© Nicolas Döring
Weekend Tips: What to Do This Weekend in Berlin
April 17 to 19, 2026: Events, festivals, exhibitions and more things to do for your perfect weekend in Berlin. more
Wassermann / Ishikawa / Markvart / Clementi / Tsukamoto / Benedito / Izquierdo / Dissidenten
Date details
- Date Thursday, 30/April/2026 19:00
- Venue ausland
- Address Lychener Str. 60, 10437 Berlin
Map
End of map.
Public transportation
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Train (S-Bahn)
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S Prenzlauer Allee
- S8
- S41
- S42
- S85
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S+U Schönhauser Allee
- S8
- S41
- S42
- S85
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S Prenzlauer Allee
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Underground
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Bus
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Milastr.
- N2
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S Prenzlauer Allee
- 156
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S+U Schönhauser Allee
- N2
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U Eberswalder Str.
- N2
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Erich-Weinert-Str.
- 156
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Milastr.
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Tram
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Stargarder Str.
- 12
- M1
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Raumerstr.
- 12
- M1
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Milastr.
- M1
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Humannplatz
- 12
- M1
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Fröbelstr.
- 12
- M2
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S Prenzlauer Allee
- M2
- 12
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Husemannstr.
- 12
- M10
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U Eberswalder Str./Pappelallee
- 12
- M1
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U Eberswalder Str.
- M10
- 12
- M1
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S+U Schönhauser Allee
- M1
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Prenzlauer Allee/Danziger Str.
- 12
- M10
- M2
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Erich-Weinert-Str.
- 12
- M2
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Stargarder Str.
Wassermann / Ishikawa / Markvart / Clementi / Tsukamoto / Benedito / Izquierdo / Dissidenten
© Promo
DISSIDENTS is a space of collective divergence and an experimental platform that explores the current directions of contemporary creative practices. It emerges as a dialogue between creators, sounds, and practices inhabiting the shared territories of experimental music, sound art, and new forms of performative art in the city of Berlin.
The project, self-managed by the artist Lorena Izquierdo and based at Petersburg Art Space in the district of Moabit, was launched six years ago and has since realized 79 dissidents, producing new iterations on a mostly monthly basis. The project conceives curating as an artistic and compositional act in itself, with each event envisioned as a living composition that brings together diverse languages, sensibilities, and modes of practice.
It explores experimental music, free improvisation, and composition, bringing together acoustic and electroacoustic textures and instruments to create unusual constellations that open new sonic possibilities and dialog with action poetry, which engages with the relationships between space, body, and objects. All elements are placed on an equal level of importance, shaping a rich, multifocal performative experience open to sensory exploration.
The project seeks to foster heterogeneity through its selection of artists, avoiding the repetition of fixed styles and opening possibilities for new and dissident musical forms. It also promotes encounters between different generations, experiences, and nationalities—primarily FLINTA* artists—aiming to dissolve rigidities within the music scene and create a space for dialogue, coexistence, and shared artistic exploration.
In this 79th special session, DISSIDENTS LXXIX, taking place on April 30 at Ausland, unfolds in a key venue within Berlin’s experimental scene, known for its commitment to adventurous sonic practices and independent formats, making it an ideal setting for attentive listening and live experimentation.
On this occasion, the evening presents two formations—a trio and the quarter Cleos Noctis—establishing a dialogue between different approaches to voice, sonic material, and electronics, with a majority of FLINTA+ artists.
Program:
Trio
Ute Wassermann — voice
Mizuki Ishikawa — objects, electronics
Alexander Markvart — guitar, objects, feedback
Cleos Noctis
Anna Clementi — voice
Eiko Tsukamoto — piano
Hada Benedito — spinet & electronics
Lorena Izquierdo — voice
The program brings together artists with diverse trajectories within experimental music and performance art, action poetry, whose practices operate at the intersection of composition, improvisation, and sonic exploration.
In the trio, Ute Wassermann develops a highly distinctive vocal practice, exploring the physical and spatial possibilities of the voice through extended techniques, microtonality, and the use of sounding objects. Her work blurs the boundaries between body, sound, and perception.
Mizuki Ishikawa works with objects and electronics, creating delicate and detailed soundscapes in which everyday materials are transformed into compositional elements. Her approach emphasizes attentive listening and the activation of subtle textures and unexpected resonances.
