By the Mango Belt & Tamarind Road 
(near) near but — far 
you are doing amazing sweetie 
a model, a map, a fiction 
for refusal 
End to End 
... 
face value 
ever elusive 
conversationpiece 
capture all 
afterglow 
BWPWAP
in/compatible 
response:ability 
futurity now! deep north 
conspire. unfinish! reality addicts BASICS FLY UTOPIA! PLAY GLOBAL! go public! DIY
(near) near but — far you are doing amazing sweetie a model, a map, a fiction for refusal End to End ... face value ever elusive conversationpiece capture all afterglow BWPWAP in/compatible response:ability futurity now! deep north conspire. unfinish! reality addicts BASICS FLY UTOPIA! PLAY GLOBAL! go public! DIY From VideoFilmFest to transmediale, browse the archive of all the past festival editions.
VideoFilmFest '88Since 1973, video contributions had been part of the International Forum of New Cinema at the Berlin International Film Festival. As the Forum decided to almost completely cease the screenings of videos and video art in 1987, the independent production group MedienOperative presented its own video-only program under the name VideoFilmFest in 1988, highlighting the importance and variety of video art.13.02 – 23.02.1988 MedienOperative
VideoFest ‘892․ VideoFestOn only its second year, VideoFest has become the largest european video festival. Video is a young artform; from the beginning, it has been a reaction to the “brave new world” of the highly technical mass societies with all their computers, nuclear power stations, destroyed landscapes and lonely individuals.10.02 – 21.02.1989 MedienOperative
sVideoFest '903․ VideoFestWithin a short time the VideoFest has become one of the most important international video festivals. The programme consisted of works covering the field of videoart and documentation; the intention was to point out video-specific realisations of documentaries.09.02 – 20.02.1990 AdK MedienOperative
VideoFest '914․ VideoFest1991 – the character of the programme has become more angular than before; there are more works that irritate in form and content, more documentaries that ry to find an innovative formal language for exciting topics, surprisingly more works that use artistic means to reflect upon social or political topics in an unusual way.13.02 – 24.02.1992 AdK
VideoFest '925․ VideoFestAlso with the VideoFest ‘92, the MedienOperative claimed to reflect the development of international video culture and to represent a rich variety of genres – productions, sculptures, or selections from fields like interactive media and computer animation that break down boundaries13.02 – 24.02.1992 AdK MedienOperative
VideoFest '936․ VideoFestVideoFest '93 had more to offer than ever before. On the one hand we offered a core programme of the usual high quality. On the other hand we can now boast greater space for all activities – the programme, installations, market, conferences, special showings, and so forth. Better informed and better entertained. Sometimes irritated, but never bored –plenty of mental turbulence.14.02 – 24.02.1993 Podewil
VideoFest '947․ VideoFestVideoFest in its seventh year, the year of that infamous „itch“ – which wasn’t the case luckily. The interconnections between video and television had become ever more important. The programme showed uncommon television productions and takes that, critically speaking, went against the grain of commercial media.10.02 – 20.02.1994 Podewil
VideoFest '958․ VideoFest1995 VideoFest saw beyond the end of ist own nose and explored in detail what the new maigc word Multimedia stands for in the realm of CD-ROM and Internet artworks. There were performances, discussions, an exhibition and workshops.09.02 – 19.02.1995 Podewil
VideoFest '969․ VideoFestTechnological advances were growing at an exponential rate, and electronic art had started to invariably succumb to the digital. To deal with these developments, the VideoFest had restructured itself: video, television and multimedia were now given equal attention, and even the screening of films made with digital production elements was now possible.15.02 – 25.02.1996 Podewil
transmedia '9710․ VideoFestThe festival focused again on multimedia, innovative television and video. In 1997, the festival also integrated technological developments and philosophical discourses relevant to these media realms into the programme: brain research, neuroaesthetics, nanotechnology and a (self-) critical debate on the inflationary multiplicity of futuristic discourses.23.05 – 01.06.1997 Podewil
transmediale 98BESTANDSAUFNAME SEHEN / STOCKTAKING VISIONFor the first time in its history, the transmediale festival had a motto: BESTANDSAUFNAME SEHEN. The festival took stock of where television and all the new media have gotten us so far, and what they have given us.12.02 – 22.02.1998 Podewil
