-
ABST 042 – A-TWEED realeas new LP “Spring Music”
A-Tweed drops “Spring Music” via Abstrakce Records—his first LP fusing acid, dub, electro & tribal vibes into a slow-motion psychedelic journey.
After several killer EPs and tracks on labels such as Tresor, Multi Culti, Hard Fist, or Playground Records, Antonio De Oto aka A-Tweed finally delivers “Spring Music.” This is his first solo LP via Abstrakce Records. He changes perspective on his music and way of producing.
His minimal approach, where echoes and reverbs become some of the main characters of the full journey, mixing up weird acid, experimental downbeat, electro, dub, and tribal vibes across a wide range of tempos. Slow-motion beats pulse beneath swirling acid lines, while dubby echoes and reverberations sculpt a landscape that is both immersive and mysterious.
A-Tweed’s meticulous production draws from the label’s tradition of organic textures and ambient vibes, yet carves a distinct path balancing deep bass, shimmering synths, and a subtle sense of psychedelia that lingers long after the needle lifts. A cohesive journey, crafted for those who seek introspective voyages without giving up new forms of dancefloor communion.
A manifesto about the power of slow rhythms, dub sensibilities, and acid-tinged experimentation, out of any hype and trend, aiming for a distinctive sound. An essential addition to the ever-evolving Abstrakce catalogue. The spring has just arrived. FFO Tolouse Low Trax, Froid Dub or Senthulá. Limited edition of 250 copies with risograph cover.
🎛️ About A-Tweed
A-Tweed is the alias of Antonio De Oto, a Rome-based DJ and producer known for his psychedelic blend of slow-motion acid, tribal rhythms, dub textures, and experimental electronics. A key figure in Italy’s underground scene, A-Tweed has built a global following through releases on influential labels like Tresor, Multi Culti, Hard Fist, Calypso Records, and Playground Records.
His sound is genre-fluid yet unmistakably his own—organic, raw, hypnotic. Whether crafting dancefloor heaters or introspective deep cuts, A-Tweed thrives on sonic unpredictability, fusing post-industrial textures, global percussion, and cosmic synths into kaleidoscopic grooves. He’s equally at home in sweaty clubs, open-air rituals, or late-night radio waves.
Beyond production, A-Tweed has earned a reputation for immersive, genre-defying DJ sets and has shared stages with forward-thinking acts across Europe. Spring Music, his debut LP on Abstrakce Records, marks a new chapter: a slower, deeper, and more psychedelic statement from one of Italy’s most restless sound explorers.
credits
releases June 13, 2025
Mastering by Rude 66
Image cover by Paul Loubet Sleeve manufactured at Obsolette Letterpress and Riso print by Nice Guy Press.
LINK A-Tweed:
LINK Abstrakce Records:
Taged as/in; Acid, ambient, analog, dancefloor, design, downbeat, DUB, Electro, Electronic, Experimental, introspective, limited, LP, mastering, minimal, Music, psychedelic, riso, risograph, slow, soundscape, tribal, underground, vinyl#writtenby
-
4th CHARITY MARKET Supporting Social Initiatives in Berlin
Join the CHARITY MARKET by Andreas Murkudis on May 25! Support local orgs fighting violence & injustice. Shop, connect, donate! #BerlinCharity2025
On Sunday, 25 May 2025, ANDREAS MURKUDIS will host the fourth edition of the CHARITY MARKET at Potsdamer Straße 81. Once again, the focus is on collective engagement and community support. All proceeds will be donated to four long-standing Berlin-based organisations that provide vital support to women*children, and youth affected by 1 violence, crises, and injustice The CHARITY MARKET has become a highlight of our annual calendar.
It not only generates significant donations but also shines a light on our growing network of partners, neighbours, friends, and volunteers. In previous years, we have raised between €90,000 and €119,000 gross, directly benefiting humanitarian and social initiatives.
bringing people together
In this year’s CHARITY MARKET our efforts continue to generate as much income as possible through the sale of high-quality donated goods – including clothing, furniture, accessories, books, art, cosmetics, food, and drinks – all at heavily reduced prices, while bringing people together.
“We’ve been deeply moved and motivated by the increasing budget cuts in the social sector – especially here in Berlin – and felt compelled to once again join forces and make a small but meaningful contribution locally. We want to draw attention to the work of organisations that, in these socially fractured and difficult times, fight for the rights and wellbeing of particularly vulnerable people. They deserve our full solidarity, as resources are scarce and political and public attention is often lacking,”
says Andreas Murkudis, initiator of the project.We use the asterisk* to acknowledge the wide range of personal identities and understandings related to one or 1 multiple genders.
Foto: Sebastian Beyrer
Participants
This year’s CHARITY MARKET proceeds will benefit the following four Berlin-based organisations:
- HILFE-FÜR-JUNGS e.V. supports boys* and young men* who have experienced sexualised violence.
- Frauenhaus COCON provides shelter and support for women and children escaping domestic violence.
- Wildwasser e.V. has been fighting sexualised violence against girls* and women* for over 40 years.
- KuB e.V. offers support for people with insecure residency status and advocates for their rights.
At 35 market stalls, a wide variety of new donated items from our partners, neighbours, and friends will be available for purchase. Pricing is designed to ensure everyone can make a contribution. The CHARITY MARKET also provides an opportunity to learn more about the work of local organisations.
We are grateful for the generous donations from Karimoku, Dries van Noten, Rick Owens, Voo Store, Adidas, Aton, E15, Fabio Vogel, Highsnobiety, Issey Miyake, K.H. Würtz, Steidl, Lobmeyr, Magniberg, Marsèll, Sacai, Sofie D’Hoore, and more than 100 other companies – as well as the musical support from Isla Radio.
