Those entering “Urgency” won’t find themselves in front of a traditional stage. The performers move through the entire space, right among the audience. This makes the environment itself part of the choreography, dissolving the boundary between observer and the action. Depending on where you position yourself, different dancers come into focus. A mysterious figure in a white coat appears again and again, like a recurring thread within a seemingly chaotic yet precisely choreographed structure. The atmosphere is strongly reminiscent of Berlin techno clubs: dark, intense, and full of niches where expressive dance scenes unfold.

Choreographer Renato De Leon explains that the central idea of the piece is based on the figure in the white coat, who initially moves through a euphoric, almost utopian world. This harmony is disrupted by the intrusion of the “normal world”, a reality characterized by rigid rules, regimes, and borders. The dancers represent various internal conflicts, each undergoing their own individual development. This process eventually leads them to come together to break through these imposed barriers.

This is Renato’s first production independently realized under his own label, Leonis Works. The performers include friends he has been collaborating and dancing with for years:

Created by queer artists and shaped by personal experiences of conflict, rooted particularly in Mexican-American border struggles, the piece reveals how power structures and social systems leave their mark on the body. Movement becomes a direct expression of lived reality. This site-specific approach demonstrates that borders are not abstract concepts, but realities that affect us physically and directly.

The performance feels profoundly personal, artfully translating internal conflicts into a stage experience. Each dancer brings a distinct style and individual energy to the space, yet, the choreographers have succeeded in merging these diverse movement languages into a cohesive narrative that remains visually striking throughout. As these personified emotions, represented by the dancers, eventually converge, the piece finds a beautifully harmonious and well-rounded conclusion.

The production features costumes by HADERLUMP, a Berlin label, which recently showcased its latest collection at Berlin Fashion Week. Technically, the production combines live dance, motion tracking, and projections into an immersive 360-degree environment. A politically charged soundscape, delivered via a d&b audiotechnik spatial sound system, surrounds the audience from all directions and completes the experience.

The performance can be seen on April 2nd and 3rd at Haus der Visionäre in Berlin. Shows start at 8:30 PM and 10:00 PM.

The exhibition Midnight Zone by French-Swiss artist Julian Charrière at Kunstmuseum Wolfsburg presents a fascinating exploration of the infinite vastness of the sea. In his works Charrière links artistic visions with scientific findings about our environment, with water serving as the central focus. It is the basis of all life and, at the same time, a fiercely contested resource. The exhibition illuminates both the impressive side of the element and the crises of our time, ranging from the climate catastrophe and melting glaciers to the threat to the oceans from pollution and industrial mining on the seabed. In science, the “Midnight Zone” refers to the area of the ocean lying between 1,000 and 4,000 meters below the surface, where no rays of sunlight can reach. It is the namesake of the current exhibition.

To create the feeling of being underwater, the entire hall is completely darkened and accompanied by the actual soundscape that occurs at this depth. Contrary to popular belief, the underwater world is by no means a place of silence. The theme of phonography, acoustic recordings, guides visitors through the first three rooms of the exhibition. Behind this lies the overarching concept of porosity. The recordings of coral reefs make audible how countless organisms, such as snapping shrimp and fish, create a dense fabric of sound. Each reef possesses its very own characteristic acoustic note, which was captured for this work.

A central aspect of the exhibition is rooted in a personal experience of the artist: the so-called “drift dive” in the open ocean. In a drift dive, one allows oneself to drift suspended with the current until, in the monotony of the deep blue, any sense of space and direction disappears. Charrière describes this state as being carried by the water, a physical merging with the environment.

Reemerging far from the starting point illustrates the power of invisible currents and the blurring of the boundary between the individual and the environment. This idea of porosity and merging with the biosphere runs like a common thread through his works.

