[Article in English ⊳ below the introduction]
◆ Festival CTM sa v Berlíne koná už od roku 1999. Od podujatia zameraného na elektronickú hudbu prerástol na multižánrový festival vizuálneho umenia, progresívnych hudobných žánrov, technológii a nových médií. Festival sme mali možnosť navštíviť v roku 2019 a tešíme sa na ďalšiu návštevu na konci januára. 24. ročník CTM prebehne na viacerých miestach v Berlíne, vrátane Berghain Säule, HAU Hebbel am Ufer či silent green od 27.1. až do 5.2.
Organizátori už zverejnili takmer kompletný hudobný program festivalu. Samotný CTM sa úzko prepája a spolupracuje aj so sesterským festivalom transmediale, s ktorým uvedie niekoľko multidisciplinárnych projektov, ktoré skúmajú aj kritizujú technológie, noc „rituálneho hluku“ či post-punkového šialenstva.
S dlhoročným partnerom MONOM festival v 4DSOUND predstaví večer venovaný novým pohlcujúcim zvukovým dielam, ktoré skúmajú súhry medzi analógovými a digitálnymi nástrojmi. Prvé partnerstvo s KW Institute for Contemporary Art premostí svet umenia a hudby unikátnym predstavením.
The latest wave of confirmed artists:
bela (KR) – you can read our interview on Swine Daily
Daniel Blumberg (UK)
Espectra Negra (MX/DE)
Iceboy Violet (UK)
Jana Woodstock (UA)
Jennifer Walshe & Jon Leidecker (INT)
Killa & Monibi (INT)
Nico Adomako (DE)
Richard Akingbehin (INT)
Vieze Meisje (BE)
Xzavier Stone (CH/DE)
WIDOWS showcase featuring Assyoutii (EG/DE), BAE.CON. (DE), BLK SLK (US/DE), Creo en todo (CL/DE), DJ hot bitch (DE), Geisha online (CL/DE), Lamb (US/DE), Makossiri (KE/GE).
The event »Spatial Live x CTM 2023« at MONOM with newly conceived performances in 4DSOUND by Aleksandra Słyż pres »Softness, Flashes, Floating Rage« feat Judith Hamann and Gerard Lebik (INT), Andrea Belfi (IT/DE), and Hüma Utku (TU/DE). And a partner event at Kunstwerke featuring Alexis Blake (US/NL) with mobilegirl (DE), Sofia Borges (PT/DE), and Stefanie Egedy (BR/DE).
The lineup at Festsaal Kreuzberg featuring screamo meme queen Lil Mariko is now rounded out with two further musical personas, each in their own way aiming towards genre-defying productions. Deep, brooding, and broad, the dreamy lyricism of Iceboy Violet channels the energy, emotionality, and resistance of grime. Their 2022 EP saw the MC and producer release collaborations with an impressive cross-section of contemporaries from Space Afrika and Jennifer Walton to Slikback and aya under her LOFT moniker. With a penchant for rap, R&B, and regional bass-heavy styles, Xzavier Stone teasingly offers a lush and off-kilter sensuality all lacquered with the shiniest production imaginable.
A double-bill concert at silent green Kuppelhalle will feature Icelandic artist Hekla, whose highly-expressive songs exist outside of any particular scene or genre.
Hekla’s haunting, spectral soundscapes take listeners on a singular walk through folkloric magick, sonic black holes of corrosive beauty, and mesmerising darkness.
Appearing that night is also Daniel Blumberg, with the first performance of his striking new work GUT, an intensely personal piece of music that hails the next chapter in his artistic journey. Led by Blumberg’s soaring vocals and supported by an exploratory palette of bass harmonica, Steinberger bass, and drum machine, the artist channels a unique and captivating inner world with unflinching emotional directness. GUT will be released in May on Mute.
The concert is followed by a club night hosted by local Berlin collective WIDOWS, which aims to bring local, migrant, and international queer FLINTA* artists together through projects and events. Representing the collective is a cross-section of artists: assyoutii, bae.con., Lamb, Creo en todo, makossiri, BLK SLK, plus Geisha online and DJ hot bitch playing both live and solo and b2b DJ sets.
Following their triptych De Doden Hebben Het Goed, (full album here) on which they processed their grief for a deceased friend, Wiegedood’s 2022 album is an uncompromising sonic assault that draws an impressive cathartic intensity from the dark core of black metal: On There is Always Blood at the End of the Road elegiac chord progressions, caustic noise and furious vocals lead through a sheer impenetrable wall of tremolo riffs and blast beats towards a liberating release of energy. The band rounds-out Berghain’s Wednesday night programme with acts Ana Fosca, Ruhail Qaisar, and Maria W Horn and Sara Parkman.
Transmediale x CTM 2023
For their 2023 editions, transmediale and CTM will present a multilayered collaboration in three parts.
A two-night performance by Jennifer Walshe and Jon Leidecker. »MILLIONS OF EXPERIENCES (HUGE IF TRUE)« explores the paradoxes of scale in our current socio-economic environment. If the purpose of scale is to ensure costs remain low while growth is maximized, what is the opposite of scale? What could be made possible through unscaling? Walshe and Leidecker’s performance descales and unscales the technological processes at the core of their collaborative practices.
