For Franka Marlene Foth, dance was never a decision – it was a condition. In conversation with Numéro Berlin, she reflects on the shift from execution to authorship, on dismantling hierarchies within collaborative processes, and on her insistence on contrast, both aesthetically and conceptually.
Editorial: Becoming Dandelion by Tim Sonntag
South-African Grammy winner Tyla’s new album A*POP is set for release, and Numéro Berlin invited guests to an intimate private listening session at Tylko Space ahead of the official release on 24 July.
There’s a particular kind of confidence that doesn’t announce itself, it simply exists. KWN has it. The East London artist has built her world on exactly that principle: a sense of self that refuses to perform for anyone’s comfort but her own. Photography – RONALD DICK
ANFANG / BEGINNING: BERLIN 1994–99 captures the raw pulse of post-wall Berlin, a city in flux, alive with…
“In my experience, finding your armour helps you to stay in touch with those feelings. It grounds them in…
Founded in Copenhagen in 2008, the label “Han Kjøbenhavn” combines its roots in the danish design culture…
Inspired by artists like Kurdo and Haftbefehl, German rapper Baran Kok set out to make a similar kind of rap…
“I wonder if I’ve been changed in the night? Let me think. Was I the same when I got up this morning? I…
BASHKKA on WHOLE Festival, Queer Joy and the Power of the Dancefloor
Numéro Berlin’s weekly collection of the most exciting news about fashion, music, and simply everything that is on our radar. And here is why it should be on yours as well!
Raising relevant questions of queer identity, director Lotta Schwerk was longing for a display of queer women without drifting into lesbian sexualization, nor ruthlessly romanticizing mentally ill women. With “Ninja Motherf*cking Destruction“ she definitely managed this.
“MAN HAS CREATED HIS OWN MASTER, ONLY SO THAT HE MAY EVENTUALLY DETHRONE HIM AGAIN.”
