Ultimate Fighting in the White House. Fascists in the Bundestag. Atrocities on our phones. The indifferent image works its magic, numbing our gaze to the hard edges of reality. Gestures and pictures, actions and words that once would have provoked outrage now go by unremarked. The Age of the Unthinkable is upon us. Creamcake’s 3hd 2026 is a counterpoint to the unraveling fabric of what’s true. The Berlin festival’s “Beyond Imagining” edition confronts a world where the real and the invented bleed into each other, distorting what we see and inciting violence so extreme it defies belief, yet rarely earns more than a passing glance.
Running October 23 to November 1 across two weekends at CANK, HAU Hebbel am Ufer, Berlinische Galerie, and online via 3hdTV, invited artists challenge the systems and habits that hold our attention and sell our fear. Through performances, DJ sets, and concerts, 3hd pulls apart how meaning gets made and circulates. Old certainties resurface in new disguises. Purity, strength, order, the body as battleground, faith repurposed as ideology, all feed the same nationalist and patriarchal currents that determine who belongs and who is cast out. Participants walk the line between banality and spectacle, where digital and physical realities collide and truth, authenticity, and community no longer hold their shape.
Bodies as code. Bodies as commodities. Bodies as battlefields. In a world where the real and the invented bleed into each other, distorting what we see, 3hd's evening of performances at HAU Hebbel am Ufer presents four works that trace a given pop-cultural script written into flesh, then flip it to reveal the facts behind the fictions. From dancehall and puppetry to shock rock and narco-soaps, the two-night run brings together artists whose work inhabits and unhinges the conventions and contradictions of the public imagination.
Five hours of performance from four points of view: each offers the audience a durational exercise in identifying and interrupting the prejudices and preconceptions that not only shape but distort our perception of reality. Special treats will be served alongside intermittent live music throughout the evening.
Charlie Osborne’s “He Must Have Been Like 6ft 3” performance tells the story of a large figure in a parking lot, flailing his arms around, wearing Superman pajamas. This normally ominous stranger has been reimagined, refigured through the lens of a crush. Moving from horror to romance, domains traditionally determined by physique and fear, he becomes a character in a script, one that changes him into a conductor of his universe—a Taco Bell car park. Through this re-framing, the piece explores the ability to script reality into fiction and fantasy, and the function of theater unfolds on stage in the artist’s re-telling of meeting this grown man in kids’ apparel.
Charlie Osborne is a Cardiff-born, London-based artist working across video, performance, music, and writing whose practice employs a fictive logic to theatricality and the hyperreal. Drawing on horror aesthetics in both style and strategy, the work takes hybrid form—shock-rock essay-concert, noise performance, magical-realist story—shaped by screamo, synth-punk, hypnagogic pop, screaming harmonica, and a never-ending love-story rendered polyphonically. Osborne’s characters, video, sculpture and live shows are conceived as a spiritual dimension, where existential excess and the folly of modernity drive conspiracy and phenomena—replying through a new mythicism.
Earning a BA in Fine Art from Camberwell College of Arts in 2021, Osborne has shown and/or performed at Turner Contemporary, Margate; the ICA and Saatchi Yates in London; and BFI Film Festival, among others. Osborne was a resident of the Conditions / ICA Studio Programme and presented a solo show at Piccalilli Gallery (2024), with a book and EP alongside Ayvan and Odyxxey. Recent live shows include Cafe OTO and Les Urbaines.
Eunju Hong expands and adapts her “She seemed devastated, when I was weeping with Joy” performance to HAU2. The work originated from the artist’s research into East Asian traditional puppetry during her residency in Taiwan and explores the shifting dynamics of power and control between the human body and the puppet. The performance centers on a life-size puppet produced through 3D printing, modeled after the artist’s own face and body, and a performer who moves alongside it and enters into a physical and emotional relationship with it. Historically, puppets—originating in ritualistic and ceremonial practices—have evolved into toys, automata, dummies, cyborgs, and robots, repeatedly serving as proxies for the human body and vessels for human desire. Drawing on this history, the work presents the puppet not as an object but as an alternative body where vulnerability, projection, and control intersect.
