Enttäuschungsbrunnen / fountain of disappointment
Solo Exhibition by Alina Koshuba:
‍
Opening: Friday 06.03.2026
Exhibition: 06.03.-29.03.2026

This exhibition begins after something has already failed.
It doesn’t offer redemption.
It traces disappointment as a structure — linguistic, personal, material.
Enttäuschung literally means the undoing of an illusion.
The “fountain” here is not renewal, but circulation:
a system where disappointment repeats instead of resolves.
No catharsis.
Just persistence.

Artist Website: http://alinakoshuba.tilda.ws/
 We thank Südkulturfonds for their support.

eigentlich im Quarterdeck, jetzt im Hirschi!

Emotional wie nie präsentiert Sedlmeir stahlharte Chansons und zarteste Punkrock-Unterhaltung. E-Gitarre, E-Drums und E-Rock’n’Roll bilden das knisternde Fundament fur Sedlmeirs Beobachtungen, oft herzerwarmend zynisch, immer prasent und echt. Zu motzen gibt es ja genug.
Die eigentliche Kunst Sedlmeirs aber besteht darin, schonste Wahrheiten sogar aus einer Matrix aus Scheisse heraus zu destillieren und abzufeiern.
Oder sich notfalls welche auszudenken.
Der Weltraum hat es ihm nun einmal so befohlen.


Auf der Bühne wird dem musikalisch-performativen Ausdruck ein visuelles Element hinzugefügt: Film- und Bildprojektionen assoziieren frei die dargebotenen Inhalte mittels kontrastreicher Schwarzweißbilder und oder etwa pseudowissenschaftlicher Diagramme.

To describe the music of The Hobknobs, use the word ‘natural’. And what you will mean is: fitted to itself; essentially, albeit politely, uninterested in whether or not you’re looking. You might think of early rock ’n’ roll and you’ll be thinking of its energetic nonchalance and honest economy minus any sentimentality. Sonically and lyrically, the elements of the songs dovetail showing how they move but giving no temptation to take them apart. The duo Yaël Dekker and Arie van Vliet have long admired each other's music but their collaboration here is not a closed conversation -- at the same time colloquial and cerebral, we are invited in, if we can hang. As a natural thing is self-possessed, The Hobknobs deftly maneuver so that we stand with them, hearing and seeing with them, and find that each song is a place to be.” – Karina Gill (Cindy)

Peki Momes is a Turkish artist living in Germany, started to
record music by accident in 2023.
Infusing her vocals with a unique blend of intuition and
uncompromising authenticity, Peki Momes brings a fresh
perspective to the world of groove music.
The musical approach of the artist (although it's hard to pin
down) can be categorized into terms like Turkish disco,
dancefloor jazz or Turkish city pop.
Under the production of Dustin Braun, the project consists of a
team of avant-gard jazz musicians from Germany, and embraces
a hybrid sound design consisting of dirty tape recordings, dull
ribbon mies and crispy drums.

Bandit Voyage? Their indigestible music? Their iconoclastic music?
 
Anissa & Robin have been moving forward since 2017, guided by lightning and passion !
 
Their music is both pop-less and punk at heart. 2023 marks their return, fill of drum machines, digital (or not) saxophones, damaged bass guitars  & guitars … All that on a new album, “WAS IST DAS”.  
 
Recorded between Berlin and Geneva, in the vibrations of travels and cities, always between two concerts, the new record is the band’s third and is the culmination of their very own way of doing things. Surrounded or alone, the Bandits are never afraid to call a last minute guest that they just ran into on the street. They are never afraid, neither, of summoning the most disconcerting and obscure ballads in their record collections. This third album is like an artistic resurrection. Like the flame of a candle that is protected from the wind by a hand. It portrays everything from the sweetest intimacy to the most explosive approach. 
 
Branded this spring by some of the Berlin scene as the NOWAVE renaissance of the 21st century! 
 
“Was Ist Das” asks all these questions, and answers none of them.