For a photo series in the exhibition, Charrière collaborated with two breath-hold divers who let themselves glide into the depths without breathing apparatus. The shots show an astounding natural phenomenon: an undersea layer, the halocline, which appears like a second water surface or a “sea beneath the sea.” The works show how human bodies sink into this dense layer and are, in a sense, swallowed by the water. This scenery serves as a metaphor for diving into the unconscious, a state of total suspension in which the boundaries of the physical world seem to blur. A central feature of Julian Charrière’s work is the deliberate use of ambivalence.

Charrière’s works often possess a very appealing aesthetic, paired with uncanny and hidden elements. This interplay of beauty and unease runs through many of his works.

The video installations show the impressive biodiversity in the dark regions of the ocean. The gaze follows a lamp from the sky down into the midnight zone of the Pacific, making the life hidden there visible. Since this abundance of fish is acutely threatened by the mining of manganese nodules, the artist succeeds in drawing attention to this endangered habitat in a subtle and aesthetic way. These video installations are accompanied by field recordings from the filming location, layered with sounds by Californian musician Laurel Halo.

Through a photo series in which the artist attempted to melt an iceberg for hours with a blowtorch, a reversal of the romantic understanding of nature occurs. While humans are traditionally often portrayed as reverent but distanced observers of nature, Julian Charrière makes them visible as active participants and causes of global change. Even if the physical effect of the burner on the massive ice mass remained minimal, the images capture the point that Julian Charrière wants to make: We are not just guests on this planet, but intervene massively in its vital cycles.

A project that occupied Julian Charrière for over three years, and which he himself describes as perhaps the most complicated project he has ever worked on, arose from the vision of literally reversing the carbon cycle. Carbon, which had been stored in the ground for millions of years and released into the atmosphere by humans, was to be transformed back into the hardest material in the world: diamonds. This process is understood as an “act of reconciliation” with the Earth’s melting ice caps and glaciers.

The creation of the work resembled a scientific and global odyssey. In collaboration with ETH Zurich, the artist used special membranes to extract CO2 directly from the ambient air. When the COVID-19 pandemic made travel impossible, the focus shifted to the human community. Nearly 2,000 balloons with breath donations from people all over the world reached the artist by mail. This collected carbon was metabolized with the help of microorganisms from the deep sea and finally grown into diamonds in a solar-powered plasma reactor. The goal was not the creation of a material object of value, but rather the return of these stones to the receding glaciers, as a symbolic gesture.

Julian Charrière meets criticism of the ecological footprint of his art practice with remarkable openness. He describes his life as being in a state of constant ambivalence. The awareness of his own carbon footprint through travel and transport stands in contrast to the goal of creating visibility for endangered places through highly aesthetic works like Midnight Zone. Midnight Zone is Julian Charrière’s largest solo exhibition to date. In cooperation with Museum Tinguely, a space was created for Wolfsburg in which one can dive deep into the sea and experience and understand it in a new way. The exhibition makes the beauty and the threat to our oceans, as well as the biodiversity in the depths, physically tangible, bringing the element of water into focus in a completely new way.

Exhibition opening on March 13, 2026, at 7 p.m.,

Open 14.3.–12.7.2026

On Tuesday, 27 January, Schlachter 151 hosted the opening of I’ve Missed Our Conversations. On AI, Emotions, and Being Human. Curated by Anika Meier and presented by OOR Studio, the exhibition approaches artificial intelligence not as innovation or spectacle, but as a conversational presence that absorbs projection, generates attachment, and reshapes emotional language. Bringing together works by more than 20 international artists, the exhibition examines what happens when emotion becomes relational and no longer exclusively human.

Working across text, image, voice, and system, the exhibition traces shifting forms of intimacy between humans and machines. Rather than questioning whether AI can feel, the focus turns toward human response and emotional investment within these exchanges. The opening unfolded as an attentive and engaged exchange, accompanied by drinks by Paulaner and wine by Von Winning, subtly framed the evening as a shared social moment.