Eunju Hong is a Munich- and Seoul-based artist whose work examines the emotional and structural transmission between humans and nonhumans, technology and memory, using puppetry, performance, and video to trace where personal and social wounds overlap. She studied at the Korean National University of Arts, Beaux-Arts Paris, and HfG Karlsruhe, graduating from the Akademie der Bildenden Künste München as a Meisterschülerin in 2023. The following year, she received the Media Art Prize from Kunststiftung Ingvild und Stephan Goetz and Bavarian Arts and Literary Prize.
Hong’s work has been presented in exhibitions across Europe and Asia, including the Ilmin Museum of Art, Pinakothek der Moderne, and Künstlerhaus Bethanien Berlin. Most recently, she presented a performance at the opening of the Taiwan Collateral Event at the 61st Venice Biennale. Her work is held in the collection of Sammlung Goetz, Munich.
Harald Beharie’s “Batty Juice” is a new duet version of 2022’s solo “Batty Bwoy,” brought together for the first time by Creamcake. With regular collaborator Carlisle Sienes, they pressure and reimagine the original material, squeezing out a batty elixir. In an odyssey of droning prog-rock, they attack and embrace sedimented narratives around the fear of the queer body as a perverse and deviant figure. Through a reappropriation of the Jamaican slang that literally translates to “butt boy,” the work twists the myths of the queer body, unfolding vulnerable possibilities in an interplay of consciousness and naivety, their mouths swallowing and regurgitating the corporeal fictions projected onto their skins. The work draws on sodomite mythologies, homophobic dancehall lyrics, 70s Italian Giallo films, and resilient gully queens, alongside queer voices that helped shape the process.
Harald Beharie is an Oslo-based, Norwegian-Jamaican performer and choreographer whose practice and choreographies often emerge in the tension between the everyday and the extreme, the mundane and the sacred, treating transformation as a continuous principle for both the body and the spaces it moves through. Their works explore how queerness can act through it as a medium and a site for revolt, ecstasy, and dissolution, with a special interest in the DIY and the vulnerability of being in the unknown. Beharie is interested in how the body can function as a motor for dramaturgy, a force in itself that transforms through practice. In “Batty Bwoy” and “Undersang,” pleasure, excess, and monstrosity become forces for empowerment and transformation while centering it as a site of ambivalence.
Beharie’s work has received nominations for the Norwegian Critics Prize for 2020’s “Shine Utopians” performance with Louis Schou and solo work “Batty Bwoy” in 2022, which also won the Hedda Prize for Best Dance Production in 2023. “Undersang” won the Norwegian Critics Prize in 2024.
Nadia Granados’s “Colombianización” is a live performance examining how violence is aestheticized, consumed, and circulated through popular culture. Moving fluidly between concert, cabaret, political performance, and audiovisual installation, the work draws on the visual codes of Colombian narco-soap operas, music videos, and gangster rap, interrogating the global construction of the drug trafficker as a symbol of masculinity, power, and social mobility, dismantling these narratives to expose the political and economic structures they conceal. Employing the Drag King as a critical strategy, the performance embodies an exaggerated narco persona, revealing masculinity not as a fixed but rehearsed performance sustained by domination and economic aspiration, its glamor gradually collapsing into fragility. Sayak Valencia's theory of “Gore Capitalism” is a central reference, which frames extreme violence as a mode of production rather than its exception. The performance instead redirects attention toward those erased from view, asking how certain lives are rendered visible while others remain absent from public memory.
Nadia Granados is a Colombian interdisciplinary artist, filmmaker, performer, and researcher whose work explores the politics of images, media ecologies, and technological imaginaries. Moving across performance, expanded cinema, installation, artificial intelligence, and archival practices, she examines how visual technologies construct memory, violence, desire, and political subjectivity. For Granados, media is not a tool of representation but a contested territory where ideology is produced, embodied, and performed. Her ongoing artistic persona, “La Fulminante,” has been appropriating mass entertainment and digital spectacle since 2010 to challenge dominant narratives around nationalism, gender, militarization, and extractivism in Latin America.
