Peace and war, security and flight, integrity and threat - the theme of ‘Aus den Fugen’ is reflected in two installations that will be exhibited in the Konzerthaus throughout the festival.

In the vestibule, you find the sculpture ‘Silent Psalm’ by composer, pianist and artist Lera Auerbach, to whom the Konzerthaus Berlin is dedicating an ‘Creative Portrait’ during the 2024/25 season.

At listening stations, you can also listen to podcasts by 11th graders from Neukölln's Albrecht-Dürer Gymnasium, who have immersed themselves into Lera Auerbach's Symphony No. 6 ‘Vessels of Light’ as part of an education project.

This symphony forms a symbiosis with ‘Silent Psalm’ and will be performed by Konzerthaus Berlin under the direction of Joana Mallwitz on November 17 during the festival.

The artist about her work: “Created in symbiosis with her Symphony No. 6 “Vessels of Light,”  “Silent Psalm” explores the convergence of mystical Jewish concepts—Shevirat HaKelim (Breakage of the Vessels) and Tikun Olam (Repairing of the World)—with Kintsugi, the Japanese art of repairing broken objects, translating to “join with gold.” This artistic and philosophical exploration transcends cultural boundaries, revealing the inherent resilience in narratives of breakage and repair.

In “Silent Psalm,” the musical material of Psalm 121 is deliberately shattered, allowing its fragments to permeate the symphony—a symbolic act echoing the cosmic cataclysm in Shevirat HaKelim. The ten vessels (Hebrew sefirot), symbolizing the harmony of the universe, were intended to capture the light of creation, yet unable to contain its power, the seven lower vessels shattered. This breaking of the vessels is interpreted as a symbol for a world in a state of disharmony. Simultaneously, Auerbach integrates Kintsugi, emphasizing the beauty of transcending imperfection by highlighting breakage.

“Silent Psalm” materializes as a visual metaphor. The bronze musical score, engraved with Psalm 121, stands shattered and reconstructed. This mirrors profound spiritual reconciliation, where broken vessels become vessels for new, elevated forms.

At the nexus of two distinct yet harmonious philosophies, “Silent Psalm” encapsulates the inevitability of fracture and the transformative potential in embracing brokenness. This intellectual and artistic synthesis prompts contemplation on the universality of resilience and the ethical imperative of Tikun Olam, offering a profound dialogue between Jewish mysticism and the Japanese artistry of Kintsugi. The sculpture stands as a testament to the interconnectedness of these themes, resonating with the continuous process of repair and transformation inherent in our world.”

The installation was made possible by the Althafen Foundation, courtesy of Ilona Oltuski

Outside the Musikclub, you will encounter the installation ‘Ungrievable Lives’ by Caroline Burraway. The British artist made 13 children's clothes from life jackets that refugees left behind on the beach of Lesbos. 

This inspired composer Charlotte Bray to write her first string quartet, which has been performed by the Castilian String Quartet since 2022. The ensemble will perform this and other works at the festival on November 21.

The artist about her work: “13 children’s dresses handmade from lifejackets gathered from the Lifejacket Graveyard, Lesvos: each dress represents 1 of the 13 million child refugees worldwide. Today as a consequence of the war in Ukraine, this number is now 15 million. The dresses signify the absent body, evoking memory, absence and loss. Dirty, torn, patched together, a mixture of faded oranges, pinks and reds, at first glance they look like any small 3/4 year old dress a young child may wear, your child, my child, any child…

The scales, an ancient symbol of justice, signify the weighing of the body and soul, embodying the difficult question: What is the differential value of a Western life compared to the value of the life of the refugee, arriving at the border of the Western world?

The piles of sand at the bottom of each dress represent physical/ real, political/ fictional, and cultural/ symbolic borders and - like sands - are forever shifting and changing over time. Man-made boundaries, including linguistic, economic and social, conspire to create further division. Yet the movement of people has been constant throughout history. Migrants, refugees, the displaced and stateless, continue to make up an increasing number of the world population and the symbolic boundaries of identity and culture which make nations, the segmentation between “us” and “them” which is so apparent today will, over time, become redrawn as new forms of cultural diversity are introduced.”