“We are proud of what we’ve achieved together over the past few years and look forward to bringing this success into the fourth edition of our CHARITY MARKET. We thank everyone who supports us so generously and hope to once again inspire many people to support this good cause,”
concludes Andreas Murkudis.
Foto: Lilika Strezoska
A preview of the available products will be published and updated weekly from 7 May 2025 at charitymarket.andreasmurkudis.com.
Event Details:
Date: Sunday, 25 May 2025 Time: 12–6 pm
Location: Courtyard, Potsdamer Straße 81, 10785 BerlinAdmission to the CHARITY MARKET is free.
About ANDREAS MURKUDIS
During his 15 years as director of Berlin’s Museum of Things, Andreas Murkudis became firmly rooted in the city’s art scene – and discovered his passion for beauty. This passion is now reflected in his ANDREAS MURKUDIS store at Potsdamer Straße 81.
Covering 1,000 square metres in the light-filled halls of the former Tagesspiegel printworks, the store presents a curated selection of fashion, design, art, and furniture in a museum-like atmosphere. “Space, to me, is the ultimate luxury – it allows objects to fully unfold,” says Murkudis. His selection represents timeless quality, clear aesthetics, and stories beyond fleeting trends – a place for inspiration and discovery.
Foto: Lilika Strezoska
About Frauenhaus COCON
Frauenhaus Cocon offers protection and support for women and their children affected by violence. Run by the Cocon e.V. association, the shelter has 53 spaces and is located at a confidential address. Its main goal is to protect women from further violence and help them build new perspectives for their lives. In addition to legal and practical advice, women receive assistance in adjusting to their new circumstances.
The shelter works with a resource-oriented, discrimination-sensitive approach and is open to all women – regardless of background, status, or orientation. Since 2013, it has also welcomed trans* women. Staff undergo regular training to promote a discrimination-free environment and to reflect on their own biases.
Many residents and their children are financially vulnerable, making it difficult to live a violence-free, self-determined life. The shelter relies on donations to provide everyday essentials and offer special activities, such as mother-child retreats to the Baltic Sea.
Without this support, it would be unable to bridge the funding gap and provide the necessary help towards self-empowerment.
www.frauenhaus-cocon-berlin.de/
About KuB – Contact and Advice Centre for Refugees and Migrants e.V.
For over 40 years, the Contact and Advice Centre for Refugees and Migrants (KuB) has provided guidance and support to people seeking protection and those with insecure residency status. The organisation is committed to ensuring that everyone – regardless of how they arrived in Berlin – has the opportunity to live a self-determined and dignified life.
KuB works alongside its clients to advocate for their rights, which many struggle to access due to structural inequalities in the asylum and migration systems, lack of information, unfamiliarity with the legal system, psychological burdens, language barriers, and discriminatory practices by authorities. In addition to open asylum and residency legal advice, KuB offers psychosocial counselling and longer-term support for pregnant women, single parents, and victims of gender-based violence.
Services are complemented by interpretation in over 20 languages and accompaniment to important appointments. To promote social inclusion and combat forced isolation, KuB also organises German classes for people excluded from state offerings – including dedicated courses for LGBTIQ* individuals – as well as integrative activities such as excursions and language cafés. KuB is an independent, self-managed association that relies heavily on volunteer support. Currently, around 170 volunteers assist the organisation. To remain a reliable point of contact, KuB depends on solidarity and donations.
About Wildwasser e.V.
For more than 40 years, Wildwasser Berlin has been advocating for the rights of girls* and women* affected by sexualised violence. The organisation’s vision is a society in which every girl* and woman* can live a life of hope, joy, and self-determination. Wildwasser provides protection and support to girls* and women* who have experienced sexualised violence, recognising them as experts in their own lives.
In a safe environment, they are supported through crisis shelters, residential groups, counselling, self-help groups, and a night-time crisis helpline. The organisation also offers advice for relatives and professionals, as well as training sessions. Its feminist approach considers all forms of discrimination – including sexism, racism, antisemitism, and queerphobia.
Wildwasser views violence as a societal issue and works to change how sexualised violence is addressed, aiming for a free and self-determined future for all. To achieve this, the organisation needs strong allies and supporters.
https://wildwasser-berlin.de/wildwasser/
About HILFE-FÜR-JUNGS e.V.
Since 1994, HILFE-FÜR-JUNGS e.V. has been supporting boys* and young men* affected or at risk of sexual exploitation and sexualised violence. The organisation aims to strengthen their rights, promote their health, and create opportunities for personal development and social participation.
Using a low-threshold, outreach, and trauma-informed approach, the association focuses on stabilising its clients. Since 2006, it has also offered prevention and counselling for boys* at risk of sexualised violence and trauma support for men* facing such challenges. The organisation operates a medical mobile unit and a counselling bus to reach clients directly, and offers specialised support through centres like its founding project, Subway.
HILFE-FÜR-JUNGS relies on donations to secure its own funding and qualify for necessary government support. Every contribution makes a crucial difference in maintaining and expanding its services.
Taged as/in; accessibility, action, ANDREAS MURKUDIS, art, awareness, berlin, books, charity, children, collaboration, community, contribution, cosmetics, Diversity, donation, drinks, Empowerment, Engagement, Equality, event, fashion, Food, Frauenhaus COCON, fundraising, furniture, help, HILFE-FÜR-JUNGS e.V., humanity, Identity, inclusion, initiative, justice, local, market, Music, Nonprofit, organisation, partnership, protection, resilience, rights, safety, shelter, social, Solidarity, support, violence, volunteers, Wellbeing, Wildwasser e.V., women, youth#writtenby
-
Journalismus: plakative Online-Schlagzeilen
Studie zeigt: Online-Schlagzeilen werden länger, emotionaler & negativer – ein Wandel getrieben von Klicks, nicht journalistischer Qualität.
