunday; 11 a.m. – 7 p.m.
May 10th — November 23rd, 2025Commissioner:
Johanna Jõekalda
Curators Exhibitors:
Keiti Lige, Elina Liiva, and Helena Männa
Organiser:
Ministry of Culture of Estonia
Co-organiser:
Estonian Museum of Architecture
Creative team:
Märten Rattasepp, Kirill Havanski, Aadam Kaarma, Joosep Kivimäe
Production:
Mari-Liis Vunder
Collaborators:
Neeme Külm (Valge Kuup Studio), Margus Tammik, Robert Männa, Markus Puidak, Randel PomberSupporters: Ministry of Culture of Estonia, Cultural Endowment of Estonia, KMT Prefab OÜ, Swisspearl Group AS, PK-Salong, Luminor Bank AS, Brightlux Group OÜ, RAITWOOD, AS Craft drinks company MULL°, Rothoblaas, AT Prateko OÜ, Inmarx Partners OÜ, Estonian Academy of Arts/ Erasmus+, LIFE IP BuildEST, ESSVE Estonia AS, Sokisahtel OÜ.
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Taged as/in; 2025, adaptation, Architecture, Biennale Architettura, climate action, collective living, culture, curators, design, energy, Estonia, Estonian Pavilion, exhibition, housing, Installation, insulation, La Biennale di Venezia, Let Me Warm You, renovation, spatial justice, Sustainability, urbanism, venice#writtenby
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Clubs als Kulturorte: nach Weichenstellung fehlen Reformen
Vier Jahre nach dem Bundestagsbeschluss: Musikclubs warten weiter auf Reformen bei TA Lärm & BauNVO. Die neue Regierung ist jetzt am Zug! #clubsAREculture
Musikclubs warten noch immer auf die entscheidende Umsetzung des Entschließungsantrags des Dt. Bundestags vom 7. Mai 2021: Es bedarf dringend der Novellierung von TA Lärm und BauNVO sowie des Ausbaus und der Verstetigung von Förderprogrammen. Am 7. Mai 2025 jährt sich das Datum, an dem der Deutsche Bundestag per Entschließungsantrag Clubs als Kulturorte einstufte, bereits zum vierten Mal.
In diesen zurückliegenden Jahren vollzog sich ein langsamer Verwaltungsprozess, der unter anderem in der Reformierung der Schallschutzbestimmungen sowie der Baunutzungsverordnung hätte münden sollen. Die neue Regierung sollte diese Fäden schnellstmöglich wieder aufgreifen, um ihrem im Koalitionsvertrag festgeschriebenen Anspruch gerecht zu werden, Clubs als kulturelle Institutionen gesetzlich zu berücksichtigen. Bestenfalls geschieht dies in jeweils separaten Verfahren.
„clubsAREculture“
Vor vier Jahren einigten sich die demokratischen Parteien im Bundestag fraktionsübergreifend darauf, Clubs als Kulturorte anzuerkennen. Der damit verbundene gesetzgeberische Auftrag wurde von den verantwortlichen Ministerien allerdings nur schleppend an- und aufgenommen. Im Zuge der politischen Arbeit der LiveKomm, des Bundesverbands der Musikspielstätten, und begleitet von der Öffentlichkeitskampagne „clubsAREculture“, wurden erst im Sommer 2024 mit entsprechenden Referentenentwürfen Reformbestrebungen sichtbar.
Zuletzt lagen sowohl für die TA Lärm, die den Schallschutz regelt, als auch für die Baunutzungsverordnung Ansätze zur Novellierung vor. Im Falle der BauNVO gelangte ein Gesetzesentwurf noch im September 2024 zu einer ersten Lesung in den Bundestag. Mit dem Ende der Ampelregierung hat die neue Koalition die Aufgabe, diese Fäden wieder aufzugreifen. Sie muss die gesetzliche Basis für moderne Stadtentwicklung schaffen. Außerdem sollte ein Miteinander von Kultur und Wohnen ermöglicht werden.
