During the last week of August 2025, the music series Soundscapes in the Garden at Neue Nationalgalerie will feature three evenings of ambitious, site-specific live concerts by five internationally admired and respected musicians. Coinciding with Lange Nacht der Museen on Saturday, August 30th, there will also be a day of special, musical tributes to the fog sculpture by the iconic Japanese artist Fujiko Nakaya (*1933), which has been on view in the sculpture garden throughout the summer.
Soundscapes in the Garden introduces a new dimension to the music programming that Neue Nationalgalerie has presented in and around its iconic sculpture garden since its early years – beginning with the »Jazz in the Garden« showcases in the 1970s and 1980s, which featured greats like Alice Contrane and Keith Jarrett, and continuing with the more broadly defined mandate of »Sound in the Garden« since the reopening in 2022. The clarity and precision of Mies van der Rohe’s architecture, together with the ephemeral poetry of Fujiko Nakaya’s fog sculpture, serve as parallel inspirations for understanding to conceive of music as a spatial art form—something that may be experienced while wandering among the garden’s plants and sculptures just as fully as in the focused immobilization enforced by conventional concert halls.
At the Neue Nationalgalerie, the spatiality and site-specificity of all live concerts is based on an immersive d&b Soundscape audio system, which will be specially installed in the garden for the duration of the series. Soundscapes in the Garden encourages audiences to understand openness and closure not only as major themes in the architecture of the Neue Nationalgalerie, but also as categories for experiencing sound and music.
Pantha du Prince is a German producer and conceptual artist whose sound lurks in the space between techno’s pulse and mythic abstraction. He shapes music as one might design architecture, delicately balancing shimmers of bells, textured percussion, and natural field recordings into compositions both kinetic and introspective. His work consistently probes the tension between the organic and the synthetic, unfolding immersive worlds where rhythm and atmosphere act in equal measure.
The performances of Limpe Fuchs blur the boundary between sculpture, ritual, and music. A practitioner of sound as physical material, the German artists fashions her own instruments from wood, stone, bronze, and metal, moving through space with improvised gestures that awaken acoustic and visual resonance. Rooted in the experimental traditions of the late ’60s and sustained across decades, her work demands the listener's full presence: landscapes of sound, as fragile and elemental as a thought.
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