Die in Österreich und Deutschland ansässige Anna Gardek präsentiert ihre erste Live-Performance überhaupt – die Industrial-Künstlerin veröffentlicht ihre von transgressiver Erotik geprägten Aufnahmen in größeren zeitlichen Abständen. Darja Kazimira und Zura Makharadze aus Lettland und Georgien treten als Duo mit dunkler, tendenziell akustischer ritueller Musik auf, basierend auf zahlreichen klassischen und zeitgenössischen Instrumenten. Ein gemeinsames Album erschien bei Cyclic Law. Zudem angekündigt sind Pain Appendix aus den USA, Bomb The Daynursery aus Schweden mit ihrer ersten Live-Aktion, Robert Revell, Sohn des bekannten SPK-Gründers, mit einer Weltpremiere sowie Linekraft aus Japan mit einem exklusiven Set.

Freitag, 25.09.2026
Beginn 18 Uhr
Samstag, 26.09.2026
Beginn 18 Uhr
Reithalle Strasse E
Werner-Hartmann-Str. 2
01099 Dresden

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“This album was a completely impulsive act, the realization of a regular artistic idea, which initially did not mean the final result. This idea was inspired by my great-grandfather, who devoted his whole life to serving the ceremony of “following the dead” (Νεκρώσιμος Ἀκολουθία) and classic examples of ancient Greek literature. But in the end, “Monochromia” became one of my first big works. Here, only the “dialogizing” musical-improvisational experiment and the very nature of the ancient Greek tragedy, which demonstrate the archaic principle of distribution and the interaction of ordinary and ritual violence in the system of relations between man and metaphysics, were of importance. And of course, a large space of the theme of death opens up here. In turn, it is the theme of “sacred violence”, funeral, burial, and initiating rites that is the ideological basis for me throughout my creative activity. Certainly, in this situation, the opportunity, with the help of other people, in a closed space, to recreate a mass state of comprehension of death, is very interesting.

Indeed, for this it is necessary to violate, among other things, the bodily and mental boundaries of the participant in such an act, to create a precedent for trauma and deformation, transforming these actions into an audial pit. I just invited all of us, the participants, to cry and grieve together. Perhaps, if I had known in advance that this music would become an album, I would have brought this central state to its apogee and horror. But in the current situation, it turned out to be a very “humane” anthem of human death. Of course, this softness, which is not characteristic of my other works, the sound of “Monochromia” acquired in many respects thanks to a group of initiative people who wanted to take part in this, and I just acted here as a guide and a mirror. This is more a story about mourners at other people’s funerals. At that moment in my life, it was this wonderful tradition that seemed to me the most valuable experience.” (Darja Kazimira) 

“Medea forgives Jason” is a cycle of improvisations, first inspired by Euripides and his tragedy called “Medea”. This canvas captures not only numerous musical paths leading to the image of the great queen of Colchis but also a research path where anthropology, literature, dreams, and deconstructive bodily practices are combined together in order to destroy the dying myth and thereby return it to the “beginning “. The anthropological philosopher René Girard, being one of the most fundamental theorists in relationships between ritual and violence, speaking about bloody, cruel myths often urged readers to remember about twin brothers represented by sacred violence and primitive violence, whose relationships symbolize the world balance, where a violent ritual pacifies its criminal brother. In addition, as soon as we allow an equal sign between these twins, chaos enters the ancient world. This statement also applies to the myth of Medea. Today, burdened with modern moral and ethical attitudes, a human looks at Medea as a hysterical, vindictive woman and a murderous mother. The body of this myth is so unified, simplified that is more akin to a biographical action drama than an archaic symbolic, allegorical construction appealing to the world order. And the essence of the problem here lies precisely in the coveted equalization of Medea (ritual violence) and Jason (simple violence), inspired by the naive modern attraction towards a “happy end”. Therefore, the actions of Medea and her patron deities, who with a series of bloody ritual reprisals punish Jason for deviating from sacred oaths and crimes committed, turned into simplified sentimental connotation that makes this mythological plot meaningless. In turn, the musical act “Medea forgives Jason” realizes the massive desire to transform Medea into a positive scenario and clearly demonstrates not only the senselessness of this intention but also its destructive nature from the point of view of the ancient world, where the equilibrium of the archaic universe turns into an escalation of primitive violence – in it is no the place for sacred and only destruction, madness and an ominous hypostasis of chaos remain, reign and rule.” (Cyclic Law)