Kulturschutzgebiete
Einen solchen Reformanspruch formulieren CDU/CSU und SPD auch in ihrem Koalitionsvertrag. Dort findet sich u.a. folgende Passage: „Wir setzen uns für die Initiative Musik und andere bundesgeförderte Initiativen für die Förderung der Musikwirtschaft und der Popkultur ein. Es braucht „Kulturschutzgebiete“, in denen Bestandsschutz gilt und Clubs als Kulturorte durch die Baunutzungsverordnung anerkannt und in der Technischen Anleitung zum Schutz gegen Lärm (TA Lärm) berücksichtigt werden“. An anderer Stelle heißt es: „Programme zur Modernisierung von Bahnhöfen, zur Schaffung von Barrierefreiheit und zum Lärmschutz werden fortgesetzt.“
Forderungen der LiveKomm:
1. Anerkennung des kulturellen Bezugs von Clubs und Livemusikspielstätten innerhalb der BauNVO
Die LiveKomm fordert eine zügige Anpassung der Baunutzungsverordnung. Darin sollen Musikclubs mit nachweisbar kulturellem Bezug als Anlagen kultureller Zwecke eingestuft werden. Wenn diese Forderung nicht umsetzbar ist, sollte der Weg einer gesonderten Gebäudekategorie Musikclub mindestens einen besseren Bestandsschutz und eine Erweiterung der Spielräume für die künftige Ansiedlung von Musikclubs beinhalten.
Dem Bundesratsbeschluss (Drucksache 436/24) entsprechend sollte eine ausnahmsweise Zulässigkeit in allgemeinen Wohngebieten und eine grundsätzliche Zulässigkeit in Gewerbegebieten vorgesehen werden. Zudem sollte das Gesetzesvorhaben eine Definition von Musikclubs mit kulturellem Bezug beinhalten.
2. Umsteuern beim Bundesimmissionsschutzgesetz & Schallschutzprogramm verstetigen
Es gilt, künftig eine regulatorische Unterscheidung zwischen Industrie- und Gewerbelärm (TA Lärm) und Kulturschall einzuführen, um den Anforderungen kultureller Einrichtungen gerecht zu werden. Dabei gilt es u.a. sicherzustellen, dass die Einstufung von Verhaltenslärm des Publikums im öffentlichen Raum eine angemessene Berücksichtigung kultureller Aktivitäten ermöglicht.
Eine Arbeitsgruppe aus UMK, BMK, WMK und KMK sollte eingerichtet werden, um neue Schallregularien zu formulieren und eine kulturelle Stadtentwicklung gezielt voranzutreiben. Das Bundesschallschutzprogramm im BMWSB muss verstetigt werden. Es sollte eine auskömmliche Finanzierung von mindestens 20 Millionen Euro pro Jahr bereitgestellt werden. Dies ist notwendig, um Nutzungskonflikte zwischen kulturellen Orten und Nachbarschaften nachhaltig zu lösen.
Mit der Kulturschallverordnung (V3) hat die LiveKomm auf Basis juristischer Expertise durch die Berliner Kanzlei Härting einen Vorschlag für die Neuregelung des Schallschutzes auf Bundesebene eingebracht. Bei der Umsetzung gesetzlicher Reformen steht die LiveKomm den zuständigen Ministerien, wie schon in der Vergangenheit, gerne als Partnerin zur Verfügung.