Summary
In Kürze:
Online-Überschriften sind länger und negativer geworden.
Um Aufmerksamkeit zu erzeugen, neigen sie zu Clickbait.
Diese Entwicklung lässt sich unabhängig von der journalistischen Qualität der Medien beobachten.
Gründe für diese Entwicklung könnten die gesunkenen Kosten für Publikationen im Internet, ein allgemeiner Stilwandel oder die kompetitivere Online-Umgebung sein.
Internationale Studie dokumentiert tiefgreifenden Stilwandel im digitalen Journalismus
Online-Schlagzeilen sind in den vergangenen 20 Jahren nicht nur länger geworden, sondern auch negativer und zunehmend auf Klickzahlen ausgerichtet – und das unabhängig von der journalistischen Qualität. Zu diesem Ergebnis kommen Forscher des Max-Planck-Instituts für Bildungsforschung, die rund 40 Millionen Schlagzeilen englischsprachiger Nachrichtenseiten aus den letzten zwei Jahrzehnten ausgewertet haben. Ihre Studie wurde in der Fachzeitschrift Humanities and Social Sciences Communications veröffentlicht.
Die Forscher vergleichen das Internet mit einem riesigen Marktplatz, auf dem Journalistinnen und Journalisten mit ihren Schlagzeilen um die Aufmerksamkeit der Leserschaft konkurrieren. Diese Aufmerksamkeit ist ein kostbares Gut, denn im digitalen Zeitalter können Inhalte so günstig wie nie produziert werden – ein Überangebot und starke Konkurrenz von Inhalten ist die Folge.
Um durchzudringen, kommt der Überschrift eine entscheidende Funktion zu. Sie muss Aufmerksamkeit erzeugen und Neugier wecken. Anders als bei Print-Schlagzeilen lässt sich der Erfolg jeder einzelnen Überschrift im Internet messen, denn dort kann man sehen, wie viele Klicks sie erhalten hat. Das führt nach Ansicht der Wissenschaftler dazu, dass Online-Schlagzeilen so formuliert werden, um möglichst viele Klicks zu generieren (sogenanntes Clickbait).
„Unsere Analyse zeigt, dass sich die Sprache von Online-Schlagzeilen über die Jahre hinweg systematisch verändert hat“, erklärt Erstautor Pietro Nickl, Doktorand am Forschungsbereich Adaptive Rationalität des Max-Planck-Instituts für Bildungsforschung. „Viele dieser Veränderungen deuten auf eine Anpassung an die Anforderungen und Möglichkeiten des digitalen Umfelds hin.“
Online-Überschriften haben sich in den letzten 20 Jahren stark gewandelt
Im Zentrum der Analyse standen die sprachlichen und strukturellen Veränderungen von Schlagzeilen seit dem Jahr 2000. Diese weisen nicht auf bloße Änderungen in redaktioneller Praxis hin, sondern auch auf die wachsende Bedeutung der Schlagzeile als zentrales Element im digitalen Wettbewerb um Aufmerksamkeit.
Marek Pospisil via unsplash.com Anders als im Print-Journalismus, wo Überschriften vor allem informativ und platzsparend sein mussten, werden sie online gezielt genutzt, um Klicks zu generieren. Charakteristisch für Clickbait-Schlagzeilen ist ihre Länge: Sie sind in konversationellem Ton gehalten und dienen dazu, Neugierde zu wecken, ohne selbst viele Information preiszugeben.
Tatsächlich stellten die Forscher fest, dass die durchschnittliche Länge der Schlagzeilen kontinuierlich zunahm. Gleichzeitig wurde ein verstärkter Einsatz sprachlicher Mittel festgestellt, die typischerweise mit Clickbait assoziiert werden. Dazu zählen etwa aktive Verben, der Einsatz von Pronomen wie „ich“, „du“ oder „sie“ sowie der häufigere Gebrauch von Fragewörtern („wie“, „was“, „warum“). Diese Elemente wecken Neugier, indem sie eine Informationslücke schaffen – ein psychologischer Mechanismus, der Leserinnen und Leser zum Klicken anregen soll.
Ein weiterer markanter Befund betrifft die Satzstruktur. Während in den frühen 2000er-Jahren sogenannte Nominalsätze – zum Beispiel „Erdbeben in Myanmar“– gängig waren, traten in späteren Jahren vermehrt vollständige Sätze auf. Diese sind dynamischer und emotionaler, oft narrativ aufgebaut, und zielen stärker auf eine emotionale Ansprache ab.
Ebenfalls auffällig war die Entwicklung der emotionalen Tonalität. Die Sentiment-Analyse ergab, dass Schlagzeilen im Durchschnitt negativer geworden sind – unabhängig davon, ob es sich um hochqualitativen oder boulevardesken Journalismus handelt. Interessanterweise nutzten rechtsgerichtete Medienhäuser im Mittel deutlich häufiger negativ konnotierte Überschriften als linke oder politisch neutrale.
Entwicklungen werden durch Algorithmen verstärkt
„Die Veränderungen sind nicht das Ergebnis einzelner redaktioneller Entscheidungen, sondern Ausdruck eines kulturellen Selektionsprozesses. Bestimmte sprachliche Merkmale setzen sich durch, weil sie unter den Bedingungen der digitalen Aufmerksamkeitsökonomie erfolgreicher sind. Sie werden häufiger verwendet – gegebenenfalls auch ohne, dass sich Produzenten oder Konsumenten dieser Mechanismen bewusst sind“, sagt Pietro Nickl. Das Ganze wird durch Empfehlungsalgorithmen sozialer Medien verstärkt.
