Calendar

Reethaus is proud to present a solo performance by Mohammad Reza Mortazavi on May 9. In the intimacy provided by the inner chamber of Reethaus, Mortazavi will improvise from new percussive compositions developed over the last years on tombak and daf.

For Mortazavi, the tombak, like the universe, is a deep circle in which anything is possible. Mortazavi began his long apprenticeship to the instrument — one of the oldest drums in the world and a centerpiece of classical Persian music — at the age of six in Isfahan, Iran. He came to understand the onomatopoeic tombak as an instrument that narrates more than its tradition, eventually adding over thirty new striking techniques to its vocabulary. In his hands, the Persian goblet drum is unloosed, sending an astonishing stream of polyrhythms galloping out into space.

Mortazavi applies his inventiveness with equal vigor to the daf, the orb-like frame drum distinguished by its crown of metal hoops. Combining the two in live performances, Mortazavi marshals his virtuosic repertoire of taps and knocks into cascades that gleam with dynamism and exacting precision. The shades of sound he coaxes from the apparently simple percussion instruments allow him to exploit the tonal potential of the drum. “To me, rhythm is spirit and melody is the body. Body and spirit together are music,” he says.

After the performance and an intermission, Mohammad Reza Mortazavi will be in conversation with Ann-Kathrin Grebner, Curatorial Director of Slowness. Reethaus is pleased to offer the opportunity for direct exchange with an artist whose technical innovations and philosophical imagination continue to expand the bounds of music.

Doors open at 6pm, with the performance beginning at 7pm.

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On May 3 and 4, during Berlin Gallery Weekend, Reethaus presents a hierophanic journey through the sonic world and archives of Popol Vuh, the German pioneers of ambient music and progressive electronica.

This immersive sound journey, adapted for the 360-degree spatial sound system of the Reethaus inner chamber, revolves around key elements of Popol Vuh’s output over two decades, highlighting the Moog synthesizer albums of the seventies, original soundtracks of Werner Herzog’s iconic films, the devotional magnum opus Hosianna Mantra, and previously unreleased piano solos.

In 1969, Florian Fricke got his hands on one of the first Moog machines to enter Germany and named his musical project after the ancient Mayan codex whose name means “book of encounter.” Most of the defining ingredients of Popol Vuh were contained in that early gesture: the creation of avant-garde electronic sounds, an interest in the sacred texts and traditions of every part of the globe, and a dedication to creating progressive formats for musical experience and exchange. Inspired by “stalactite caves, the archaic cries of Greek women at night, and dervishes,” Fricke and his collaborators created intricately instrumented music that seemed to hail from a planet of more fully realized beauty, in the process creating a string of cult records and giving rise to the kosmische musik and krautrock genres.

Over the course of a prolific working relationship, Popol Vuh scored more than ten of Werner Herzog’s films with expansive sonic landscapes to match the director’s cinematic ambitions. These soundtracks can be heard on Herzog’s monumental Amazonian works featuring Klaus Kinski — Aguirre, the Wrath of God and Fitzcarraldo — as well as the classic vampire gothic Nosferatu.

Fricke lived not so much the life of a touring rock star as that of a studio composer, enjoying time for his research. In the eighties, he and his wife developed a system of breathing techniques and somatic group singing practices that they called the “alphabet of the body.” Through this work he came to understand ancient mantras as musical codes that have come down to us through invocations  that the collective has repeated many times, gathering momentum of a consciousness field along the way.

With these two back-to-back Popol Vuh shows at Reethaus, we honor an early titan of German ambient, progressive rock and a musical ethnographer of the mysteries.

This event is part of the Friends of Reethaus annual pass. 

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After a wildly successful first season of bold sonic programming at the Reethaus, we are inaugurating more spaces at the Flussbad campus as part of our phased opening.

We are months away from opening the doors of our campus in Berlin, an ambitious project that combines world-leading design with a keen sense of the needs and potentials of the contemporary human. In building Flussbad, we gave ourselves the freedom to let slowness — the concept, aesthetic and ethic — express itself at every scale. We worked with the architects, sound engineers, material scientists and scent artists that best express these principles. We think of Flussbad as a campus for adventurous culture — and if you’ve had the opportunity to join us for an event and Listening Experience at the Reethaus you have a sense of just how adventurous that can be.

A limited number of ateliers, lofts and studios are available for early access ahead of the Flussbad membership launch later in 2025.

On our Campus Tours, you will be led through Flussbad’s spaces and the philosophy of radical presence that informs Slowness. Each tour ends with a short Listening Experience at the Reethaus, programmed from our archives.

Flussbad is an architectural collaboration between the renowned practices of Arno Brandlhuber, Muck Petzet and Monika Gogl, conceived as an urban archipelago of world-class arts, gastronomy and health facilities aimed at heightening perception and amplifying innovation across disciplines.

Join us to explore the vanguard of contemporary work and culture.

*Kindly note that the campus tour includes a visit to the construction site. To ensure your safety, we ask you to wear suitable footwear. While the tour will be guided, please be aware that by participating, you acknowledge that the organizers are not liable for any injuries, accidents, or damages that may occur.

