How do algorithms and data shape intimate relations while driving us apart at the same time? (near) near but — far – the theme of the latest edition of the transmediale festival wondered not whether but how technology can nurture more profound and adaptive connections. Berlin’s renowned festival explores the intersections of art, culture, and digital technologies. We talked to Anna-Lena Panter, responsible for Programme Coordination, Public Relations, and Residencies at transmediale 2025, about the ways the festival pushes the boundaries of creative innovation and critical discourse, the thought-provoking artworks, the relation to the city, and the festival’s future.
This year marked the 38th edition of transmediale. And for the first time, it was curated by two researchers, Ben Evans James and Elise Misao Hunchuck. How did their curatorial approach shape this year’s festival?
Yes, both curators were previously part of the curatorial team and have now taken over for this edition. Their vision centred around the theme of proximity versus closeness. Proximity, often driven by technological systems and social media, gives the illusion of closeness, yet real intimacy and understanding are often lacking – particularly in times of conflict or disagreement. This theme has been deeply embedded in the structure and content of the festival.
This initiative aligned with the festival’s theme, (near) near but — far, by exploring how physical proximity and shared experiences can create meaningful connections in an increasingly digital world.
How does this theme translate into the festival’s programming then?
Transmediale has always included a strong discursive component, blending academic theory with broader discussions, performative actions, political interventions, and artistic installations. This year, we began with two intense days of workshops at the silent green Kulturquartier, fostering a sense of community before transitioning into the public programme at HKW, which attracted around a thousand attendees. The rhythm of these events helped create a dynamic and engaging festival experience.
There was also a unique addition to the festival this year – a running club by sociologist and writer Lindsey A. Freeman. Unfortunately, I couldn’t participate, though the stretching exercises and physical activities could have been an interesting way to start the day. What inspired that?
Yes! Lindsey Freeman recently published a book on running as a collective practice. Inspired by this, she initiated a running club during the festival, which was surprisingly well-attended. It added a new layer to the experience, integrating physical activity with intellectual and artistic discourse. This initiative aligned with the festival’s theme, (near) near but — far, by exploring how physical proximity and shared experiences can create meaningful connections in an increasingly digital world.
And there is also our long-standing partnership with CTM Festival [Festival and Platform for Adventurous Music & Art – the annual Berlin festival]. It explores experimental, electronic, and avant-garde music alongside digital art and cultural discourse, and this year, the adventurous music brought two performance evenings featuring major audiovisual acts. These events successfully merged the audiences of both festivals, creating an exciting crossover moment in Berlin’s cultural calendar.
And, of course, the installations and artistic interventions.
Certainly! One of the highlights was Purgatory EDIT by Ali Akbar Mehta – an interactive installation and cyber-performance based on a vast moving image media archive. Our festival emphasises in-person participation, so many of those facilitating workshops were also involved in the conference, creating continuity across different formats.
We also featured artistic interventions in public spaces, such as a car installation by Felicity Hammond, titled Dark Adaptation, and a floating balloon piece by Hana Yoo, which referenced the thousands of balloons carrying waste sent by North Korea. Yoo’s installation used the playful form of a balloon to explore the ambiguity of the medium and its message. Additionally, a streaming collective documented and engaged with the festival in real-time. This project, titled 3022, included contributions from Vilnius, KonFluxus (Budapest), Re:Frame.tv (Kyiv), and Green Deal Studio.
As digital art has shifted from a niche practice to the mainstream, our challenge is to redefine our role in this expanded landscape while maintaining a strong focus on critical media studies.
You mentioned the place of the festival on Berlin’s artistic stage. How does Transmediale position itself within the city’s media arts landscape, especially given the evolving field of digital culture?
Transmediale is one of the oldest festivals for art and digital culture. It started as a video art festival and evolved into an independent platform for media arts. Over the years, it has been a key meeting point for the media arts community in Berlin and across Europe.
While other festivals, such as Ars Electronica, focus on large-scale exhibitions, transmediale maintains a critical, theory-driven approach. As digital art has shifted from a niche practice to the mainstream, our challenge is to redefine our role in this expanded landscape while maintaining a strong focus on critical media studies.
So, how do you see transmediale evolving in the coming years?
The festival is at an interesting juncture, balancing different generations and artistic practices. On one hand, we have the DIY hacker community and early net artists; on the other, there’s a new wave of digital artists exploring different modes of engagement. Our goal is to continue fostering critical discussions while embracing the transformations within the digital art sphere. The challenge ahead is maintaining a space for deep reflection while adapting to an increasingly widespread and commercialised digital culture.