Die Studie basiert auf Daten aus vier internationalen Nachrichtenportalen – New York Times, The Guardian, The Times of India und ABC News Australia – sowie dem umfassenden News on the Web-Korpus (NOW), der rund 30 Millionen weitere Schlagzeilen aus verschiedenen Ländern enthält. Ergänzend wurden Daten von Upworthy (als Beispiel für expliziten Clickbait) und von wissenschaftlichen Preprint-Titeln (als Gegenbeispiel) analysiert.
In den meisten Variablen wurden die Nachrichtenschlagzeilen den Clickbait-Titeln über die Zeit immer ähnlicher. Die Datenauswertung erfolgte mithilfe moderner Methoden der natürlichen Sprachverarbeitung wie Sentiment-Analyse, syntaktischer Analyse und wörterbuchbasierter Auszählung.
Das Erkennen von manipulativen Inhalten wird immer schwieriger
Die Ergebnisse werfen auch grundlegende gesellschaftliche Fragen auf. Die zunehmende Verbreitung von Clickbait-Elementen in etablierten Medien könnte langfristig das Vertrauen in den Journalismus untergraben. Außerdem könnte sie die Unterscheidung zwischen seriösen und manipulativen Inhalten erschweren. Denn viele sprachliche Merkmale, die bislang als Warnsignale für unseriöse Inhalte (wie Clickbait oder manipulative Inhalte) galten – wie starke Emotionalisierung oder der vermehrte Einsatz von Pronomen und Fragewörtern – sind inzwischen auch in Qualitätsmedien verbreitet.
Mel Poole via unsplash.com „Wenn sich der Stil etablierter Medien denen von problematischen Quellen immer stärker annähert, verschwimmen die Grenzen – und das erschwert auch die Unterscheidung zwischen seriösen und manipulativen Inhalten“, warnt Co-Autor Philipp Lorenz-Spreen, Wissenschaftlicher Mitarbeiter am Forschungsbereich Adaptive Rationalität des Max-Planck-Instituts für Bildungsforschung.
Änderungen im Plattformdesign notwendig
Trotz dieser Entwicklung sehen die Forschenden Handlungsspielräume. Denn die digitale Informationslandschaft ist gestaltbar. Wenn bisherige Erfolgskennzahlen wie Klicks oder Verweildauer Inhalte verzerren, sei es an der Zeit, über alternative Metriken nachzudenken.
Erste Plattformen experimentieren bereits mit neuen Ansätzen – etwa durch die Hervorhebung „tief gelesener“ statt nur „meistgeklickter“ Artikel. Auch individuell wählbare Kriterien könnten dazu beitragen, langfristig eine vielfältigere und nachhaltigere Medienlandschaft zu fördern.
Originalpublikation:
Nickl, P., Moussaïd, M., & Lorenz-Spreen, P. (2025). The evolution of online news headlines. Humanities and Social Sciences Communications, 12, Article 364. https://doi.org/10.1057/s41599-025-04514-7
Max-Planck-Institut für Bildungsforschung
Das Max-Planck-Institut für Bildungsforschung wurde 1963 in Berlin gegründet und ist als interdisziplinäre Forschungseinrichtung dem Studium der menschlichen Entwicklung gewidmet. Das Institut gehört zur Max-Planck-Gesellschaft zur Förderung der Wissenschaften e. V., einer der führenden Organisationen für Grundlagenforschung in Europa.
Text von Maria Einhorn
Weitere Informationen:
Taged as/in; Algorithmen, Aufmerksamkeit, Clickbait, Digitalisierung, Emotionen, Forschung, Headlines, Journalismus, Kommunikation, Max-Planck-Institut für Bildungsforschung, MaxPlanck, Medien, Medienkompetenz, Medienwandel, Nachrichten, Negativität, Öffentlichkeit, Online, Schlagzeilen, Sprache, Studie, Wissenschaft#writtenby
-
THE NGHBR$ – I KNOW WHERE YOU LIVE [GOOD SKILLS]
THE NGHBR$ drop their debut EP I KNOW WHERE YOU LIVE—4 wild tracks born of noise wars, 4:20 chaos, and zero soundproofing. Play it irresponsibly loud.
After more than ten years of friendly noise wars and five years of recording chaos, Vilnius duo THE NGHBR$ finally decided to make it official. Their debut EP, “I KNOW WHERE YOU LIVE”, out via Good Skills, squeezes three studios, endless 4:20 brainstorms, and a lifetime of side-eye from the neighbors into just four banging tracks.
Built on friendship, late nights, and questionable soundproofing, THE NGHBR$ deliver tunes that are loud, unfiltered, and proud — because keeping it down was never an option. If your walls start shaking, don’t worry. It’s just them saying hi.
“I KNOW WHERE YOU LIVE” is coming out on June 19th on all platforms.
Play it irresponsibly loud — it’s what the neighbors would want.
Taged as/in; bangers, Bass, Breaks, Chaos, club, dance floor, debut, duo, Electro, EP, Friendship, Good Skills, June, loud, Music, neighbors, noise, Party, Rave, release, sound, studio, techno, THE NGHBR$, tracks, underground, unfiltered, vibes, Vilnius#writtenby
-
VERNISSAGE 21.5: Artefactual Nature at Roam
You’re invited to Artefactual Nature, a joint show by Kalina Dimitrova & Krassimir Terziev. Vernissage: May 21, 6–9 pm, Lindenstr. 91, Berlin.