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Reethaus presents an original composition by harpist Eve Matin and William Russell of MONOM, taking the harp beyond its usual domains to produce an immersive liquid environment that glissandoes from the eerie to the celestial. Weaving Rain showcases technical innovations in each of their practices, mixing the streams of Matin’s harp experiments with Russell’s own in spatial sound and electronic composition.

Matin is a classically trained harpist of Persian and Peruvian heritage. In recent years, Matin has devoted herself to wide-ranging musical research in order to expand the technical and expressive possibilities of the harp. Drawing from diverse traditions, from jazz to Persian traditional singing and dance, Matin draws the harp out beyond the concept of an instrument that is plucked, adding tapping, bending and strumming to its sensous repertoire, among many other maneuvers. Her playing is informed by an interest in percussive cultures around the world, including Spanish flamenco, the Carnatic rhythms of southern India, and the Peruvian cajón, itself a carrier of African drumming patterns. Through her practice, Matin moves to situate the harp in resonance with other natural elements of landscape.

At MONOM, Russell created a spatial and digital environment that responded to Matin’s harp, inviting her to “play the space” with him. As the recording environment reacted to the harp with various sounds of water, it simultaneously informed Matin’s playing. The result of this dialogue was then further developed through a compositional process in which the frequencies of the harp were disaggregated, each assigned to its own movement through the space of Reethaus. With Weaving Rain, Slowness invites listeners into this meditative experimental watershed.

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The Poly Opportunity is an event hosted by House of Beautiful Business. Throughout the morning, you are invited to be part of a transformational salon—a space to explore what lies beyond political tensions, technological determinism, and extractive economies. This gathering will examine the codependencies of living systems, the redefinition of business within biology, and the emergence of a life-centered approach to progress.

Set against the backdrop of the Reethaus, the event is part of a global journey spanning gatherings on four continents, public forums, and a 12-week digital exploration. This morning will weave together thought, music, and conversation—examining the tensions of our time while allowing unexpected openings to surface.

Inspired by past eras,The PolyOpportunity embraces the dance between crisis and creation. The salon will welcome dialogue and debate before dissolving into a space where embodied knowledge takes the lead. An intellectual rave, a moment of collective sensing, and a step toward a different kind of future.

The speakers include Claus Sendlinger (Co-Founder of Slowness), Hicham Bouzid (Creative Editor, Co-Founder of Think Tanger), Dr. Angel Acosta (Healing-centred Educator, The Acosta Institute), Simon Berkler (Regenerative Economy Leader, Co-Founder of The Dive and B Corp Germany), Elaine Kasket (Cyperpsychologist, Author of Reset and All the Ghosts in the Machine), Nisreen Elsaim (Climate Diplomat) as well as a performance: Canberk Ulaş (Duduk player).

The event is sold out. A limited number of tickets for the morning program (including breakfast) are available exclusively for our Friends of Reethaus.

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“They will rattle your bones,” said Mickey Hart, the drummer of the Grateful Dead, of the Gyuto Monks Tibetan Tantric Choir. Following a remarkable session last year, Reethaus and Soundwalk Collective are proud to once again present their indelible chants. This Open Haus just before the threshold of the Tibetan New Year is an offering, a contemporary ritual, and the opportunity for a collective gesture towards peace and freedom. “Close your eyes, leave behind your prejudices,” Hart said. “After an hour of their sound, you’ll be different, cleaner, lighter.” 

The overtone chanting of these Tibetan monks, part of the Gyuto Order originating in Tibet in the fifteenth century, was never heard outside the context of their temples until after the Chinese annexation of Tibet in 1959, when the order fled to India. At that point, their prayers became political, expressive of the Tibetan resistance, and a spiritual rallying cry for repressed peoples.

In 1985, the Gyuto Monks Tantric Choir came to the attention of the Grateful Dead’s Mickey Hart, who brought them to his California studio to record the analeptic multiphonics of their sacred mantras. The monks gave Hart permission to overdub their voices, achieving the huge sound of the 100-voice choir as one might hear at their mountain monastery — with each monk’s voice singing a complete, extraordinary chord.

On February 23, over the 360-degree spatial sound system of the Reethaus, we will hear the tantric choir produce a rhythmic bass drone at the lowest range of the human voice, interspersed with sounds from bells, drums, cymbals and horns. Melody is not the point here — nor even musicality — but rather the body’s physical response to the marching repetitions, and the spiritual strength that follows from feeling one’s thoughts dissolve into their vocal movements. 

“The chanting heard on this recording is prayer, not performance,” the original record sleeve reads. “Whenever this recording is played its prayers are effectively said anew — though their power depends less upon mechanistic reproduction than on the degree of attention and compassion with which you, the listener, join in the experience.”

