The Infinite Now at Kraftwerk Berlin

This is not a festival you attend. It is a building you inhabit.

Beds, hammocks, and rest areas are installed throughout the venue. The audience is invited to sleep, rest, eat, listen, watch, retreat, talk, and be present, at whatever pace suits them. The format treats sleep as a condition of listening rather than an interruption to it. It also aims to offer an opportunity for socializing alongside a space for deep musical engagement.

The program progresses through various phases: twilight, night, dawn, day, and twilight again. The architecture of the power plant opens and closes around the visitors as the hours pass. Time becomes non-linear, diffuse.

Over twenty artists perform within a single uninterrupted timeframe, accompanied by video art and installations running throughout the building.

Highlights of the music program: Caterina Barbieri presents the German premiere of a new fifty-minute work for electronics, vocal ensemble, and brass instruments that explores the psychoacoustic effects of repetition through modular synthesis. Adam Wiltzie offers the first presentation of *A Tired Reworking of Stars of the Lid For the Sleep Deprived*, a three-hour re-recording of the duo’s catalog for an audience waking up on the second day. Kali Malone performs a four-hour live listening session of long, largely unreleased installation works, timed to coincide with the quietest hours of the night. Keiji Haino presents two distinct sets: one for voice, one for guitar and electronics. Terrence Dixon celebrates the world premiere of A Cosmic Display of Beauty. Marginal Consort makes a rare European appearance and gathers for three hours of unplanned improvisation.

Film and Installation: Lois Patiño, with Xabier Erkizia, guides a reclining audience through a two-hour collective dream sequence. Romeo Castellucci and Scott Gibbons present To Carthage then I came, featuring non-professionals performing ritual acts at midnight and noon. Fabien Giraud and Anne Stern present the first epoch of a thousand-year film project in which autonomous cameras on a rural hill in France learn to see. Brennan Wojtyla installs LAN, a temporary office where visitors navigate through a virtual model of the building in which they are located. Alex Reynolds and Robert M Ochshorn present twenty-three hours of unanswered questions to White House press secretaries regarding Gaza. Marcel Weber contributes an environmental artwork installed throughout the building.

The main program is preceded by three Prelude concerts (May 10, 12, 14), including Gavin Bryars’s first Berlin performance with Sinfonietta Cracovia.