CTM Festival pairs daring artistic content with an in-depth discourse programme, exploring the current possibilities and limits of music and
framing today’s sounds and music cultures within a shifting, hybrid global society. With “Liminal”, CTM 2020 examines transitional phases in which a familiar order is destabilized. In music, boundary-disturbing experiences and acts of
transgression are perpetually renegotiated. Such acts open up spaces in which to both reflect on the fragility of the present and to imagine alternative possible futures.
Robert Henke’s “CBM 8032 AV” audiovisual performance uses five computers from the 1980s to present social, cultural, technical, and temporal incongruities. Considering ambivalences, affinities, and contradictions between contemporary aesthetics and obsolete technology, Henke presents ideas which were technically achievable back in the 80s, but couldn’t have been conceived of without the social and cultural backdrop of 2019. “Inferno” by Bill Vorn and Louis-Philippe Demers asks selected members of the public to surrender agency as they perform in robotic exoskeletons.
“Drops and Seeds” marks the persistence and evolution of Khmer classical dance, which today rests on the shoulders of merely a handful of artists. The project is created by choreographer Prumsodun Ok, founder of Cambodia’s first
openly gay dance company, NATYARASA, and Berlin-based composer Ana Maria Rodriguez, with light design by Fred Pommerehn and music performed by Ensemble KNM Berlin. The “MusicMakers Hacklab”, hosted by Peter Kirn and Tad Ermitaño, tests the results of a week of experimentation in front of a live audience.
Das CTM Festival 2020 wird gefördert durch die Berliner Senatsverwaltung für Kultur und Europa, Creative Europe Programm der Europäischen Union, Canada Council for the Arts, die Regierung von Kanada, Goethe-Institut und die Initiative Musik. Programmpartner sind SHAPE und Nusasonic.
Tickets via https://www.ctm-festival.de