Her recent projects—including Colombianización, American Spectral History, and Tell Me When You Die—combine AI-generated video and live performance into immersive environments where spectators navigate historical memory, synthetic media, and governance. Granados was awarded the XI Luis Caballero Award, Colombia’s highest recognition for mid-career visual artists, the Ken Burns Award at the Ann Arbor Film Festival, and the Franklin Furnace Fund, New York. She has shown at museums, biennials, and festivals internationally, including Athens International Film + Video Festival and the International Short Film Festival Oberhausen.
Declarations of love. Promises of wealth, luck and opportunity. Spam and scam culture rely on messages of abundance to hook victims in. But where lies the head of relentless positivity? In their performance, Elizabeth Gabrielle Lee and Alex Quicho immerse an audience in a romance scam thriller, seeking out the elusive source of a headless operation. This performance incorporates Telegram channels, burner phones, and original notification compositions, drawing on Bataille's headless community and Byung-Chul Han’s positive violence to show how scam culture wounds through contamination, overload, and toxic accumulation. The scam seduces through saying yes endlessly. It loves without discernment. In reply, decapitation becomes a fantasy of ultimate devotion, offering finality in a world where nothing ever has to end.
Alex Quicho is a theorist in London. Her practice develops novel ways of understanding life within technological systems, unfolding in multi-year cycles through critical writing, performance lectures, and moving image. Her work has appeared in Wired, Frieze, MIT Technology Review, and Vogue; and at Tate Britain, Serpentine Galleries, Institute of Contemporary Arts, transmediale, and elsewhere.
Elizabeth Gabrielle Lee is an artist whose practice negotiates post-tropical environments, psychic rupture, and gothic materialism. Through film, intermedia installations and performance, her work examines obscured infrastructures and inhuman intelligences — questioning how the immediate experience of the human is shaped by systems it cannot fully perceive. Her work has been presented internationally, including V&A Museum, Musée d'Art et d'Histoire Genève, Singapore Biennale, Rockbund Art Museum, Asian Film Archive, 4A Centre for Contemporary Asian Art, Taiwan Film and Audiovisual Institute. She is an Associate Lecturer at the School of Media and Communication in London College of Fashion, University of the Arts London.
Nas Tea is a Hamburg-raised, Berlin-based DJ, performer, and sound artist with a taste for tension, release, and rhythm that hits hard. Despite what the sharp-edged moniker may suggest, they have a mellow, grounding presence that’s both playful and vulnerable, drawing strangers to divulge their deepest secrets. Their sets balance precision and chaos, shaped by a background in performance art and a fearless approach to sound.
Since 2020, Nas Tea has been producing original tracks, playing genre-spanning DJ sets, and creating immersive live performances that merge music, movement, and ritual into a holistic experience. Standing at the edge of Berlin’s underground and performing regularly across Europe, they now aim to facilitate a space for the collective to dream, to rest, and to unfurl, turning the dancefloor into a space of pure, collective charge.
Sara Sadik is a Marseille-based artist who creates immersive narrative environments blending video, installation, performance, and interactive practices. Drawing on contemporary popular culture, from video games and science fiction to anime, reality TV, and French rap, her work explores identity, vulnerability, and modes of belonging. Positioned between fiction and documentary, Sadik’s works follow initiatory journeys often centered on teenagers and young men shaped by social marginalization, revealing their emotional landscapes, aspirations, and inner conflicts. Frequently using collaborative methods, she transforms testimonies and cultural codes into poetic material, crafting worlds where collective memories and contemporary identities can be reimagined.
Sadik earned her MFA in Fine Arts with highest honours from the Ecole des Beaux-Arts de Bordeaux in 2018. Her work has been shown at Oslo’s Munch Museum, Villa Medici in Rome, MoMA Warsaw, Amsterdam’s Stedelijk Museum, FACT Liverpool, M+ Hong Kong, Luma Arles, and Centre Pompidou-Metz, among others.