Dear friends and colleagues,
You’re warmly invited to the opening of Artefactual Nature, a joint exhibition by Kalina Dimitrova and Krassimir Terziev, taking place on the evening of Wednesday, May 21.
Vernissage: Wed, 21.05, 6–9 pm
Artist talk: Sat, 24.05, 4 pm
Opening hours: 22-31.05, Wed-Sat, 3-6 pm,
1-3.06 by appointmentCurated by Ottjörg A.C.
The project is realised with the financial support of National Culture Fund of BulgariaRoam Projects
Lindenstraße 91
10969 Berlin
Artefactual Nature
The tense relationship at the interface between artifacts, the artifactual, and natural or environmental elements is central to the works of Kalina Dimitrova and Krassimir Terziev. These are the two artists represented in the exhibition Artefactual Nature.
However, they both approach the concept from very different starting points. Terziev sets out from an established and seemingly constant place – the private space of an apartment, firewood, an urban environment or the planet Earth itself. But these familiarities are disrupted. The walls of the private space and the architecture coordinates are undermined by the digital.
The individual is left with nothing but the lookout of an unprotected spaceship in an undefined universe. The firewood retains its external form but loses its calorific value. The routine of everyday life in a city, the Aristotelian efficiency of the outside world, is disrupted and becomes a mystical dysfunctionality. The shadow of a palm tree unexpectedly falls on the planet Earth itself seen from an extraterrestrial viewpoint.
An interplay of human and artificial elegance
In this instance Terziev’s work relates closely to Dimitrova’s as she is not preoccupied at all with pre-sets, artifact or nature morte. In Phantoms II, she takes leftover rhizome. Then, she supplements its lateral shoots and adventitious roots with ones sculpted in acrylic glass. To define these transparent acrylic waves as a “root substitute” would mean to deprive the work of a substantial part of its poetry, emitting frost and fragility at once.
This brittleness and materiality of the acrylic glass reappears elsewhere in the exhibition. And while this is not nature morte, the work is in fact inspired by the vine, drifting poetically into an interplay of human and artificial elegance.
In the work “Bears and other Surfaces” Dimitrova relates closely to Terziev’s work. A small picture in three variations, a bearskin on the wall – does it symbolize the crucified, the forgiving savior, or is it just a decorative foil? Another meeting point of the two artists’ works.
About the Artist:
Kalina Dimitrova (b. 1975, Gabrovo) graduated in Mural Painting from the National Academy of Fine Arts, Sofia (2001).
Her recent solo exhibitions include “Time twisted around a Place, twisted around Time” (with Krassimir Terziev), Credo Bonum Gallery, Sofia, 2025; “Tumbleweed”, Site-Specific Installation, Limnos island, Greece, 2024; “Stellar Skins and Phantoms”, Charter Gallery, Sofia, 2023; “Phantoms III”, Collect Gallery, Istanbul, Turkey, 2023; “Phantoms II”, Credo Box, Credo Bonum Gallery, Sofia, 2023; “Escapes”, Charter Gallery, Sofia, 2022; “01100011 01101000 01110010 01101001 01110011 01110100 01101101 01100001 01110011″*, +359 Gallery, Sofia, 2020; “Biophilia”, Credo Bonum Gallery, Sofia, 2020; “Hidden Life”, Gallery “Gallery”, Sofia, 2020; “Newer and newer waters flow into those that have already flowed into the same rivers”, +359 Gallery, Sofia, 2018.
Krassimir Terziev (b. 1969, Dobrich) is an interdisciplinary artist whose work spans a diversity of media, including video/film, photography, painting/drawing, and text, questioning the boundaries between reality and fiction, while exploring the manifold transitions and tensions between a globalised world, dominated by overwhelming multiplicity of symbolic imagery, and its material groundings in technological, physical and human ‘hardware’.
Terziev holds a Ph.D. in Cultural Anthropology (Sofia University 2012) and an MA in Painting (National Academy of Arts Sofia 1997).
His work is part of the public collections of Centre Pompidou/MNAM, Paris; Arteast 2000+ Collection, Moderna Galerija Ljubljana; Art Collection Telekom, Bonn; Sofia City Art Gallery, Sofia; Kunstsammlung Hypovereinsbank, Munich, among others.Taged as/in; acrylic, art, Artefactual Nature, Artificial, Artist talk, Bears, berlin, Berlin Art Scene, Bulgaria, Conceptual, contemporary art, culture, event, exhibition, gallery, Installation, Interdisciplinary, Kalina Dimitrova, Krassimir Terziev, Lindenstraße, National Culture Fund, Nature, opening, Ottjörg AC, Phantoms, Rhizome, sculpture, Surfaces, vernissage, Visual Art#writtenby
-
BBA COMMUNITY: Celebrate 10 Years of BBA Prizes
Wir feiern 10 Jahre BBA Prizes! Entdecke über 130 Künstlerinnen & Fotografinnen vom 22.05.–01.06. im Kühlhaus Berlin. Sei Teil unseres Jubiläums!
In diesem Jahr feiern wir das zehnjährige Bestehen der BBA Prizes – ein Jahrzehnt, in dem internationale aufstrebende Künstler*innen und Fotograf*innen durch unsere Auszeichnungen ins Blickfeld gerückt wurden. Wir laden Dich herzlich ein, Teil dieses Jubiläums zu sein.
