5 Acts Not To Miss at Berlin Atonal's OPENLESS 2024
“Kraftwerk transforms into a sonic landscape this August with Berlin Atonal’s OPENLESS—a must-attend for music and art admirers.”
Berlin Atonal’s newest project, OPENLESS, feels like something truly special. Held over three nights at the Kraftwerk complex this August, it’s shaping up to be one of those events that you know will stick with you long after it’s over. From August 23 to 25, Kraftwerk will be the heart of a meticulously curated set of performances that, for me, seem like they’ll go hard of what we consider music and art.
The first night, “The Less Deceived,” introduces The Drum and The Bird by Forensis (Forensic Architecture). I’m particularly drawn to this piece because it combines investigative research with public performance in a way that feels incredibly relevant. It explores the history of German colonialism in Namibia, using soundscapes and oral histories to highlight what’s been silenced or forgotten. Then there’s A Forbidden Distance, a collaboration between Saint Abdullah, Eomac, and Rebecca Salvadori. This one resonates with me as it delves into themes of displacement and fragmented stories, something that feels very poignant in today’s world. And of course, Lord Spikehart’s performance—it’s going to be intense, raw, and likely unforgettable. His sound, which defies easy categorization, is sure to leave a lasting impression.
On the second night, “Transcriptions,” the focus shifts to the rhythmic tradition of Senegal’s sabar drumming, brought to life by the family of the late Doudou N’Diaye Rose. What I find compelling about this is how it honors a rich cultural legacy while bringing it into dialogue with contemporary sounds. It’s not just about preserving the past but also about reimagining it for today. The way this night ties together tradition and experimentation feels like it’ll be a powerful experience.
The final night, “The Clearing,” seems to be all about exploring sound and space in new ways. Demdike Stare’s Baselines is a nod to the forgotten mediums of tape culture, recontextualized into something entirely fresh. I’m particularly excited about Grand River and Abul Mogard’s In uno spazio immenso. This piece seems to strike a balance between grandeur and simplicity, creating a space where we can all reflect and connect on a deeper level. Then there’s Sphaîra by Sara Persico and Mika Oki, which will transport the sounds of an abandoned Lebanese theatre into the vastness of Kraftwerk. It sounds like the perfect way to close out this series—immersive, contemplative, and deeply resonant.
What stands out to me about OPENLESS is how each night offers something distinct, yet together they create a narrative that’s rich with meaning. It’s more than just a series of performances; it feels like a journey through music, art, and history. If you’re even remotely interested in contemporary culture, grabbing a weekend pass to this event is something you won’t want to miss.
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