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We are months away from opening the doors of our campus in Berlin, an ambitious project that combines world-leading design with a keen sense of the needs and potentials of the contemporary human. In building Flussbad, we gave ourselves the freedom to let slowness — the concept, aesthetic and ethic — express itself at every scale. We worked with the architects, sound engineers, material scientists and scent artists that best express these principles. We think of Flussbad as a campus for adventurous culture — and if you’ve had the opportunity to join us for an event and Listening Experience at the Reethaus you have a sense of just how adventurous that can be.

A limited number of ateliers, lofts and studios are available for early access ahead of the Flussbad membership launch in 2025.

On our Campus Tours, you will be led through Flussbad’s spaces and the philosophy of radical presence that informs Slowness. Each tour ends with a curated Listening Experience at the Reethaus, programmed from our archives.

Flussbad is an architectural collaboration between the renowned practices of Arno Brandlhuber, Muck Petzet and Monika Gogl, conceived as an urban archipelago of world-class arts, gastronomy and health facilities aimed at heightening perception and amplifying innovation across disciplines.

Join us to explore the vanguard of contemporary work and culture.

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Straddling a Himalayan gorge that is the passageway between Tibet and the domain of the Ganges, cleft from stone between the Annapurna and the even higher Dhaulagiri, is the land of Mustang, the old Kingdom of Lo. It is a land of flapping prayer flags, creaking gates, bells, stupas and chanted blessings, an ancient crossroads for traders and pilgrims. This vertical landscape carves wind like glaciers carve rock. In 2016, Soundwalk Collective traveled to Mustang to find the world’s highest-elevation temples, and they captured field recordings of the air as it whipped and crackled through the valley. Khandroma is composed from these takings, a study of the transmutations of the wind. Patti Smith adds her windpipe to that of the high mountain canyons in a series of haunting vocalizations that layer onto this musique concrète of the wind.

The khandroma, wisdom dākinīs of Tibet, are emanations of the Buddhist deity Vajrayoginī and represent the ultimate feminine principle, a totalizing openness. The term — meaning “sky dancer” — gestures towards a practitioner’s ability to merge with that principle by attaining inner flight. Today a soothing breeze and tomorrow a stampeding storm, the shape-shifting khandroma is said to erupt into the lives of those needing spiritual direction as she draws invisible forms through the atmosphere. The Tantric enigma of khandroma can only be resolved by initiation, but can perhaps be intimated through the sounds of this recording.

Khandroma has undergone a custom spatialization process by MONOM to adapt it to the omnidirectional sound space of Reethaus, giving listeners the opportunity not so much to hear the music as to be temporarily displaced to a high-altitude situation. With this Open Haus, we continue the drone explorations that we presented in last month’s Winter Solstice Concert by Phill Niblock, to be continued in February with another excursion into the Tibetan Tantric Choir recordings.

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We are months away from opening the doors of our campus in Berlin, an ambitious project that combines world-leading design with a keen sense of the needs and potentials of the contemporary human. In building Flussbad, we gave ourselves the freedom to let slowness — the concept, aesthetic and ethic — express itself at every scale. We worked with the architects, sound engineers, material scientists and scent artists that best express these principles. We think of Flussbad as a campus for adventurous culture — and if you’ve had the opportunity to join us for an event and Listening Experience at the Reethaus you have a sense of just how adventurous that can be.

A limited number of ateliers, lofts and studios are available for early access ahead of the Flussbad membership launch in 2025.

On our Campus Tours, you will be led through Flussbad’s spaces and the philosophy of radical presence that informs Slowness. Each tour ends with a curated Listening Experience at the Reethaus, programmed from our archives.

Flussbad is an architectural collaboration between the renowned practices of Arno Brandlhuber, Muck Petzet and Monika Gogl, conceived as an urban archipelago of world-class arts, gastronomy and health facilities aimed at heightening perception and amplifying innovation across disciplines.

Join us to explore the vanguard of contemporary work and culture.

Read More

Phill Niblock, a legend of experimental sound known for his compositions of unrelenting drone, left this world on January 8, leaving behind hundreds of hours of music and signaling the end of an era. The seemingly endless winter solstice sessions Niblock staged for decades in his New York loft were formative experiences for many pioneers of new music. We conclude the year that began with Niblock’s exit by honoring the long-standing tradition of this austere pioneer of minimalism. On December 22, the inner room of Reethaus will be completely saturated with Niblock’s atonal textures.

Beginning in the 1960s, Niblock’s practice developed from his fascination with being able to play back recorded sounds in ways that made them sound bigger than they did when heard live, discovering in this fashion a kind of poetics of amplification. He created his thick drones of music by stacking scores of channels into very dense tunings. These he played in durations that defied the expectations of musical performance and the endurance of listeners. In a Niblock work, there is no melody, no variation in dynamics and no rhythm. And yet as you accept the experience, something opens up, and small nuances become big ones. The monolith of sound gives way to pulsations and shudders, like scratches and caves on the face of a giant mountain.

This Open Haus experience, programmed by Soundwalk Collective, is offered in syndication with Roulette and in collaboration with the late composer’s partner, the video artist Katherine Liberovskaya. One day after Roulette stages the first posthumous Niblock Winter Solstice Concert in New York, Reethaus will present a spaliatized version of the six-hour recording through its 360-degree sound system. With this tribute, we conclude the year by returning to the themes of immersive sound and long listening with which we opened Reethaus.