Die BBA Prizes 10-Year Anniversary Exhibition findet vom 22. Mai bis zum 1. Juni im Kühlhaus Berlin statt – einer beeindruckenden Industrie-Location im Zentrum der Stadt. Die Ausstellung vereint Arbeiten ehemaliger Gewinner*innen, Finalist*innen sowie neuer Talente, die aktuelle Positionen zeitgenössischer Kunst präsentieren.
10 JAHRE BBA PRIZES – JUBILÄUMSAUSSTELLUNG
mit über 130 Künstler*innen und Fotograf*innen
🗓️ 22.05 – 01.06, DIENSTAG BIS SONNTAG, 13:00 – 20:00 UHR
📍KÜHLHAUS BERLIN, LUCKENWALDER STR. 3, 10963 BERLIN🎟️ Wochenendangebot – Exklusiv für unsere Community
Die nächsten 50 Ticketkäufer*innen erhalten mit dem Code BBACOMMUNITY 20 % Rabatt. Gültig bis Montag, 10:00 Uhr
PLANEN SIE IHREN BESUCH JETZT
20% RABATT CODE: BBACOMMUNITY
This year, we’re celebrating a decade of spotlighting exciting international emerging artists and photographers through the BBA Prizes – and you’re invited to be part of the milestone!
Join us for the BBA Prizes 10-Year Anniversary Exhibition, taking place at Kühlhaus Berlin between 22 May until 1 June, a stunning industrial venue in the heart of the city.
This landmark exhibition brings together an extraordinary lineup of past winners, finalists, and new discoveries – all pushing the boundaries of contemporary art.
BBA PRIZES 10-YEAR ANNIVERSARY EXHIBITION
featuring over 130 artists and photographers
🗓️ OPEN 22.05 – 01.06, TUESDAY – SUNDAY, 13:00 – 20:00
📍LOCATION: KÜHLHAUS BERLIN,
LUCKENWALDER STR. 3, 10963 BERLIN🎟️ Special Weekend Offer – Just for You
To thank our amazing community, we are giving the next 50 ticket buyersan exclusive 20% discount with code: BBACOMMUNITY
Valid until Monday at 10:00 AM (Berlin time)20% OFF TICKET CODE: BBACOMMUNITY
Copyright © 2025 BBA Gallery, All rights reserved.
Taged as/in; 10 Year Anniversary, Art Berlin, Art Community, art event, Art Exhibition, Art Show, BBA Gallery, Berlin Art, Berlin Culture, berlin events, contemporary art, Creative Talent, Emerging Artists, fine art, International Artists, Kühlhaus Berlin, modern art, Photography Exhibition, visual arts#writtenby
-
John Millei´s Latest Series: ‘Meditation in Three Acts’
John Millei’s Meditation in Three Acts explores consciousness through abstract faces—visual meditations that echo and transform expressionist traditions.
John Millei – Mediation in Three Acts
With Meditation in Three Acts, John Millei presents an extraordinary new body of work that both extends and radicalizes his previous oeuvre. For the first time, the artist turns explicitly to inner states of consciousness—not through narrative devices, but through a symbolically charged, abstract visual language. The three large-scale paintings that comprise the cycle are conceived as a cohesive visual unit, yet each one also stands powerfully on its own.
This synthesis of conceptual clarity, iconographic depth, and painterly presence lends the work both historical significance and notable value for collectors.Structurally, the series follows a trajectory analogous to meditative practice: from heightened awareness through the gradual release of cognitive control, culminating in a state of contemplative immersion.
Each painting centers on an abstracted face—frontal, iconic, and architecturally structured—that recurs and evolves across the triptych. One of the most striking iconographic elements is the presence of a second set of eyes, which gradually descends from one painting to the next: from the forehead in the first, to eye level in the second, to the lower part of the face in the third. This subtle yet powerful motif serves as a visual metaphor for a shift in consciousness—from mental activity to embodied awareness, from external observation to inner perception.
Savior’s Face and Meditations
This approach places Millei in rich dialogue with early 20th-century expressive painting, particularly the work of Alexej von Jawlensky. In works like Savior’s Face and his later Meditations, Jawlensky moved away from naturalistic portraiture, transforming the face into a site of spiritual projection.
His images depict not individuals, but inner states of being—rhythmically organized, formally reduced, and suffused with a sense of stillness. While Jawlensky sought to make the divine in the human visible through repetition and color, Millei creates a secular but no less transcendent space of experience. His paintings do not speak of salvation but of awareness. The use of color in Millei’s cycle also resonates with Jawlensky’s notion of “soul chords.”
Between subject and symbol
The first painting glows with vibrating yellows and bright greens—visual equivalents of mental clarity and alertness. The central work, dominated by muted greys and earthy greens, evokes a state of grounded balance. The final painting descends into deep blues and purples, tones traditionally associated with mysticism, introspection, and silence. Here, color is not a decorative element but an integral part of the cycle’s spiritual dramaturgy.
Left: Alexej Jawlensky, Meditation ‘Das Gebet’, 1922, oil on paper, 40×30 cm, © Städtische Galerie im Lenbachhaus und Kunstbau München. Right: Alexej Jawlensky (1864-1941) ‘Heilandsgesicht’, oil on canvas, 36,8×26,6cm, 1919, © Private Collection. Iconographically, Millei draws on a language of clarity and archetype. His faces do not portray individuals but suggest mythic or universal presence. Their frontal symmetry, minimalist expressions, and the symbolic presence of a second set of eyes recall sacred image traditions, yet without invoking specific religious narratives. These are not saints or saviors, but reflective surfaces for the viewer—mirrors of mental states, floating masks between subject and symbol.