Taking place on Feb 3rd and 5th with an ensemble of musicians, Walshe and Leidecker combine live voice, machine-made loops, AI-generated Enya, and an archive of voice samples to unsettle ideas of what is purely technological and purely human.
On Sunday 5 Feb, Walshe and Leidecker bring this performance to a close with their epilogue, »MOREOVER« an intimate performance that explores the idiosyncrasies of machine listening and digital sound while surfing the outer reaches of online culture.
This event is not included in transmediale, CTM, or Connect passes – additional tickets must be purchased to attend.
transmediale and CTM will also meet in Berghain Säule for a programme that features a series of live sets somewhere between ritualistic noise, post-punk, digital deconstructions, and gabber, each with a unique performative edge that conjures portals to distinct worlds and fictions. The South Korean musician bela (Swine Daily interview) takes strong conceptual narratives to their works, as heard most recently through Guidelines, a release investigating Nongak, a traditional form of Korean folk music. The duo Vieze Meisje bring pop, performance, humour, and rave in one dazzling act. Singer Maya Merten’s idiosyncratic poetry – heartwarmingly honest, hilariously funny and, at times, brutal – glides over the acrobatic beats and loops of producer Azertyklavierwerke.
Donning pink hazmat suits, a noisy, industrial, femme waste removal service is performed by Dreamgirls (Clíona Ní Laoi and Michelle Doyle) who have come to clean up all the waste, spray disinfectant, and remove human stains. MusicMakers Hacklab co-host Verónica Mota appears as her Espectra Negra moniker, unfurling experimental, industrial, and ritualistic sonics between the Säule’s booming concrete pillars. Frequent CXEMA guest Jana Woodstock links the night’s sounds through wide-ranging interventions, pulling from her love of the many textures of music’s noisier and beat-propelled techno spectrum. This evening is included in all festival passes – CTM, transmediale, and Connect.
A unique closing concert, to be announced in early January, will explore fun, horrors and survival in today’s collapsing ecosystems and information environments.
Refuge Worldwide x CTM
CTM partners with Refuge Worldwide for a second year, expanding the collaboration with this local Berlin radio and community that has quickly become a fixture for a thriving multitude of new artists and voices of the city. Together we’ll be bringing daily radio shows with festival artists over CTM’s 10 days, a DJ workshop with Happy New Tears (check out her great HÖR DJ set) at Refuge’s studio, as well as a dedicated dancefloor at RSO.Berlin.
The duos Menzi & Debmaster as well as Binghi & Astan KA will grace the Refuge Worldwide stage at RSO.Berlin, joined by a group of Refuge regulars and collaborators: When not busy throwing events with Einhundert or Paperwork, Nico Adomako surfs the UK bass horizon, adding selections of RnB, Ghanaian sounds, and reggae to the brew. Lecken & Wax Treatment affiliate Killa will go b2b with bass and leftfield house proponent Monibi. Refuge Worldwide co-founder Richard Akingbehin will warm up the room with a mix of dub-influenced club styles. A further special guest will be announced in January.
Spatial Live x CTM 2023
MONOM and CTM continue their longstanding collaboration with an evening of commissioned works newly created within the 4DSOUND system. All of the artists performing this evening show a fascination with the physicality of sound, and of the potential in blending and extending the possibilities of acoustic and electronic instruments and sounds. The concert is not included in CTM and Connect festival passes, a separate ticket is needed to attend.
Among the commissioned artists is a SHAPE+ supported act. The Polish composer, sound designer and sound engineer Aleksandra Słyż will engage with cellist Judith Hamann, and saxophonist Gerard Lebik in re-scoring and expanding the potentials of »Softness, Flashes, Floating Rage« a monumental 26-minute long track off her second album, A Vibrant Touch.
Working to find connections between acoustic and synthetic sounds, the trio will elaborate on the rich drone structures of Słyż’s modular synthesizers, exploring the physicality of Hamann and Lebik’s respective instruments through the pressure of a finger on the cello’s string, or the intensity of a breath’s attack in the saxophone.
Performances by the experimental musician, drummer, and composer Andrea Belfi are equal parts energetic and hypnotic, often featuring rich and immersive long-arching trajectories. Over the years Belfi has built a sound world blending the complex timbres of the acoustic with the endless possibilities of the electronic.
Portals – CTM 2023 Theme
Sound and music open portals to other realities and to the experiences of others. A societal moment and its long history can be expressed in a music genre, a track, a certain tonality, a rhythm, or even a single sound, a small tonal shift, or in the combination of two musical elements. Complex stories of social movements, resistance, and empowerment can resound within such sonic fragments. The longing for a utopia, alternate worlds, the reality of a community, or an individual’s idiosyncratic mental map can be articulated. And vice versa: the sounding of such a musical marker, agent, or medium can transport listeners to its underlying stories, realities, and modes of experience, drawing them deeply into states of being, emotions, and discourses.
Portals, and the worlds they give access to, can be created using a wide variety of techniques: they can favour bodily, affective, ritual, mnemonic, emotional, narrative, or documentary approaches – or combinations thereof – and use immersion, alternative temporalities, and world-building.
Artists must ask themselves through which means and modalities a portal operates. Does it invite active immersion and engagement, or does it create an irresistible pull across a threshold? Should listeners remain as observers or become co-producers? Is the focus on the commonality or the limits of shared experience? Should access be widened, or should a reflection on privilege, differences, and inequalities be achieved by standing in front of closed doors?