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On November 24, the Reethaus presents a new work by Soneiro Collective from MONOM’s catalog. Attune is a richly orchestrated tone poem in which the listener is submerged in a soundscape teeming with portals. 

Soneiro Collective’s roots in cultural research allow it to combine two canons of sonic tech with very different etiologies: the South American technologies of rattle, drum, and flute — for millennia employed to entrain consciousness — and the avant-garde practice of spatial sound engineering as crafted at MONOM.

The three movements of Attune are intended to provide a scaffolding for three psychic operations: first, the achievement of coherence with the world as a living being; second, the grasping of a deep root within individual consciousness; and third, a vast expansion outwards to participate in a dream of the future in which everything in included. The architecture of the Reethaus becomes one more ceremonial device supporting these fluxes.

In Attune, sound is a landscape you can enter. Composed around an active altar, its scenes contain the timeless experience of the human body in the world: shells being blown like horns off the side of a mountain, people gathering around the light of a fire to raise voice.

Composed and spatialized in 4DSOUND at MONOM studios by Soneiro Collective (Temple Haze and Alisa Reimer), Attune includes performances by Bison Rouge, Kaio Moraes, Laura Sequoia, Isadora Mulvey and Andy Aquarius.

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Here and now, between the debris of things and nothingness, we live in the suburbs of eternity.
—Mahmoud Darwish

This November 1, Reethaus welcomes Walid Ben Selim for a special performance of Here and Now, a journey through twelve centuries of Sufi poetry, accompanied by Gloria Huyghe on the harp. Moving across Persia, Northern Africa and Andalusia, Ben Selim presents a selection of poems by the great mystic poets of Islam, variations on the theme of la ilaha illa’l-‘ishq — there is no deity save love.

Ben Selim brings a wide musical experience to the Sufi devotional literature. Trained in classical Arab music, he played a key part in the early Nayda scene in Casablanca before taking a detour through metal. Today, Ben Selim has found a creative path to follow in the Sufi yearning for transcendance. In Here and Now, he gnostically animates the words of Mansur Al-Hallaj, Abu Madyan Telemsani, Abu Nuwas and Ibn Zaydoun.

Alongside the Medieval Sufi poets, Ben Selim sings the verses of Mahmoud Darwish, who for Ben Selim is “the most powerful poet of the last century.” Growing up in Israel as a legal alien after his family home was razed during the Nakba of 1948, Darwish saw poetry as spiritual medicine. A child of exile and a critic of the occupation of Palestine, Darwish was also a peacemaker who described Hebrew as a “language of love.” Ben Selim voices the tradition of these poets both ecstatic and mournful, intoning their songs as prayers for love.

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A single chord erupts into the room and is sustained by an orchestra for 20 minutes. As suddenly as it began, the sound ends, and is immediately mirrored by an equally oceanic 20 minutes of silence. This is the Monotone Silence Symphony, conceived and first performed by Yves Klein over sixty years ago. Known for his fields of undiluted color, Klein was searching for a musical counterpoint to his visual ideas. With the symphony, Klein shifted from monochrome to monochord, creating a rhapsody in D major that carries the same overwhelming richness in austerity as his paintings. If his paintings were to be, as he claimed, the ashes of his art, the visible aspect of the invisible, then sound was to be the ashes of his true art: silence, which Klein understood as “audible presence.”

Klein’s symphony is scored for 20 singers, 10 violins, 10 cellos, 3 double basses, 3 trumpets, 3 flutes and 3 oboes. The simple, continuous sound harbors a surprising amount of movement, as each player takes a breath and reenters the unison. The result, for the listener, is the feeling of being submerged in the big blue, a very large swell saturated with ripples and subtle pockets that is then simply gone. One vocalist remarked, “The reality is it’s a kind of bizarre, primordial universe chorus. It’s not like any note you’ve ever heard.”

Monotone Silence Symphony is presented in a series of intervals across the course of an afternoon punctuated by sound. This recording — conducted by Matej Sloboda and performed by the EnsembleSpectrum in 2021 during their 9-hour marathon performance at Nova Cvernovka in Bratislava, Slovakia — has been adapted for the 360-degree spatial sound system of the Reethaus inner chamber. For the first time, Klein’s preeminent musical gesture will envelop listeners from every direction.

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In an anechoic chamber, the possibility of an echo is eliminated, taking with it the possibility of perceiving space through sound. The construction of the Reethaus inner room approaches this effect, and within this particular kind of void, Anri Sala installs a new and bespoke reimagining of Ravel Ravel. The work, in evolution since first being presented at the Venice Biennale in 2013, introduces a series of intervals into a seminal concerto such that pianos come in and out of sync, producing in the mind of the listener the illusion of an echo. With the echo, space itself seems to filter back into the room. Thus, altering not a single note of Maurice Ravel’s work but all the spaces between the notes, Sala momentarily nudges us free of the grip of both chronos and topos.