Am Anfang des Erwachsenwerdens wartet eine so dichte Folge von Enden und Anfängen wie sonst kaum
im Leben. Dazwischen quetschen sich immer wieder noch kleine Abenteuer und allerlei Side-Plots. Gut
also, dass lovehead mit ihrer Debüt-EP "fanta lustig" ein ungefiltert-quirliges Panorama des chaotischen
Alltags ihres Coming of Age festgehalten haben.  Geschrieben haben Anna, Leni und Mara diese Songs bereits, bevor lovehead den Indie-Kickstart des
Jahres hingelegten. Vor mehreren Jahren gestartet im Burgenland als Proberaum-Band, ging es Anfang
2025 mit dem ersten Schritt raus an die Öffentlichkeit – und damit auch ziemlich rasch mit eigentlich
allem, was lovehead betrifft.

LILAC ATTITUDE - Pogo-jumping rhythms +++ noisy licks +++ dirty-love-filled vocals +++ diversity & hope for planet earth. /// For over a year now they have been playing in basement squats, trashy bars, sold out underground clubs, and rehearsed in rooms where piss was literally raining from the ceiling to bring you the fruits of their sweet labor.

Nichts sagen, nichts tun, die Zeit markieren, sich bücken, aufrichten, sich tadeln, aufstehen, zum Fenster gehen, sich dabei um entscheiden, zum Stuhl zurückkehren, wieder aufstehen, ins Bad gehen, die Tür schliessen.

Wie einzeln abgefeuerte Gewehrschüsse beginnt die erste Strophe von «To be in a Time of War» von Etel Adnan. Die Dichterin, Essayistin und bildende Künstlerin galt Zeit ihres Lebens als eine der bekanntesten arabisch-amerikanischen Künstlerinnen der Gegenwart. Den Text «To be in a Time of War» schrieb sie 2003 unter dem Eindruck des zweiten Irakkrieges. Durch ein Brennglas blickend beschreibt sie darin ihren Tagesablauf und hält ihn in ihrem Notizbuch fest. Während die Welt aus den Fugen gerät, wird das Schreiben für sie zum Fenster in eine Realität, in der sie trotz der Katastrophe immer noch in der Lage ist, die Dinge zu ordnen. Das Verwandeln der Wirklichkeit in Text wird zum Widerstand gegen den drohenden Abgrund.

Die Schauspielerin Kenda Hmeidan und Regisseur Sebastian Nübling haben die Inszenierung 2024 in den Katakomben eines syrischen Restaurants in Berlin begonnen. Nun nehmen sie die Arbeit wieder auf. Gemeinsam inszenieren sie Adnans Text als grobkörnigen stampfenden Herzschlag im Keller des Hirscheneck.

Fr 27. März, 22:00 Uhr
Sa 28. März, 22:00 Uhr

In Englischer Sprache
Dauer: ca. 60 Minuten
Preise: CHF 15.- bis 25.-

Performance: Kenda Hmeidan
Regie: Sebastian Nübling
Text: Etel Adnan

«It’s The Real Thing - Basler Dokumentartage 5« werden unterstützt von Swisslos-Fonds Basel-Stadt, Swisslos Basellandschaft, Pro Helvetia, Ernst Göhner Stiftung, Stanley Thomas Johnson Stiftung, Christoph Merian Stiftung.

Cousines like Shit is a Vienna/ Austria based band consisting of the two cousins Hannah and Laura Breitfuss. Through critical punchlines the Cousines Hannah and Laura Breitfuß proclaim their view on social phenomenons and the paradox of human beings. Their tracks provide the possibility of self reflexion, transmit the feeling of being caught or simply make you smile when acknowledging the comedic character of certain human behavioral patterns.Their sound defies categorization—Cousines like Shit themselves call it AVANT TRASH. That’s also the title of their debut album, released in September 2023 on Seayou Records. Their self-proclaimed genre ‚Avant Trash‘ reflects the Cousines’ unique style, their text-focused approach and simple but catchy melodies.