Lynn Hershman Leeson’s Cyborgian Rhapsody. Immortality from 2023 anchors the exhibition through the voice of Sarah, a GPT 3 chatbot reflecting on love, grief, and digital continuity. Margaret Murphy’s dialogue with Teen Margaret, a younger digital version of herself trained on personal diaries, collapses time into conversation and reframes happiness as something fragile and constructed. Malpractice and Flynn expand the emotional vocabulary itself, introducing terms such as AI grief, prompt envy, ego collapse, and fear of being obsolete.

In Emotional Latency, Kevin Abosch shifts emotion fully onto the human side, where it emerges through conversation rather than computation. David Young extends this question by asking whether concern for AI suffering matters less than the feelings such systems evoke in people.

In AUTO Berlin, Lauren Lee McCarthy made visible the appeal of relinquishing control and participating in systems without a clear author. What remained present throughout the evening was not anxiety about technology, but a sense of closeness, revealing how deeply these systems already shape emotional life.

I’ve Missed Our Conversations does not seek resolution. Instead, it creates a space for encounter between humans, machines, and the emotions that circulate between them.

Artists: aurèce vettier, Kevin Abosch, Vasil Berela, Boris Eldagsen, Joan Fontcuberta, Hein Gravenhorst, Lynn Hershman Leeson, Gottfried Jäger, Lauren Lee McCarthy, Flynn by Malpractice, Malpractice, Margaret Murphy, Namae Koi by Mieke Haase, OONA, Franziska Ostermann, Elisabeth Sweet, Tamiko Thiel, David Young, Mike Tyka, Erika Weitz

In December of 2025, she released her second album, “VERANO SAUDADE,” and is now embarking on her second major international tour.

She made her international breakthrough in 2024 with her debut album, “Bodhiria,” released on Interscope Records, a label that has Lana Del Rey and Billie Eilish under contract, among others.

Judeline’s music is characterized by poetic, spiritual, and atmospheric soundscapes carried by introspective and personal lyrics. Her sound ranges from indie pop to Latin pop, marked by strong electronic influences, including EDM and experimental pop. This style is complemented by elements of hip-hop, R&B, house, and funk, as well as traditional musical influences, some of which have Afro or folkloric references. Her debut EP, De la Luz, released in 2022, caught the attention of Rosalía and Bad Bunny, two of the leading artists in experimental latin pop music.

The genre mix gives her music a dreamy, experimental atmosphere that remains accessible and danceable. This aesthetic signature is also reflected in her live performances. Artfully staged, emotionally charged, and visually powerful, they mirror the nature-loving and spiritual motifs of her lyrics.

The tour kicks off on January 24 in London and takes them across Europe and North and South America. On January 29, Judeline will perform at the Columbia Theater in Berlin, tickets are currently still available.

There was no intention of creating aesthetic harmony. People moved through unfamiliar surroundings, some with ease, others more slowly, absorbing what they didn’t usually encounter. You could read the room in expressions, mostly curiosity, surprise, hesitation and release. The night opened space for observation, participation or simply being there. And the subtle tension between these reactions became part of the experience.

In an age of accelerating schedules and aesthetic overload, true luxury often reveals itself not in forced extravagance, but in spaciousness that leaves room for choices. Along the glistening curve of Turkey’s southern coast, nestled beside pine forests and the Mediterranean Sea, the Ali Bey Resort Sorgun offers a version of luxury that is less about spectacle and more about alignment—between body and pace, design and ecology, past and present.

An organized jungle

It is late when I arrive at the reception hall, a big space that mixes tradition with modern design. Here, Turkish hospitality starts at its finest: A golf cart picks me up to drive me to my room, driving down the beautiful tree-framed paths that almost feel like an „organized jungle“ in the darkness. The peaceful pace and energy remains the same in the morning, despite all guest and families that have slowly openend the vacation season that comes with many activities as well.

Built in 2010 by a Turkish family-owned group, the resort unfolds across 120,000 square meters of gardens and wooded terrain. It feels less like a hotel complex and more like a cultivated ecosystem—one where architecture, nature, and time are allowed to breathe. No trees were cut during the construction of the pools; the topography was followed rather than forced. The result is a landscape of quiet elegance: stone pathways between olive trees, curved waterlines that echo natural springs, shaded corners that invite stillness.