John Millei ‘Meditation I’, oil on canvas, 122 x 92 cm, 05/25. inquire reduction, symbolic resonance and emotional intensity
The formal vocabulary—circles, curves, bold outlines—generates a gestural rhythm that breathes vitality into the structural rigor. Meditation in Three Acts is not merely a reflection on consciousness; it is a painterly embodiment of it.
Installation View ‘Meditation Triptych’ inquire The cycle positions itself as a contemporary continuation of the expressionist portrait tradition, taking up Jawlensky’s quest for “inner form” and rearticulating it for the 21st century. No longer the divine in the human, but the invisible within the visible becomes the focus. In this rare synthesis of formal reduction, symbolic resonance, and emotional intensity, Millei achieves a work of lasting importance. This is not a cycle about meditation—it is a meditation, rendered in powerful visual form.
G-ALLERY · Walter-Benjamin-Platz 1 · Berlin 10629 · Germany
Taged as/in; abstract painting, Alexej von Jawlensky, art collectors, art triptych, Berlin art exhibition, contemporary art, emotional intensity, expressionist tradition, G-ALLERY Berlin, gallery installation, inner states, John Millei, Meditation in Three Acts, meditation through art, modern portraiture, painterly presence, secular transcendence, spiritual art, symbolic art, visual meditation#writtenby
-
A hidden 19th-century villino rediscovers its charm
STUDIOTAMAT revives a hidden Liberty-style villa in Trastevere—an 80sqm urban retreat where history meets bold, modern elegance across three layered floors.
Hidden Heritage: Unearthing a Liberty-Style Villino
In the heart of Rome’s Trastevere district, STUDIOTAMAT has breathed new life into a hidden Liberty-style gem tucked away in the courtyard of a late 19th-century building along Viale di Trastevere. Once the caretaker’s house for the old train station—or a neighborhood doctor’s office, depending on who you ask—this forgotten villino has been reimagined as a refined urban hideaway for two.
A Compact Canvas: Redefining 80 Square Meters
Spread across three compact layered floors occupying 80 square meters and culminating in a lush, green terrace, the project began by carefully preserving the home’s most distinctive elements. Restoring the front veranda with its delicate cathedral glass in soft greens, pinks, and yellows called for a mix of craft and technical precision.
The original rhythm and hues were respected, while the frame was rebuilt in steel and solar-control glass. By removing the old French door that once divided it from the house, the veranda now flows into the interior, extending the living space and bathing it in natural light that subtly shifts in tone throughout the day.
Craft and Color: Reviving the Veranda
Inside, the intervention focuses on reconfiguring the layout, previously fragmented by a tight spiral staircase, and on the perception of the spaces.The redesign is radical in gesture but sensitive in execution: by moving the kitchenette beside the veranda, space is opened up for a striking alternating-tread staircase in chestnut wood. Its first step, clad in Verde Alpi marble, becomes the sculptural base of a custom bookshelf built into the understair.Nearby, a mirrored chestnut storage unit conceals the laundry and enhances the sense of openness.
Material Memory: Marble, Terracotta, and Timber
The living room gains new depth, framed by a soaring double-height window that looks out onto surrounding gardens, in quiet harmony with Munari’s iconic Falkland pendant lamps. The custom kitchen, liberated from overhead cabinetry, is defined by a linear base topped in Verde Alpi marble and shaded drawers that fade from black to terracotta, echoing the beautifully preserved original terracotta floors. A deep blue volume organizes the ground floor’s services: fridge and pantry on one side, a discreet powder room on the other.
This bold block of color continues upward, passing through the mezzanine and defining the main bathroom on the top floor, where Nouveau furnishings by Ex.t meet the textured surfaces of Patricia Urquiola’s Mater tiles for Mutina and fixtures by Formafantasma for Quadro Design. To bring in light and create a sense of airiness, the mezzanine has been partially opened, introducing a double-height void.
Vertical Echoes: Light, Mirrors, and Visual Continuity
Glass floor panels offer glimpses between levels, while mirrored panels below bounce reflections upward, visually expanding the space and enhancing the blue volume. The remaining floors are finished in Foret parquet by Oscar Ono Paris. Raphael Navot designed it. The parquet consists of preassembled oak slats with visible end grain. This design is a nod to the pebble streets of 19th-century Paris and ancient Rome. A custom bed with drawer base and integrated headboard echoes the kitchen’s color gradient, creating visual continuity between the levels.
Radical Flow: From Spiral Stair to Sculptural Core
A second spiral staircase in raw iron with cherry wood treads connects the sleeping area to the upper level. This staircase serves as a sculptural focal point for the studio space. A glass partition, echoing the veranda’s rhythm with alternating clear and ribbed panels, elegantly screens the bathroom. The door doubles as a backdrop for the shower. A Verde Alpi marble sink slices through the glass. It becomes a shared counter surface. Outside, the terrace features compacted stone paving in two shades of green, blending into the surrounding vegetation and reflecting the palette.
Rome Reimagined: Nostalgia Meets Innovation
“The first step was subtraction—to give breathing room to these compact floors. We preserved the essential structure and original terracotta floors, but played with pure volumes, reflected surfaces, and a strong material thread. The mirrored ceiling above the blue volume creates a sense of vertical infinity. It was about amplifying spatial dynamism while keeping a coherent language throughout.”
says Matteo Soddu, Co-Founder of STUDIOTAMAT.Discreetly nestled in one of Rome’s most characterful neighborhoods, this intervention captures the quiet charm of Trastevere. Just like the district itself, where modest façades often hide unexpected treasures, this project reveals the latent beauty of a neglected house. Merging memory with material, and history with contemporary sensibility, STUDIOTAMAT has created a deeply rooted, yet strikingly modern urban refuge.