Ravel Ravel has its origins in Sala’s research into the left hand repertory for piano that developed as limbs were lost during the First World War. Concerto for the Left Hand in D Major, the paradigmatic composition in this tradition, was commissioned from Maurice Ravel by the Austrian pianist Paul Wittgenstein after his right arm was amputated in a field hospital after the Battle of Galicia.

Part of the “Transmissions” series curated by Soundwalk Collective, in Ravel Ravel Revisited Redux, the 360-degree sound space of Reethaus has been exploited by Sala to impress the work with spatial displacements corresponding to the temporal ones. This version weaves together previous iterations of this deeply layered work, featuring the original performances of pianists Louis Lortie, Jean-Efflam Bavouzet and the National Orchestra of France in a 16-channel spatial sound installation accompanied by the performance of Bertrand Chamayou on a Steinway & Sons Spirio both engineered by Olivier Goinard.

Following the playing of the work and an intermission, Anri Sala will be in conversation with Stephan Crasneanscki of Soundwalk Collective, after which Ravel Ravel Revisited Redux will be played again.

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In an anechoic chamber, the possibility of an echo is eliminated, taking with it the possibility of perceiving space through sound. The construction of the Reethaus inner room approaches this effect, and within this particular kind of void, Anri Sala installs a new and bespoke reimagining of Ravel Ravel. The work, in evolution since first being presented at the Venice Biennale in 2013, introduces a series of intervals into a seminal concerto such that pianos come in and out of sync, producing in the mind of the listener the illusion of an echo. With the echo, space itself seems to filter back into the room. Thus, altering not a single note of Maurice Ravel’s work but all the spaces between the notes, Sala momentarily nudges us free of the grip of both chronos and topos.

Ravel Ravel has its origins in Sala’s research into the left hand repertory for piano that developed as limbs were lost during the First World War. Concerto for the Left Hand in D Major, the paradigmatic composition in this tradition, was commissioned from Maurice Ravel by the Austrian pianist Paul Wittgenstein after his right arm was amputated in a field hospital after the Battle of Galicia.

Part of the “Transmissions” series curated by Soundwalk Collective, in Ravel Ravel Revisited Redux, the 360-degree sound space of Reethaus has been exploited by Sala to impress the work with spatial displacements corresponding to the temporal ones. This version weaves together previous iterations of this deeply layered work, featuring the original performances of pianists Louis Lortie, Jean-Efflam Bavouzet and the National Orchestra of France in a 16-channel spatial sound installation accompanied by the performance of Bertrand Chamayou on a Steinway & Sons Spirio both engineered by Olivier Goinard.

Following the playing of the work and an intermission, Anri Sala will be in conversation with Stephan Crasneanscki of Soundwalk Collective, after which Ravel Ravel Revisited Redux will be played again.

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Two separate sound tones are directed into human ears, one into the left and one into the right. The difference in frequency between the two tones generates a third frequency that cannot be heard by the human ear; rather, it vibrates within the brain. In response, brainwaves of the same order are generated, leading the brain to establish a corresponding mental state.

At this Open Haus, Soundwalk Collective offers possibilities for just such entrainment with a curated selection of binaural sound frequencies. Each frequency has been individually spatialized such that the sound travels in accordance with its wavelength to produce an immersive experience for body, mind and soul. Throughout the day, guests will encounter 12 binaural beats.

The frequencies were created by Soundwalk Collective as a result of their extended research into the relationship between sound and brain behavior. Some are said to correspond to states of profound meditation or euphoria; others are associated with the Earth, the Sun, or with particular regions of the body. In this collective listening practice visitors are invited to explore and question these propositions.

The work is rooted in a method scientifically described as the Frequency Following Response, first studied in 1839 by the Prussian physicist, meteorologist and experimenter Heinrich Wilhelm Dove and later advanced by Dr. Gerald Oster of the Mt. Sinai Medical Centre after laying dormant for 134 years. Further research by Robert Monroe at the Monroe Institute of Applied Sciences has shown that the entrainment response does not occur exclusively in the area of the brain responsible for hearing or even just in one hemisphere at a time, but rather that the entire brain resonates in unison. Indeed, the waveforms of both hemispheres exhibit identical amplitude, phase and coherence once signaled by the frequency.

Frequency Following Response is presented in collaboration with AlphaTheta. A leader in sound technology since 1994, AlphaTheta is named for the brainwaves emitted in the state of flow.

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In 2012, a lake appeared suddenly outside of Likančiai, Lithuania. The body of water is fallout from a Soviet-era drainage project that sought to make land more suitable for agriculture. With the disrepair of the artificial system, water has started to accumulate and begun to emerge unexpectedly, creating accidental landscapes.

Reethaus presents a portrait of the surge. In SILT, a site-specific audiovisual installation by Ona Julija Lukas Steponaitytė, Iida Jonsson, and Ssi Saarinen, the landscape is explored by perspectives proper to the study and depiction of emergencies: first-person wandering documentation, forensic diving, and helicopter flyover.