DIY art punk outliers Real Farmer released their barnstorming anti-war single, Big Stepper, through Pete Doherty's label Strap Originals on 26th March. Big Stepper is lifted from their new four track EP - RF II - which was released on 12” vinyl and download on 2nd May 2025.

The new single coincided with the band's first ever UK headline tour in March and April. Further shows in 2025 for the fast-rising band from the North Dutch city of Groningen included: Primavera Sound Barcelona, The Great Escape, Come Together (w/ Kings of Leon) and The Libertines festival at Gunnersbury Park.

Real Farmer say of Big Stepper: "We live in a time when the number of countries in conflict is the highest since WWII. Big Stepper is about the global rise of the far-right and with it the dangers of extremism and patriotism. It’s about how young men and women are being seduced by their governments to join the army, convinced that this will help them combat their feelings of hopelessness and enhance their chances for a better future, but often it has the opposite effect, leaving them traumatised and forlorn."

Die Geschichte der Americana in Leipzig ist schnell erzählt. Erst kam lange nix, und dann
endlich die Zoomies.
Wobei die Zoomies - dem Herzensprojekt des Musikers Maxim Tschernych - auf dem
Debüt-Tape "Carbonated Soft Drinks" aus dem Jahre 2023 noch klangen wie eine Tüte
New-Wave-Gemischtes zwischen Jack J., Bowie oder Ween.
Aber nun endlich die folgerichtige, die Pop-Historie auf VHS-Tape rückwärts spulende, leicht
verrauschte Hinwendung zur Americana, genauer gesagt zum rock-poppigen Teil, wo
Country oder Folk keine Schimpfwörter sind, wo Harry Nilsson einst seine Songs dichtete,
wo Alex G heute lebt und von wo aus auch MJ Lendermann ein Liedchen singen kann. Hier
treiben sich also auch die Zoomies herum. Wobei es die Zoomies live als 5-köpfige Band
aber auch als Solo-Show gibt. Je nach Anlass. Im Wahrheit sind die Zoomies eben die
Protagonisten in den Songs von Maxim Tschernych.

"oh, oh, where'd you go? chasing myself in circles" - lyrics about dogs? yes! danceable pop music? yes? pop music in the style of the flying nun catalog? oh yes. ----

Building on 2024’s Hopscotch Fever, Cincinnati’s Artificial Go return with ten more tracks of existential post-punk chamber pop. Recorded at Lambda Research and the haunted attic of the band’s house, the core trio of Angie Willcutt, Micah Wu, and Cole Gilfilen have traded the sparse jangle of their debut for a broader, fuller sound this time around. Musical Chairs deftly meshes the angular excitability of Hopscotch Fever with a spectral warmth and expensiveness able to encompass acoustic guitars, Wu’s almost metaphysical funk bass lines, tape loops and blips and bleeps, a guest spot by Eric Dietrich (of The Drin and Sorry Eric) on saxophone, and Gilfilen’s hip moving boom-bap drumming add to the excitement. What’s more, the band’s comfort with each other (they live together for chrissake) and growing confidence in their collaborative creative process is evident throughout. From the live-take “Red Convertible” (with its layered recursive structure - the musical equivalent of a kid laughing and spinning in circles just for fun) to the lunch-break-composed and after-work-recorded “Circles.”

On Musical Chairs Artificial Go expands their stylistic palate while retaining the New / No / Whatever Wave weirdness that charmed listeners on their debut —a group effort to be sure, but spearheaded by Angie Willcutt’s singular voice and clever, adroit lyrics. In Willcutt’s hands, the struggles, and at times terrors, of our current age are playfully subverted with agile world play and dynamic vocalization that moves from sweet and dreamy to cartoonishly exaggerated as she charts an emotional course through such topics as the difficulties of playing the role of “woman” in a misogynist world (“Playing Puppet”) or the injustice of anthropocentric hierarchy (“Tightrope Walker”). Musical Chairs is serious music not meant to be taken too seriously, a playful act of resistance, a meditation on the good and bad of this world, and ultimately a remarkable statement on the continuing growth of Artificial Go. -Ben Michaelis