Performing Exiles is an international and interdisciplinary festival produced by the Berliner Festspiele, that seeks to make diasporic lives in the city of Berlin visible and explore the contemporary meaning of exile. The second edition of the festival will present both works by internationally acclaimed artists and those of artists who are still at the beginning of their careers. It will focus particularly on the artistic positions of persons who identify as diasporic and who have chosen to base their lives in Berlin. Performing Exiles will take place from 19 to 28 June 2025 at the Haus der Berliner Festspiele, the HAU – Hebbel am Ufer and Ballhaus Ost.
100° Diaspora plans to highlight the broad spectrum of Berlin-based diaspora working in the arts and make this its programme. The stage marathon will be held as part of Performing Exiles from 26 to 28 June 2025 on five stages at the Haus der Berliner Festspiele. 45 artists and groups from the performing arts who are based in Berlin and identify as diasporic will be invited to take part. What’s special about it: the programme for 100° Diaspora is not curated, instead it will present the first 45 applications in response to the open call on a first come, first served basis, provided proposals can be realised.
100° Diaspora is a format that will take place as part of Performing Exiles. The programme for Performing Exiles comprises a range of curated works by distinguished exiled and diasporic artists who are established on the arts scene. To make it possible to also present the broad spectrum of less established artists within the festival, we decided to produce 100° Diaspora, a stage marathon consisting of 45 artistic contributions, alongside the curated programme. This format aims to present as broad a range as possible of Berlin’s diasporic art scene, which is also reflected in its technical, scheduling and financial frameworks.
As part of 100° Diaspora, it is planned to offer open discussions that address the tensions inherent in the format: does 100° mean offering performance opportunities in the city that would not otherwise exist? Or merely the impoverishment of artists and the exclusion of those who are unable to work under these conditions? What possibilities are there to make these performance opportunities more inclusive in every respect?
The open call has received a huge response and currently over 300 applications have already been received. We have therefore decided to close the call early and not, as originally announced, at the end of January. We would like to express our thanks for the many applications that have been submitted and will be in touch as soon as we have checked the technical and production requirements of these proposals.
We will be happy to receive any comments or ideas about the format and the open call. These can be sent directly to the team by email to opencall100@berlinerfestspiele.de.
Curatorial director and dramaturgy Matthias Lilienthal
Curatorial assistant Sophie Blomen
Artistic Production Management Claudia Peters
Production assisstant Luisa Kleemann
Organisation assistant Sophie Beck
Technical Director Maria Kusche
Communications and public relations Leonard Pelz