Meandering around, across and beneath the surface of this alien upwelling, the artists insistently document the formal qualities of the new lake with an eerie, banausic faithfulness. The polyphonic soundtrack by Alexander Iezzi — like the landscape, never settling into any particular rhythm or harmony — lends reality to this latter-day natural feature. Audiences are pressed into a meditation on the restlessness of landscapes under contemporary conditions, asked to contemplate failed attempts to reform territory in accordance with human will.

This Berlin Art Week show of SILT will be the first time that Reethaus presents a video channel in its shrine to the sonic arts. The composition by Iezzi has been spatialized by MONOM for the Reethaus.

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In 2012, a lake appeared suddenly outside of Likančiai, Lithuania. The body of water is fallout from a Soviet-era drainage project that sought to make land more suitable for agriculture. With the disrepair of the artificial system, water has started to accumulate and begun to emerge unexpectedly, creating accidental landscapes.

Reethaus presents a portrait of the surge. In SILT, a site-specific audiovisual installation by Ona Julija Lukas Steponaitytė, Iida Jonsson, and Ssi Saarinen, the landscape is explored by perspectives proper to the study and depiction of emergencies: first-person wandering documentation, forensic diving, and helicopter flyover.

Meandering around, across and beneath the surface of this alien upwelling, the artists insistently document the formal qualities of the new lake with an eerie, banausic faithfulness. The polyphonic soundtrack by Alexander Iezzi — like the landscape, never settling into any particular rhythm or harmony — lends reality to this latter-day natural feature. Audiences are pressed into a meditation on the restlessness of landscapes under contemporary conditions, asked to contemplate failed attempts to reform territory in accordance with human will.

This Berlin Art Week show of SILT will be the first time that Reethaus presents a video channel in its shrine to the sonic arts. The composition by Iezzi has been spatialized by MONOM for the Reethaus.

Read More

In 2012, a lake appeared suddenly outside of Likančiai, Lithuania. The body of water is fallout from a Soviet-era drainage project that sought to make land more suitable for agriculture. With the disrepair of the artificial system, water has started to accumulate and begun to emerge unexpectedly, creating accidental landscapes.

Reethaus presents a portrait of the surge. In SILT, a site-specific audiovisual installation by Ona Julija Lukas Steponaitytė, Iida Jonsson, and Ssi Saarinen, the landscape is explored by perspectives proper to the study and depiction of emergencies: first-person wandering documentation, forensic diving, and helicopter flyover.

Meandering around, across and beneath the surface of this alien upwelling, the artists insistently document the formal qualities of the new lake with an eerie, banausic faithfulness. The polyphonic soundtrack by Alexander Iezzi — like the landscape, never settling into any particular rhythm or harmony — lends reality to this latter-day natural feature. Audiences are pressed into a meditation on the restlessness of landscapes under contemporary conditions, asked to contemplate failed attempts to reform territory in accordance with human will.

This Berlin Art Week show of SILT will be the first time that Reethaus presents a video channel in its shrine to the sonic arts. The composition by Iezzi has been spatialized by MONOM for the Reethaus.

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Bombina Bombina. Pipa Aspera. Discoglossus Galganoi.

If these sound to you like the names of niche electronic artists, well, you’re right — they are three of the dozens of frog species that Joakim Bouaziz has enlisted in his sonic garden of Eden. Alongside monkeys, quetzal birds and bears, Bouaziz samples earthquakes, thunderstorms and meteor showers in his masterwork Second Nature. But we are never overwhelmed by sound. Instead, as in a perfectly developed ecosystem, each natural phenomenon finds its place in space, making good on Emanuele Coccia’s dream of the primordial garden in which we encounter “the spectacle of each of its inhabitants drawing pleasure from each one of the other living beings.”

With Second Nature, Bouaziz musically renders his understanding of the sensual philosophies of Coccia and Philippe Descola that urge us to weave our culture back into nature. After compiling diverse bioacoustic recordings from the past five decades, Bouaziz passed these collections through a meticulous process of classification that privileges the ambiguous — is that a synthesizer or a frog? The result is a composition of totemic aural stimuli that lead us back to our original animist consciousness.

Reethaus is pleased to present this sonic atlas of natural wonders on August 25 as part of our “Spatial Futures” series. During this Open Haus Listening Experience, visitors will have the opportunity to position themselves within a sound space specifically composed in 4D, joining their own bodies to an ecology of earthly delights.

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Friends of a Farmer & Magnolia present a mid-week Farmer’s Market as part of an inaugural Summer Series hosted in Largo Agostinho da Silva.

From 4pm until sunset, we invite you to join us in the Largo above Praca das Flores to enjoy a selection of organic flowers and summer vegetables by Herdade do Meco and oysters and wine by @calma_lisboa.

For the third iteration of this Summer Series, the market will also showcase artisanal cheeses by @ortodoxo.queijo, fermented kimchis by @fermen.table, breads by @bike_bakery_lisboa and sweet treats by @juliana__penteado. An opportunity to support local, high-quality, small-batch producers who create with passion and integrity.

‍Come thirsty, cash in hand and with a basket to take home all your produce!