transmediale '99transmediale invited artists, scientists and commercial producers in 1999 to present digital worlds and beings in films, video and games. It acknowledged the entertainment industry and its stimulating experiments with art, design and modern technologies, as well as the revolutionary changes the branch has undergone and brought about.11.02 – 22.02.1999 Podewil Maria am Ost-Bhf
transmediale 2000The transmediale 2000 festival occurred at the turn of the millenium: the whole world was speculating about major computer break downs, philosophies that go astray discovering never-imagined paths of cognitive territory, and the world took one step closer to its own doom.11.02 – 20.02.2000 Podewil
transmediale.01DIY [do it yourself!]transmediale.01 wanted to turn passive media consumers into active producers: visitors should get the opportunity to experience artistic and media-technological strategies in order to give them the opportunity to create art by themselves, in situ. Thus, DIY [do it yourself!] reflected the emancipatory and self-empowering tendency of the digital era in media-artistic practices.05.02 – 11.02.2001 Podewil
transmediale.02go public!go public! was an exhortation to artists and visitors to the transmediale.02, to create publicity, to go into the public arena, and to develop new creative ideas for the design and the use of the public space in the digital era.05.02 – 10.02.2002 HKW
transmediale.03PLAY GLOBAL!Conceptualiszed as a counter-weight to economic and military forms of globalisation, transmediale.03 presented itself as an artistic "global player": aesthetic and critical strategies were called upon to create playful ideas to handle globalisation in ironic and humorous manners.01.02 – 05.02.2003 HKW Maria am Ostbahnhof
transmediale.04FLY UTOPIA!FLY UTOPIA! dealt with the hope that lies beneath the infinite potential of possibilities in the era of media technology, but was also concerned with the hopelessness of a completely technologised and dis-cultured society, which is dominated by the unlimited claim and use of power.31.01 – 04.2.2004 HKW
transmediale.05BASICStransmediale.05 explored the BASICS, the aesthetic and ethical foundations of artistic practice with digital technologies in a hyper-potential culture. It presented models of an artistic practice whose ethics derive not from past value systems, but from an appropriation of an extreme and contradictory, contemporary culture.03.02 – 08.02.2005 HKW
transmediale.06REALITY ADDICTSREALITY ADDICTS demanded more than the seclusion of multimedia: interested in the real human being, in words and images, in nature and culture. The dependence on reality devoted the festival to subvert that kind of reality which is produced through means of media-technology with the help of artistic strategies.03.02 – 07.02.2006 AdK
transmediale.07unfinish!unfinish! demanded the re-opening of artistic processes that are deemed closed and questioned finality in order to claim that any given situation is full of potential. The festival concentrated on the point at which, what seemed fixed can be undone, reversed, processed differently, and it questioned the importance of continuity and change.31.01 – 04.2.2007 AdK
transmediale.08CONSPIRE...Under the motto CONSPIRE... transmediale.08 aimed at examining dubious worlds of story-telling and remote opinion making in order to look critically at those means of creative conspiratorial strategies, that offer the potential to uncover new forms of expression in digital discourse.30.01 – 03.02.2008 HKW Podewil
transmediale.09DEEP NORTHWith DEEP NORTH, transmediale.09 focused on the impact and unavoidable consequences of this pending global transformation - the crossing of a point of no return akin to the fall of the Berlin Wall 20 years ago.28.01 – 01.02.2009 HKW
transmediale.10FUTURITY NOW!FUTURITY NOW! invited for the creation of new templates for the future and asked not what the future has in store for us, but what it is that we have in store for the future.02.02 – 07.02.2010 HKW
transmediale.11RESPONSE:ABILITYWith RESPONSE:ABILITY transmediale.11 explores the emerging qualities of liveness as a fundamental nature of our present digital culture and discusses the abilities, that are required to respond to social, political, and economic processes triggered by the intensity of our participation and interaction.01.02. - 06.02.2011 HKW
transmediale 2k+12in/compatibleIncompatibility is the condition arising when things are not working together. With the theme in/compatible, the festival probed the productive and destructive sides of incompatibility as a fundamental condition of cultural production.31.01. - 05.02.2012 HKW