Simona Andrioletti Lives and works in Munich and Milan. Simona Andrioletti’s artistic practice is rooted in a research-based approach. Drawing on feminist perspectives, she investigates sistemic violence and explores its structural and social roots, as well as the defense mechanisms people develop in response to traumatic events. Her work reflects on the conditions of disadvantage experienced by minority groups, as well as on moments of solidarity that enable marginalized communities to support one another and build resilient networks. She focuses on gender-based violence from an intersectional perspective, taking into account the interplay of multiple identities and the structural biases that affect marginalized individuals and communities, particularly the FLINTA* community, as well as minors from challenging backgrounds and involved with the criminal justice system. She involves these communities in her practice through workshops that contribute to the development of performances and/ or installations. Language, writing, music, and immersive environments are central elements of her practice, which often adopts a militant tone and embraces forms of active participation.
Her work has been exhibited internationally at institutions and galleries including Kunsthalle Mannheim (Mannheim), HEK – Haus der Elektronischen Künste (Basel), Accent Sisters (New York City), /SAC Malmaison & /SAC Berthelot (Bucharest), Kunstverein München e.V. (Munich), Temple Bar Gallery + Studios (Dublin), Museum Villa Stuck (Munich), Federkiel Stiftung (Munich), Museo Novecento (Florence), Spazju Kreattiv (Valletta), EIGEN+ART Lab (Berlin), Lothringer13 (Munich), Gian Marco Casini Gallery (Livorno), Ribot Gallery (Milan), Nir Altman Gallery (Munich), MART – Museo di Arte Moderna e Contemporanea di Trento e Rovereto, MACRO – Museo d’Arte Contemporanea di Roma.
Simone C. Niquille is an Amsterdam-based designer and researcher whose work investigates computation as a contemporary optical system. Spanning computer vision, 3D animation, computational photography, and synthetic training datasets, their practice examines how images no longer simply represent the world but actively structure perception and reality itself. Working within these systems, Niquille critiques machine learning as a tool for stabilizing assumptions, advocating instead for non-binary technological imaginaries. They initiated the Parametric Truth Lab at Design Academy Eindhoven, teach across design and architecture, and are currently a PhD researcher within the ARTILACS graduate school at HFBK Hamburg.
Niquille has exhibited and published internationally, including at the Dutch Pavilion of the 16th Venice Architecture Biennale. They have been a Research Fellow at the Nieuwe Instituut, a Mellon Researcher at the Canadian Centre for Architecture, a Fellow in Digital Storytelling at the Dutch Film Festival, and they hold degrees from the Rhode Island School of Design and the Sandberg Instituut Amsterdam. They are the recipient of the 2026 Swiss Grand Prix of Design, marking the first time the prize has been awarded in Media and Interaction Design.
Vika Kirchenbauer is an artist, writer and music producer based in Berlin. In her practice, she examines the fundamental political and social conflicts inherent in the artistic field. Two monographs combining the artistic and theoretical strands of her practice have been published by Mousse Publishing. Comprehensive solo exhibitions of Kirchenbauer’s work have been presented, for instance, at the Kunstverein für die Rheinlande und Westfalen in Düsseldorf, and at the Kunstverein Kevin Space in Vienna. Her videos and installations were part of exhibitions and screenings at, among others, d/p, Seoul; the Tainan Art Museum, Taiwan; the Whitechapel Gallery, London; Kunsthal Charlottenborg, Copenhagen; the Berlin International Film Festival, the New York Film Festival and the Toronto International Film Festival. From 2022, she was a Professor of Fine Art at the Braunschweig University of Art. In 2026, she was appointed Professor of Fine Art in the Contemporary Context at the Kunsthochschule Kassel.
Exmantera / Meat Cage, aka Dani Mantere, is a Helsinki-born, Tbilisi-based producer, DJ, and event organizer operating at the fringes of club music and sonic deconstruction. Their sets drift between nostalgia, distorted emotions, and broken rhythms—no fixed genre, no clear path, just a focus on feeling and emotion. Expect nothing and everything.
