The annual Les Urbaines (‘The Urban’) festival is on at Lausanne’s Espace Arlaud as well as various other locations, running December 1 to 4.
The 20th edition with be host to over forty performances, shows, installations and concerts throughout the weekend. Elise Lammer will be curating this year’s contemporary art section, titled Meaning Can only Grow out of Intimacy (limbs, water, nostalgia) and features work by Lars TCF Holdhus &Martin Kohout, Hannah Weinberger, Brigham BakerandKris Lemsaluamong others. The works are not connected by a theme, but each artist was invited to “produce a new project and invest one room freely.”
Berlin-based event-organisers Creamcake have announced the full programme for their second edition of 3hd Festival, happening across venues including HAU Hebbel am Ufer, OHM, and Vierte Welt, in Berlin and running October 11 to 15.
This year’s theme follows the title ‘There is nothing left but the Future?’, one which resists a dominant trend towards “speculating on the future, instead offering potential solutions for fixing the problems of the present.” The artists, musicians, producers, editors, writers and academics involved in the as-ever impressive 3hd lineup include the likes of Claire Tolan, Coucou Chloé, DJ Paypal, Easter, HVAD, Inga Copeland as Lolina, Rianna Jade Parker, Ruth Angel Edwards, TCF, Uniiqu3, Vika Kirchenbauer, and many more, as well as media partners AQNB with a cross-platform video, performance and discussion presentation with Video in Common titled ‘Staying Present’ on October 12.
The festival carries on its impetus as a “hybrid project” dispersed across online and offline artworks and events that include performances, presentations, installations and an exhibition offline during the five day program, as well as texts, music releases and cross-platform video and animation projects released online in the lead up. This first announcement comes accompanied by an essay called ‘Joy 2016‘ by writer and academic Adam Harper speculating and the dangers of polarised extremes, agendas and (mis)interpretations when it comes to art, taking Beethoven’s immortal ‘Ode to Joy’ composition via Wendy Carlos’ arrangement for Stanley Kubrick’s 1971 dystopian cult film A Clockwork Orange.
