Dialogues
We hold in-depth conversations with leading figures in the cultural scene, from artists and curators to festival directors and cultural policymakers. These discussions provide an opportunity to feel the pulse of the industry, analyze current developments, and absorb new creative impulses.
As a dynamic platform for interdisciplinary exchange, these dialogues not only serve as a valuable newsfeed for our network but also create connections between established institutions, independent artists, and innovative projects. Through the introduction of exciting personalities and close collaboration with our partners, we offer insights into forward-thinking trends and new synergies within the creative scene.
Whether discussing new approaches in cultural management, sustainable production methods, or artistic concepts, the dialogues reflect the diversity of the industry and encourage dialogue among those actively shaping and rethinking culture.
Kulturhaltestelle Dialogues – with Niklas Carlsson
Niklas Carlsson is an artist, festival maker and cultural worker. For decades, his practice has moved between artistic work, independent festival production and engagement in cultural policy. Through the festival Uma Obscura in Umeå, he creates spaces for alternative art and subcultural expression. As part of Kontaktnätet, a nationwide network of non-profit cultural organisations in Sweden, he works to strengthen democratic, inclusive and sustainable structures within the cultural field.
Niklas and Georges met earlier this year at the Sweden Festivals Conference in Sandviken. The invitation to Sweden came through the international network of the European Festivals Association (EFA), of which Kulturhaltestelle is an active member, engaging in Europe-wide exchange around festival and cultural work. The interview was conducted on the occasion of Niklas’ recent visit to Berlin. In this conversation, he reflects on collective ways of working, the meaning of subculture beyond questions of style, structural inequalities in cultural funding, and the responsibility experienced cultural practitioners carry towards emerging scenes and initiatives. He also discusses what needs to change for independent culture to remain a transformative force in the years ahead.
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You have spent decades working simultaneously as an artist, festival maker and network organiser. When you look at your work from the outside, what is the common thread that connects all these activities?
The most obvious answer would probably be creativity, art and cultural work, but that feels too easy. My real drive is creating art and trying to make visions come true. If I could choose freely, I would spend much more time on my own artistic work. But that is rarely possible. I cannot make a full living from the kind of art I love to create, as it is neither commercial nor fully recognised by current cultural policy, and therefore lacks strong support structures.
The interview was conducted by Georges on December 12, 2025.
Kulturhaltestelle Dialogues – with Nicolas Namoradze
The Georgian-Hungarian pianist, composer, and music researcher Nicolas Namoradze (Tbilisi, 1992) is one of the most fascinating voices of his generation. His work unfolds at the intersection of virtuosity, neuroscience, and a profound practice of mindful listening. In his performances, he interweaves highly precise piano playing with thought experiments, reflections, and guided exercises that invite audiences into a more conscious perception of sound. His artistic outlook is shaped by the conviction that music is not merely heard, but experienced, with focus, curiosity, and inner calm.
Nicolas Namoradze has appeared several times at the Weissenhorn Klassik Festival, most recently in 2022 with his acclaimed mindfulness program, which left a lasting impression on our audience. This made clear just how remarkably versatile his approach is a format that resonates not only with adults but can be applied just as effectively and playfully with schoolchildren.
We are now delighted to welcome Nicolas for a conversation about his artistic vision, his research on deep listening, and his ideas for the future of the concert experience.
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What inspired you to explore and develop your mindful, deep-listening concert formats?
My initial interest in mental skills and mindfulness actually grew out of applying them to performance rather than listening. I’ve always been fascinated by how high-level athletes and performers navigate the mental game, and over the years I’ve integrated elements of sports psychology into my own work. During the pandemic, when I was collaborating with the streaming platform IDAGIO on a featured artist profile, the idea arose to share some of these approaches with their users. However, their audience consists primarily of listeners rather than performers, which led me to adapt these principles to the listening experience, and I realized there was a lot of potential in the concept. It then became evident that the idea could work similarly well in live concerts, where I’d alteranate pieces I perform with short thought experiments, discussions, and guided concentration exercises.​
The interview was conducted by Esther on November 18, 2025.
Kulturhaltestelle Dialogues – with Joana Gama
The Portuguese pianist Joana Gama (Braga, 1983) is a multifaceted artist whose work bridges music, dance, theatre, film, and photography. Her repertoire revolves around composers such as Erik Satie, Hans Otte, and Federico Mompou – musicians who explored silence, contemplation, and reduction. Gama’s artistic approach is guided by a search for music that creates space for stillness and reflection.
We have been following Joana Gama for several years: she has been a regular guest at the Giacinto Scelsi Festival Basel and most recently took part in the Weissenhorn Klassik Jubilee Edition 2024, where she performed Hans Otte’s cycle Das Buch der Klänge (The Book of Sounds). We invited her to talk about her artistic philosophy, her ecological engagement, and her perspective on today’s independent festival culture.
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Your repertoire often highlights composers such as Satie, Otte or Mompou, figures associated with silence, contemplation, or experimentation. What draws you to this kind of music?
In a time when it seems you have to scream in order to be heard, I feel I need to do the opposite - I like to play music that is quiet and makes you calmer.
Do you have specific criteria when deciding which composers or works to place at the centre of your programmes?
My decisions always come from an emotional perspective. Usually, I connect with the music or the composer and feel that it needs to be heard by more people. Also, there are composers who are performed every day all over the world, I don’t want to contribute to that homogeneity. There is so much interesting music that deserves to be heard.​
The interview was conducted by Esther on September 19, 2025.
Kulturhaltestelle Dialogues – with Marianne Schroeder
Marianne Schroeder is one of the leading interpreters of contemporary music and has dedicated a significant part of her career to the works of Giacinto Scelsi. After studying with renowned teachers such as Klaus Linder and Eliza Hansen, she developed a unique artistic approach, shaped by her deep engagement with contemporary music. Her close collaborations with composers such as John Cage, Morton Feldman, Giacinto Scelsi, Karlheinz Stockhausen, and Christian Wolff are reflected in both her concert activities and her artistic vision.
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In 2014, she founded the Giacinto Scelsi Festival in Basel, a festival dedicated to the music and ideas of the Italian composer while also fostering new connections with other artistic movements. Since 2021, she has been collaborating with Kulturhaltestelle as a partner institution, which co-plans and provides organizational support for the festival.
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In this interview, Marianne shares her artistic vision, the history of the festival, and her memories of Giacinto Scelsi, the city of Basel, and the founding of the festival.
The interview was conducted by Georges on December 18, 2024.