Iris Hinze, Sprecherin der AG Kulturraumschutz der LiveKomm: „Die neue Regierung will laut Koalitionsvertrag Clubs als Kulturorte schützen und würdigen. Wir fordern von der neuen Koalition daher, auf Beschlüsse auch zügig Taten folgen zu lassen: BauNVO und TA Lärm müssen vorrangig und separat, notfalls außerhalb gebündelter Gesetzespakete, angepackt werden. Reformen sind schon länger als vier Jahre überfällig – die Schallschutz-Bestimmungen z.B. wurden für den clubrelevanten Bereich seit 1968 nicht angepasst.“
Über die LiveKomm:
Die LiveMusikKommission e.V. (kurz LiveKomm) ist der Bundesverband der Musikspielstätten in Deutschland. Sie repräsentiert mehr als 730 Musikclubs und Festivals in über 100 Städten und Gemeinden. Ihre Mitglieder gehören zu den größten Anbietern lokaler Kulturveranstaltungen. Sie sind bedeutend im städtischen Tourismus. Außerdem fördern sie deutsche und internationale Talente und sind Teil des europäischen Musikspielstätten Netzwerks LiveDMA.
Über die Clubcommission:
Die Clubcommission ist das Netzwerk der Berliner Clubkultur. Sie wurde im Jahr 2001 gegründet und ist mit über 350 Mitglieder die weltweit größte Vereinigung von Clubbetreiber:innen und Veranstalter:innen. Sie unterstützt die Arbeit der Kulturunternehmer:innen durch die Optimierung der Rahmenbedingungen und die Verbesserung der Infrastruktur.
Neben vielen verschiedenen Aktivitäten wie nachhaltiger Stadtentwicklung, Schallschutz, Vermittlung zwischen Clubs, Bauherren und der Nachbarschaft, Verbesserung der Arbeitsbedingungen in der Nachtökonomie und der Entwicklung von Antidiskriminierungs- und Sensibilisierungsmaßnahmen in Clubs, ist die Erforschung der verschiedenen Dimensionen der Clubkultur seit jeher ein wichtiger Bestandteil ihrer Arbeit.
Taged as/in; BauNVO, Clubcommission, Clubkultur, clubsAREculture, Koalitionsvertrag, Kulturerhalt, Kulturpolitik, Kulturschutzgebiet, Livekomm, Musikclubs, Nightlife Matters, Reform Jetzt, Save Our Clubs, Stadtentwicklung, TA Lärm#writtenby
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Le Monde d’Aïcha: Painting the Unbearable
Aïcha Khorchid paints the unbearable: raw, monumental works born of trauma, turning childhood nightmares into devastating beauty.
Based on a Text by Klaus Albrecht Schröder
In the world of Aïcha Khorchid, there are no clear borders between beauty and trauma, dream and nightmare. Her canvases don’t offer escape; they compel confrontation. Yet, it is precisely in this confrontation that her art achieves something extraordinary: it renders the unspeakable not only visible, but devastatingly beautiful.
“Every painting is a wound made visible.”
Is it even possible to speak of “a world” when that world is rooted in childhood terror, forged in violence, abandonment, and despair? Aïcha’s world is not a romantic escape into fantasy, nor an exotic reverie. It is the child’s world—both limitless in imagination and suffocating in its monsters. A world where an iron bedframe looms like a prison, where blood in the bathtub is not metaphor but memory.
Despair has never been painted more beautifully.
These memories—of loss, incarceration, and unbearable pain—are projected onto thick wooden panels, two-by-two meters in scale, as if the sheer size could bear the weight of what they must hold. Her paintings are monumental not just in form but in force: every stroke bleeds. Every composition aches. Her work emerges not from academic rigor, but from raw necessity.
“Aïcha doesn’t paint fantasy. She paints survival.”
And yet—this is not outsider art. Or at least not only. Yes, Aïcha Khorchid never studied perspective, light, or shadow. Her brush obeys no rules. She is self-taught, unfiltered, and steeped in the primal immediacy once revered in the “naïve” art of Henri Rousseau or Niko Pirosmani. But the comparison falters where her pain begins. Aïcha is not painting Sunday landscapes or poetic jungles. Her jungle is the suffocating grip of trauma. Her “naïveté” is not a stylistic choice; it is the raw language of a survivor.
Everything is oversized in Aïcha’s world—especially the pain.