A dive into rich history

Yet to truly understand the emotional depth of this place, one must consider its setting: Side, one of the Mediterranean’s oldest and most storied cities. Founded by Greek settlers around the 7th century BCE, Side became a thriving Roman port and a cultural melting pot of the ancient world. It was here that Antony and Cleopatra once anchored their ships; here that temples rose in devotion to Apollo and Athena, gods of sun and wisdom. Today, the ruins remain: a vast amphitheater carved into the earth, half-buried bathhouses, stone-paved roads leading to colonnades now softened by centuries of wind and salt. A short drive from the resort, the Side Museum offers one of the most quietly powerful historical encounters in the region. Housed in a former Roman bath, the museum displays sarcophagi, reliefs, and statues unearthed in the surrounding area—many left in situ, touched by time rather than removed from it. Here, history is not staged behind glass but embedded in atmosphere. It is not uncommon to stand before a 2,000-year-old lion sculpture and hear nothing but cicadas.

This subtle sense of continuity—between the ancient and the immediate—is what gives the Ali Bey Resort Sorgun its particular rhythm. Built in 2010 it now counts 429 rooms and suits, protecting sufficient privacy in 12 different buildings.

While the resort is fully modern in its offerings—Ultra All-Inclusive, four à-la-carte restaurants, a sprawling Samara Spa—it never feels severed from its surroundings. The Spa  – a signature for the resort group – follows the same vision too: mixing traditions with modern approaches, offering exclusive treatments such as Aromatherapy, Bali and Thai Massages but also a Turkish bath and saunas on four levels and 2000 square meters.

The experience of space

There is a tangible gentleness in how space is used and offered: quiet zones by the pool, hidden reading nooks and natural materials that echo the terrain. This all exists right next to a whole different reality for those who seek adventure and action: fitness or dance classes or – above – a dedicated place for tennis lovers, no matter if on professional or amateur level.With 91 courts, the Ali Bey Hotels & Resorts group counts to one of the biggest tennis centers in the world, hosting many national and international tournaments. The Sorgun resort alone has 37 courts including three children’s courts providing a dedicated service.

But back to the silence seeker: Remote workers, in particular, such as me who had come with a bag full of work, will find a kind of rare generosity here. With generous Wi-Fi – really everywhere, even at the beach – shaded garden spaces, and an atmosphere that encourages pacing rather than urgency, the resort is surprisingly conducive to creative focus. You can write beneath the trees, take calls between olive branches snacking the best turkish delights and tea, breathing in sea air to then submerge into silence again before taking a sunset yoga and stretching class facing the beach. The contrast is healing. But also the resort’s service speaks of excellence: A recent guest was complaining about not being able to have any wish left, what an overwhelming condition.

Sustainability, too, is more than a buzzword here—it is embedded in both design and operation. Beyond the ecological landscaping, long-term partnerships with local producers, and material longevity, there’s a palpable care for slowness, continuity, and conscious use. Even the gastronomic experience leans into seasonal produce, from Anatolian dishes to teppanyaki served by the sea. But the restaurant really offers something for anyone on a high quality despite it being  All-Inclusive.

Families are welcomed without compromise. Children’s programs are held in nature, not on screens, offering highlights as their famous waterpark. Entertainment takes place under stars, with live music and storytelling instead of artificial spectacle. And always, just beyond the resort, the outlines of ancient Side remain—reminding guests that luxury is not a break from history, but perhaps a quiet conversation with it. Some might here it louder, others might need to listen a little bit longer.

Ali Bey Resort Sorgun is not a minimalist retreat, nor a maximalist stage. It is something rarer: a space of balance—between leisure and purpose, family and solitude, design and nature, past and present. To stay here is not to escape, but to return: to a slower pace, to a grounded rhythm, to a setting where even the silence seems to hold memory.