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Reethaus welcomes listeners to 360-degree spatial sound immersion by Mileece, the pioneering sonic artist and biophilic technologist. Playing with machines and physics to transform the bio-electrical information of humans and plants into sound, Mileece creates sonic experiences that prompt reflection on the invisible powers in which we are immersed. The composition presented in this Listening Experience combines new recordings and her archive of selected algorithmic and biogenerative works from 1999 to today, moving through her sound design journey.

This includes new iterations of previous pieces, recordings from various biomes around the world, as well as the groundbreaking album called “Formations” from 2004, based on natural phenomena such as light’s changing patterns.

Mileece creates installations that transform the bio-emissions of people and plants into harmonic, spatial, generative elements of symbiotic composition, delightfully reminding us of our intrinsic, irrevocable biophilia. These latter sounds emerge across species boundaries through a hand-built technology called PiP (Plant Interface for People), a custom “electrobotanigraph” and software system that Mileece created in 2005 during her residency at the innovation lab of the London School of Economics. PiP senses and digitizes the subtle voltages emitted by plants such that they can directly animate an array of synthesizers programmed in SuperCollider.

Mileece’s process evolves the earliest plant biodata experiments carried out in the sixties, departing from basic frequency modulation into the full-throated, textured expression afforded by plants. The gesture is Mileece’s contribution to what technology could be—something that amplifies nature and leads us back to a wilder earth.

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Join us on the farm for our floriculture workshop dedicated to the art of organic flower cultivation. We’ll learn from our resident flower farmers about their organic process in Meco, from the selection of cultivars, to seeding and harvesting, to crafting the perfect bouquet. Afterwards, explore the flower fields, handpicking your favorite blooms to create and take home your own bespoke bouquet.‍

The cost for this workshop – including your large bouquet of flowers, the program, and a complementary selection of fresh bites and refreshments – is €35 per person. We recommend bringing your own large vase to keep your bouquet fresh. We have limited space available so please reserve soon. We hope you can join us!

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Friends of a Farmer & Magnolia present a mid-week Farmer’s Market as part of an inaugural Summer Series hosted in Largo Agostinho da Silva.

‍From 4pm until sunset, we invite you to join us in the Largo above Praca das Flores to enjoy a selection of organic flowers and summer vegetables by Herdade do Meco and oysters and wine by @calma_lisboa.

‍For the second iteration of this Summer Series, the market will also showcase artisanal cheeses by @ortodoxo.queijo, fermented kimchis by @fermen.table, breads by @bike_bakery_lisboa and sweet treats by @juliana__penteado. An opportunity to support local, high-quality, small-batch producers who create with passion and integrity.

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Come thirsty, cash in hand and with a basket to take home all your produce!

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Almost certainly before we spoke in words, we hummed and drummed. It is the memory of this bodily necessity that is recovered with RITUAL, the new album from Jon Hopkins — a summons, a cure, a machine “for opening portals within your inner world, for unlocking things that are hidden and buried,” to use his terms. With RITUAL, Hopkins makes the Reethaus into an altar, returning us to the ancient thud of feet on the ground, to memories of a possible future, to the flickering light on the cave wall.

RITUAL is a soundscape structured as a ceremonial epic, tracing an arc over 41 minutes that takes us from a preverbal state, pregnant with possibility, into life, death, and life thereafter. Making use of powers of repetition and variation honed over his 22-year career, Hopkins induces hypnosis, creating a collective listening experience that offers more than pleasure: the opportunity to find something lost in a place you didn’t know existed. The canvas is open; it is up to the listeners to breathe, bathe in resonance, and make this dream machine their own.

Following its preview at the Institute of Contemporary Art in London and before its release in August, Reethaus is pleased to present RITUAL for the first time outside of the British Isles, an early chance to engage with this modern rite through the 360-degree spatial audio programmed in partnership with MONOM. After the listening experience, Jon Hopkins will sit in conversation with Heiko Hoffmann to discuss his creative process.

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Harnessing the rhythmic noises of the machine age, oboes, analog voices and a chorus of synthesizers, Maya Shenfeld invites industrial hypnosis with her new sonic artwork.

Under the Sun is composed largely from field recordings made in the sweltering heat of the Vila Viçosa marble quarry in Portugal, an open scar digging 150 meters into the Earth. The title of the work is a wry reference to the famous declaration in the book of Ecclesiastes that there is nothing truly new under our star. Shenfeld draws our attention to how extraction is sculpting the planet, asking whether our moment in history may be an exception to the rabbinical observation, attuning us to the latent possibilities that lie within every scratch and hum.

In Shenfeld’s hands, the accidental noises of physical labor become percussive. The experience of sound draws us unequivocally towards the material, with long reverberations off the marble walls of the pit. Hammer, drill and diamond cutter enter the symphony. Gusts of wind from the organ at St. Matthew’s Church and the Ritter Youth Choir, conducted by Ann-Kristin Mayr, evoke spirit returning to the rattling machine.