Few artists command space the way Aïcha does. Her visual grammar—frontal figures, distorted proportions, compressed space—recalls the early 20th-century avant-garde’s fascination with unlearning. But hers is not affectation; it is instinct. Each painting is a battleground where figures stand frozen in hopeless confrontation. A bathtub becomes a tomb. A table, an altar of abandonment. Curtains don’t veil; they accuse.
“She didn’t choose painting. Painting chose her.”
In the world of Aïcha, beauty and pain are twin flames. As with Grünewald’s tortured Christ or Picasso’s Guernica, horror here becomes sublime. It is this paradox—despair rendered so gorgeously—that makes her work unforgettable. We look on, unable to look away.
“The viewer becomes the witness. The canvas, the crime scene.”
Born in Karachi and carried across continents—from Lebanon to France—Aïcha’s childhood was fractured early. Placed in state care as one of ten siblings in a refugee family, she moved from one foster home to another, each a new chapter of violence and psychological torment. Her adolescence was marked by survival: dropping out of school, enduring abuse, rediscovering and then losing her mother in one final, irreversible act—suicide.
Decades would pass before she ever picked up a brush. In those years, she lived many lives: a street painter on Paris pavements, an exotic dancer in the Caribbean, a decorator of domestic worlds that would never feel like home. And then—one day—she began to paint.
It was not healing. It was exorcism.
Her art draws from two wells: one filled with pain, the other with dreams of escape. Within this duality lie fleeting images of love, of peace, of some imagined refuge. But they are always fragile, always retreating. The safe space exists only to be invaded.
What Aïcha Khorchid creates is not just art—it is testimony. Her work demands we witness the pain of the voiceless child, the castaway, the forgotten. And in witnessing, we are implicated. Her abused uncle stares out from the canvas with dead eyes. We ask, “What do we want from him?”—but the better question is, “What does the painting want from us?”
To call Aïcha’s work cathartic is too easy. Catharsis implies resolution, and there is none. Her trauma is not resolved, only made visible. And maybe that’s enough. Perhaps art, at its most honest, does not heal but insists that we see.
We may recoil from her world, but we cannot deny it. We may wish to offer thanks that such suffering could lead to such profound artistic expression—but that, too, feels insufficient. Instead, we stand before her canvases, silent, unnerved, moved.
This is Le Monde d’Aïcha. Not a place to rest, but a place to feel.
Aïcha Khorchid | Les choses de la vie
May 2 – June 21, 2025
GNYP Gallery Berlin
Knesebeckstraße 96, 10623 BerlinThursday-Saturday, 12-6 pm
Taged as/in; Aïcha Khorchid, art, authenticity, beauty, canvas, childhood, contemporary, creativity, culture, darkness, depth, emotion, expression, feature, Female Artist, gallery, genius, GNYP Gallery Berlin, Identity, inspiration, Le Monde D’Aïcha, Light, masterpiece, memory, modern, naïve art, Narrative, outsiderart, pain, painting, perspective, powerful, raw, resilience, spotlight, storytelling, survival, testimony, transformation, trauma, untrained, visual, voice#writtenby
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PARASITE – Exhibition @ TROPEZ im Sommerbad Humboldthain
SAVE THE DATE: PARASITE – die neue Ausstellung im TROPEZ startet am 7. Juni 2025 im Sommerbad Humboldthain. Kunst trifft Freibad. Eintritt mit Badeticket!
Das TROPEZ, Plattform für junge internationale Kunst im Sommerbad Humboldthain, eröffnet am 7. Juni 2025 und Pfingstwochenende seine neue Sommerausstellung auf dem Freibadgelände im Berliner Wedding.
Unter dem Titel PARASITE präsentiert das TROPEZ in seinem mittlerweile neunten Kunst- und Kultursommer auch in diesem Jahr wieder junge internationale Künstler:innen, von denen viele zum ersten Mal in Berlin zu sehen sind, ergänzt von etablierten Positionen wie Melike Kara und Maya Man.