transmediale 2013BWPWAPThe net jargon acronym BWPWAP – Back When Pluto Was a Planet is an expression used whenever one wants to talk about things in our recent past that have changed quickly. transmediale 2013 suggested that this classification crisis, spurred on by new technologies and shifting knowledge paradigms, opens up a rich space of cultural negotiation and artistic intervention.29.01 – 03.02.2013 Embassy of Canada HKW
transmediale 2014afterglowBetween shiny high-tech, e-waste dumps, big data businesses, and mass surveillance schemes: transmediale 2014 adopted the afterglow of the digital revolution as a starting point to deal with some of the burning issues of today and to invent new speculative practices.29.01 – 02.02.2014 HKW
transmediale 2015CAPTURE ALL!What do the futures of work, play and life look like through the black mirror of data? transmediale 2015 looked at how we make sense of a culture dependent on measurement and automation procedures, and how to act with autonomy within such a culture.28.01. - 01.02.2015 HKW
transmediale 2016transmediale / conversationpieceIn 2016, transmediale/conversationpiece created an intensive space of exchanges, murmurs, and transitions. It aimed to provide a space for reflections on idealized aspects of contemporary life under digital capitalism.03.02. – 07.02.2016 HKW
transmediale 2017ever elusiveUnder the title ever elusive transmediale celebrated its 30 year anniversary with an entire month of activities. In the context of an always changing media culture, the anniversary looked at ongoing shifts in dialogue with the past.02.02. – 05.03.2017 HKW
transmediale 2018face valuetransmediale 2018 sought possible new ways of resisting and deconstructing the alarming development of a digital populism, the radicalization of net culture and the new culture wars.28.01. – 02.02.2018 HKW
transmediale 2019transmediale 2019 focuses on how feelings are made into objects of technological design and asks what role emotions and empathy play within digital culture.31.01.–03.02.2019
transmediale 2020End to EndInspired by the pre-Internet idea of networks, transmediale 2020 focuses on both forgotten and potential futures with and without networks. Leaving behind a decade marked by a backlash against the Internet and the network society, transmediale aims at a comprehensive re-evaluation of networks and their limits.28.01.–03.01.2020 HKW Volksbühne
transmediale 2021-22for refusalThe 34th edition of transmediale was redesigned as a year-long event taking place online and in-person throughout Berlin, examining the political agency of refusal and its generative possibilities, mapping out the political agency of refusal and exploring its potential to form new socio-political realities.28.01.2021–29.01.2022 AdK silent green KKB tm studio HKW
transmediale 2023a model, a map, a fictionMerging theoretical discourse with social conversations and artistic interventions, transmediale 2023 explored how technological scale creates relations and fractures in the world, questioning how the instrumentalisation and affect of scale can be challenged.02.01.–02.05.2023 AdK
transmediale 2024you're doing amazing sweetieExploring the horror of content, the festival questioned how logics of content production determine and frustrate our relations to technology. The 37th edition of transmediale challenged the allure of unusable politics that spawn from cycles of consumption and distraction.31.01.–02.04.2024 silent green KKB HKW
transmediale 2025(near) near but — farFor transmediale’s 38th edition, (near) near but — far formed an understanding of how algorithms place us in weird proximities and new intimacies with one another and the qualities of closeness we lose by way of their machine-driven actions.29.01.–02.02.2025 silent green HKW
transmediale 2026By the Mango Belt & Tamarind RoadThe 39th edition of transmediale looked at the re·figuration of systems, cosmologies, and technologies through the metaphorical coordinates By the Mango Belt & Tamarind Road. The festival was reimagined as a living recursive carrier net – a hammock of relational technologies in practice that stretch across latitudes, rhythms, and systems.28.01.–01.02.2026 silent green CANK
For almost 40 years, transmediale has created a space for critical reflection on cultural transformation from a post-digital perspective with the goal of developing new outlooks on our technological era. This comprehensive overview of all festival editions spans through the rise of video and net.art, to the most recent discussions on digital culture.