Alexander Markvart explores the guitar beyond its conventional use, incorporating objects, feedback, and amplification processes to generate raw and dynamic sound layers. His practice moves between free improvisation and timbral research.
The quartet Cleos Noctis proposes a configuration that brings voice, keyboard, and electronics into dialogue through a compositional and performative sensitivity.
Anna Clementi, known for her vocal versatility, moves between contemporary music, experimentation, and performance, using the voice as an expressive instrument that ranges from compositional precision to theatricality.
Eiko Tsukamoto, at the piano, contributes an approach that oscillates between interpretation and sonic exploration of the instrument, opening spaces of resonance, silence, and structure within the ensemble.
Hada Benedito combines spinet and electronics, creating a bridge between historical and contemporary sound worlds, where acoustic textures interact with electronic processes in a practice that integrates composition, improvisation, and sound art.
Lorena Izquierdo works with the voice from an experimental and performative art perspective, exploring its relationship with space, the body, poetry, objects and sonic actions, articulating proposals that connect different languages within the context of contemporary music.
The project, self-managed by the artist Lorena Izquierdo and based at Petersburg Art Space in the district of Moabit, was launched six years ago and has since realized 79 dissidents, producing new iterations on a mostly monthly basis. The project conceives curating as an artistic and compositional act in itself, with each event envisioned as a living composition that brings together diverse languages, sensibilities, and modes of practice.
It explores experimental music, free improvisation, and composition, bringing together acoustic and electroacoustic textures and instruments to create unusual constellations that open new sonic possibilities and dialog with action poetry, which engages with the relationships between space, body, and objects. All elements are placed on an equal level of importance, shaping a rich, multifocal performative experience open to sensory exploration.
The project seeks to foster heterogeneity through its selection of artists, avoiding the repetition of fixed styles and opening possibilities for new and dissident musical forms. It also promotes encounters between different generations, experiences, and nationalities—primarily FLINTA* artists—aiming to dissolve rigidities within the music scene and create a space for dialogue, coexistence, and shared artistic exploration.
In this 79th special session, DISSIDENTS LXXIX, taking place on April 30 at Ausland, unfolds in a key venue within Berlin’s experimental scene, known for its commitment to adventurous sonic practices and independent formats, making it an ideal setting for attentive listening and live experimentation.
On this occasion, the evening presents two formations—a trio and the quarter Cleos Noctis—establishing a dialogue between different approaches to voice, sonic material, and electronics, with a majority of FLINTA+ artists.
Program:
Trio
Ute Wassermann — voice
Mizuki Ishikawa — objects, electronics
Alexander Markvart — guitar, objects, feedback
Cleos Noctis
Anna Clementi — voice
Eiko Tsukamoto — piano
Hada Benedito — spinet & electronics
Lorena Izquierdo — voice
The program brings together artists with diverse trajectories within experimental music and performance art, action poetry, whose practices operate at the intersection of composition, improvisation, and sonic exploration.
In the trio, Ute Wassermann develops a highly distinctive vocal practice, exploring the physical and spatial possibilities of the voice through extended techniques, microtonality, and the use of sounding objects. Her work blurs the boundaries between body, sound, and perception.
Mizuki Ishikawa works with objects and electronics, creating delicate and detailed soundscapes in which everyday materials are transformed into compositional elements. Her approach emphasizes attentive listening and the activation of subtle textures and unexpected resonances.
Alexander Markvart explores the guitar beyond its conventional use, incorporating objects, feedback, and amplification processes to generate raw and dynamic sound layers. His practice moves between free improvisation and timbral research.
The quartet Cleos Noctis proposes a configuration that brings voice, keyboard, and electronics into dialogue through a compositional and performative sensitivity.
Anna Clementi, known for her vocal versatility, moves between contemporary music, experimentation, and performance, using the voice as an expressive instrument that ranges from compositional precision to theatricality.
Eiko Tsukamoto, at the piano, contributes an approach that oscillates between interpretation and sonic exploration of the instrument, opening spaces of resonance, silence, and structure within the ensemble.
Hada Benedito combines spinet and electronics, creating a bridge between historical and contemporary sound worlds, where acoustic textures interact with electronic processes in a practice that integrates composition, improvisation, and sound art.
Lorena Izquierdo works with the voice from an experimental and performative art perspective, exploring its relationship with space, the body, poetry, objects and sonic actions, articulating proposals that connect different languages within the context of contemporary music.
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