Mantere releases as both Exmantera and Meat Cage with output including Hollow Body + Nonexistence (As a Natural State) (2021), Lethality (2023)—featuring collaborations with Nova Caine and Yaokai—Club Destroy (2024), and Excess (2026). Their work has been released internationally, spanning labels including the UK’s Fixity and PAYNOMINDTOUS from Italy.
Göksu Kunak is an Ankara-born, Berlin-based artist, performance director, writer, and researcher working across performance, installation, text, and theory, whose practice examines the codes and conventions of spaces such as the white cube, black box, and public realm through action-based performances, evening-length theater works, and site-responsive interventions. Kunak’s hybrid dramaturgies draw on chrono-politics, non-Western methodologies, and the performative structures of everyday life. Influenced by Arabesk culture and science fiction, their texts and performances create speculative scenarios that criticize heteropatriarchal norms, Orientalism, and self-censorship, treating the body within urban environments as an object alongside cars or construction sites, and theatricality and language as sculptural material.
Kunak was awarded the Akademie der Künste Kunstpreis (Berlin Prize for Art) in Performing Arts in 2025, and was a finalist for the Dieter-Ruckhaberle Förderpreis in 2021. Their work has been presented internationally at Performa Biennial, Neue Nationalgalerie, Sophiensaele, Neuer Berliner Kunstverein, MAPS Museum, Migros Museum, deSingel Arts Center, Kunsthalle Krems-Donau Festival, and Kaaitheater, among others.
Lowra is a Polish duo formed by Poznań-based vocalist and lyricist Rosalie and Gdynia-based producer-composer 2K88, bridging songwriting and forward-thinking production into a sound that is both emotionally resonant and sonically refined. Blending deep bass, immersive ambient textures, and addictive melodic structures, the collaboration creates a distinctive interplay between atmosphere and rhythm, drawing from contemporary electronic music and alternative RnB while remaining open to influences from across genres.
At the core of Lowra’s work lies a focus on mood and narrative: Rosalie’s intimate vocal delivery and lyrical sensitivity intertwine with 2K88’s detailed, spacious production to form compositions that feel both personal and expansive, moving effortlessly between minimalism and richness. Their output is marked by a cinematic quality, where layered sound design and carefully sculpted arrangements create immersive listening experiences, emphasizing contrast—softness and weight, clarity and abstraction—to resonate both emotionally and physically.
Safety Trance, aka Luis Garban, is a Venezuelan, Barcelona-based producer operating at the intersection of two distinct sonic worlds. Appearing in the scene in the 2000s, he has dominated the warehouse circuit with the industrial, techno-forward aggression of Cardopusher for years, while developing another sound that rewires the DNA of Latin club music with an experimental take on reggaeton that has captivated audiences worldwide.
Garban has earned acclaim as the architect of soundscapes for visionary acts that include longtime colleague and Grammy-nominated artist Arca, while positioning himself at the forefront of a new wave of Latin experimental electronica. He is set to further define himself with Sacrificio, his latest full-length album, which brings together old and new collaborators to explore absolution and transmutation at the club.
SUUTOO is a London-based interdisciplinary artist, composer, DJ, and performance artist whose practice moves fluidly between music, performance, art, and club culture. Rooted in world-building, her work spans sound, movement, installation, video, and visual material, guided by an ongoing inquiry into transformation, emancipation, transience, and sonic potentialities. Her sound sits in the in-between, weaving noise, intimacy, and myth into sonic environments and embodied performances that resist fixed meaning.
Her new EP STARFIRE, released on DEMO, is a crystallisation of sonic experiments, performance works, and improvisational processes developed between 2020 and 2025. Emerging through a series of performances that gradually expanded into a wider live, visual, sonic, and poetic language, STARFIRE gathers this material into a concentrated display of force, with its world-building continuing to unfold through haze-filled performances that bind body, space, spirit, and sound. SUUTOO is joined by her band, Damien Kabran and Oxhy.