CREDITS
Project Name:
Liberty villa in Trastevere
Location:
Rome, Italy
Architect:
STUDIOTAMAT (Tommaso Amato, Matteo Soddu e Valentina Paiola)
Project team:
Silvia D’Alessandro, Alice Patrizi, Sara CostanzoClient:
Private
Date:
2025
GFA:
Interior surface 80 sqm
Outside surface 30 sqmContractor:
Ediltel B
Photographer:
©Serena Eller / ©EllerstudioMINTLIST.INFO — IG — FB
Copyright © 2025, MINT LIST, All rights reserved
Taged as/in; Architecture, architecture photography, bold design, color, compact living, craftsmanship, design, designer home, greenery, heritage, interior, italy, liberty, Light, marble, materials, min tlist, minimalism, mirrors, modernism, renovation, restoration, rome, spatial design, staircase, studio, STUDIOTAMAT, terrace, terracotta, transformation, trastevere, urban retreat, veranda#writtenby
-
Galerie Schindler: Soloshow ANJA NÜRNBERG – BACK TO GREEN
Die Gemälde von Anja Nürnberg fordern Raum, Licht und Leben – sie entfalten ihre Kraft inmitten von Bewegung. BACK TO GREEN ab 15. Mai in Potsdam!
BACK TO GREEN – ANJA NÜRNBERG
15. Mai bis 28. Juni 2025
Ausstellungseröffnung am Donnerstag
den 15. Mai 2025 19 UhrFarbe als Sprache – Die expressive Kraft des Moments
Es gibt Gemälde, die beanspruchen nicht nur Raum und Licht, sondern auch Menschen und Bewegung in ihrer Umgebung. Sie brauchen Leben um sich herum, denn nur dann entfalten sie ihre ganze Wirkung.
Die Arbeiten von Anja Nürnberg sind solche Bilder, denn sie kommen aus dem Leben.Die junge Malerin aus Halle gehört zu den atemberaubendsten, neuen Protagonistinnen der Kunstszene der letzten Jahre.
Ihre Werke sind Farbe, Licht und explodierende Energie. In ihren Arbeiten verbinden sich ungestüme Jugendlichkeit im Umgang der Materialien mit erfahrener Technik und großem handwerklichen Können. Und es gibt nur wenige Künstler, die das ganz große Format so souverän beherrschen, wie Anja Nürnberg.
Zwischen Alltag und Abstraktion – Geschichten im Raum
SOFA GESTREIFT MIT GEBLÜMTEM KRUG I Mischtechnik auf Leinwand I 200 x 160 cm I 2025 Ihre Bilder haben mehrere Wahrnehmungsebenen, die erst nach und nach ihr Geheimnis preisgeben und sich uns schrittweise erschließen. Auf der ersten Ebene ziehen sie uns durch ihre scheinbar ungebremste Kolorierung und kreative Kraft in den Bann. Wir erleben das Bild als Ganzes, als eine in sich stimmige Komposition, die für sich steht.
Die wiederkehrenden Farbkonstellationen geben ihren Werken dabei trotz individueller Unterschiedlichkeit immer einen hohen Wiedererkennungswert.Auf der nächsten Ebene entdecken wir die Gegenständlichkeit.
Ein Stuhl hier, ein Tisch dort, eine Tasse ganz woanders und irgendwo in der Tiefe finden wir nach und nach immer mehr.Auf der dritten Ebene der Betrachtung beginnen die Bilder zu erzählen. Erzählungen von Orten, von Momenten, die dann in unserem Kopf ein Eigenleben bekommen und sich wie von selbst weiterentwickeln.
Leben, Licht, Leinwand – Kunst als gelebte Erfahrung
WÄRME MIT STUHL IN PINK I Mischtechnik auf Leinwand I 200 x 160 cm I 2023 Auf diesem Weg lässt uns Anja Nürnberg zum einen ganz direkt an ihren Eindrücken, Erlebnissen und Beobachtungen teilhaben und gibt uns andererseits durch die künstlerische Abstraktion viel Raum für die eigene Fantasie.So wie die Bilder mit uns arbeiten, entstehen sie auch.
Bei Anja Nürnberg sind Wohnen und Arbeiten völlig selbstverständlich unter einem Dach vereint. Das Malen ist bei ihr untrennbar mit dem Leben verbunden, Familie und Freunde gehören in ihre kreative Arbeit ebenso hinein, wie bereiste Landschaften und erwanderte Orte.Anja Nürnberg gelingt es, die Schönheit im Gewohnten zu entdecken, freizulegen und in ihren Arbeiten opulent einzufangen.
Wenn wir die Komplexität dieser Gestaltung so auf uns wirken lassen, schenken uns die Bilder in ihrer Ganzheitlichkeit immer wieder neue und starke emotionale Momente des Betrachtens.
Reinhard Bärenz (*1958-†2023)
Galerie Schindler
Charlottenstraße 86
14467 Potsdam
www.galerie-schindler.de
info@galerie-schindler.deÖffnungszeiten
Mittwoch 12 bis 16 Uhr
Donnerstag und Freitag 12 bis 18 Uhr
Samstag 12 bis 16 UhrTaged as/in; Anja Nürnberg, ausstellung, Back To Green, Bildwelten, emotion, erzählung, Farbe, Galerie Schindler, Gegenwartskunst, Großformat, inspiration, KOMPOSITION, KREATIVITÄT, Kunst, Kunstgenuss, Kunstliebhaber, Kunstort, Kunstszene, Kunstveranstaltung, Licht, Malerei, Mixed Media, Potsdam, vernissage#writtenby
You must be logged in to post a comment.