Begleitet wird die Sommerausstellung von einem hochkarätigen Veranstaltungsprogramm mit Performances, Lesungen, Workshops und Konzerten. Ein Highlight im Programm ist das partizipative Festival, organisiert von Jade Barget & Dr. Nóra Ó Murchú, das erstmalig am 2. und 3. August stattfindet.
Neu ist außerdem eine Kooperation mit der KW Institute for Contemporary Art’s Pogo Bar, die am 17. Juli im TROPEZ zu Gast ist. PARASITE feiert das Unangepasste und zeigt, dass zwischen Regeln, Ordnung und Erwartungen der Raum für Neues und Kreatives liegt.
Skulpturen, Installationen, Performances, Talks, Sportveranstaltungen und Workshops greifen aktiv in den Freibadalltag ein – sie verschieben Gewohnheiten, irritieren Abläufe und eröffnen neue Erfahrungsräume. Ausgehend von Michel Serres’ Theorie des Parasiten untersucht PARASITE, wie sich produktive Einmischung lohnen kann.
SAVE THE DATE: PARASITE
TROPEZ im Sommerbad Humboldthain
7. Juni – 7. September 2025Eröffnung: 7. Juni, 16-18 Uhr (Einlass bis 17 Uhr)
Credits:
Künstler:innen der Ausstellung:
Haseeb Ahmed, Amine Habki, Melike Kara, Tilhenn Klapper, Maya Man, Rosanna Marie Pondorf, Sundays, T Vinoja
Performances:
Arthur Chruszcz, Elena Francalanci, Tilhenn Klapper und Susanne Sachsse
Beteiligte Kurator:innen(-kollektive):
Jade Barget & Dr. Nóra Ó Murchú, Maurin Dietrich, KW Institute for Contemporary Art’s Pogo Bar
PARASITE ist der neunte Kunst- und Kultursommer des TROPEZ. Das Programm wird dieses Jahr ermöglicht vom Senat für Kultur und Gesellschaftlichen Zusammenhalt, Stiftung Deutsche Klassenlotterie und Institut Français.
Künstlerische Leitung: Sophie Boysen
Assistenzkuratorin: Magdalena Mitterhofer
Produktionsleitung: Sophie Engert
Gründerin: Nele HeinevetterProgramm Juni
7.6. Opening PARASITE
8.6. Ikebana Workshop mit Christian Kōun Alborz Oldham auf Einladung von Maurin DietrichProgramm Juli
6.7. Performance Susanne Sachsse
12.7. Tanzperformance Elena Francalanci
19.7. KW x Tropez – Pogo Bar: Reading PerformanceÜber das TROPEZ
Das TROPEZ ist eine Plattform für junge internationale Kunst im Sommerbad Humboldthain im Berliner Wedding, dessen Anliegen es ist, zeitgenössische Kunst aus dem Umfeld klassischer Kunsträume herauszuholen. Das TROPEZ wurde 2017 von Nele Heinevetter gegründet, seitdem gibt es jährlich während der Sommersaison eine Ausstellung auf dem Gelände des Freibads mit jungen internationalen Künstler:innen, von denen viele zum ersten Mal in Berlin oder Deutschland gezeigt werden. Seit 2021 ist Sophie Boysen die Künstlerische Leitung des TROPEZ. Die Ausstellungen begleitet ein umfangreiches Veranstaltungsprogramm.
TROPEZ – Raum für Kunst im Sommerbad Humboldthain, Foto: Ink Agop TROPEZ
im Sommerbad Humboldthain
Wiesenstrasse 1
13357 Berlin-Wedding
Zugang über den Eingang vom Sommerbad Humboldthain mit gültigem Ticket für den Schwimmbadbesuch.Sophie Boysen, Künstlerische Leitung
+49 176 26049227
bonjour@tropeztropez.de
www.tropeztropez.deTaged as/in; »PARASITE«, 2025, art, art festival, berlin, contemporary art, exhibition, freibad kunst, KWxTropez, opening, public space, tropez, Wedding, young art#writtenby
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