Reethaus presents this wordless meditation on the environment — both the environments we build and the environments we take apart in order to make our own, along with all the varied dissonance and harmony we create in that process — in a unique adaptation that calibrates Under the Sun to its 360-degree sound system.

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Friends of a Farmer & Magnolia present a mid-week Farmer’s Market as part of an inaugural Summer Series hosted in Largo Agostinho da Silva.

‍From 4pm until sunset, we invite you to join us in the Largo above Praca das Flores to enjoy a selection of organic flowers and summer vegetables by Herdade do Meco and oysters and wine by @calma_lisboa.

‍For the first iteration of this Summer Series, the market will also showcase artisanal cheeses by @ortodoxo.queijo, fermented kimchis by @fermen.table, breads by @bike_bakery_lisboa and sweet treats by @juliana__penteado. An opportunity to support local, high-quality, small-batch producers who create with passion and integrity.

‍Come thirsty, cash in hand and with a basket to take home all your produce!

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Joining us on Saturday is the musical trio One Two Trip Collective, bringing together afrofunk rhythms and modern music technologies such as synthesizers and electronic percussions. This spirited, jazzy ensemble brings the funk while keeping its finesse and harmony. One Two Trip Collective consists of Alan Olivares on saxophone and vocals, Daniel Norambuena on bass and Kato Páez on drums and percussion.

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Playing at sunset on the Treehouse rooftop this Sunday is Hannibal Clem, an Italian musician, electronic music producer and DJ currently based in Tulum. From the early 90s, he started manipulating the Akai sampler and recomposing all the audio sounds with Atari 130XE, later becoming a sound engineer. He started making music with friends working as Djs and musicians in the London underground scene, recording exclusive promo vinyls for several independent labels to be played in the clubs. More recently, he relocated to Tulum, where he can live surrounded by nature and work on new projects to come out later this year.

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For this Open Haus, Reethaus presents “Behind Her Name Chestnuts Fall Forever” by the Danish sound artist and producer Sofie Birch, known for her lush ambient releases and live shows, such as her much-lauded 2022 performance with Polish singer Antonina Nowacka at the Pinault Collection for the Philippe Parreno exhibition. 

Staged publicly for the first time, “Behind Her Name Chestnuts Fall Forever” was inspired by the soundscapes of electronic pioneers Franco Battiato, Raul Lovisoni and Francesco Messina, central figures within the 20th-century Italian avant-garde. It is music for dreamers, for those who pay close attention to the details in their nighttime reveries, for whom every small moment is full of meaning.

Built upon a series of improvisations from the same morning, the piece is arranged and played without tempo and grid. Birch set a close mic on a piano with a stereo setup of two Røde NT5, and in the same room set up an old B&O ribbon microphone, allowing a very dusty and noisy mono sound to weave in and out of the composition, and recording the synths and vocals later in her Copenhagen studio.

“I’m very fascinated by playing arpeggio-like synth figures without a grid,” said Birch. “When working with minimal compositions, I think it leaves room for other very small things to stand out, such as repetitive figures that slightly move in tempo and intensity, constantly aware of themselves and their context. …the listener either unconsciously or very carefully recognizes small changes. It feels alive. It feels present and personal.”

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During springtime, our farm beds are filled with alluring young crops and seedlings, which are perfect snacks for birds and wild pigs. In the age-old tradition, we protect our crops with scarecrows. Join us for a workshop as we use our imaginations to construct and erect these life-size guardians throughout our fields. In groups of four, we’ll guide you through the process, providing you with the core materials required. We encourage you to bring old hats, buttons and other accessories to add a personal touch to your scarecrow; we will also forage together for objects from the land.

The workshop will be held on Saturday, May 25, from 11 am to 1 pm, costs €30 and includes a selection of fresh bites and refreshments. Space for the workshop is very limited, so secure your place now via this link. All ages welcome. Kids to be accompanied by a guardian.

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We welcome our in-house resident M.Ro for another week of his eclectic mixture of deep house and slow-mo gems in our Jungle Garden. Expect an enigmatic and uplifting mixture of organic sounds.

Born in Peru, Lemurian is the curator and founder behind the record label Cosmic Awakenings, which has been releasing quality electronic world music since 2016. As an A&R with strong passion for dance music, he is also an experienced DJ and a local hero in Tulum. Touring worldwide for many years, he cooks up a melting pot of sounds, taking you on a journey of melodies and tribal rites that invite you to celebrate life.

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The iconic director and pioneer of American independent cinema presents an arrangement of the score to his 2013 classic, “Only Lovers Left Alive,” on the 360-degree sound system of the Reethaus. Jarmusch composed and recorded the score with his “marginal rock band,” SQÛRL, and the Dutch lutenist Jozef Van Wissem.

Part of the “Transmissions” series curated by Soundwalk Collective, the 45-minute listening experience takes place in the inner room of the Reethaus, an intimate space where audience and artist are in close communion, and will be followed by a conversation between Jarmusch and Stephan Crasneanscki of Soundwalk Collective. Doors open at 6:00 pm and drinks and food will be available for purchase at our bar.

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Luciano Lozz is an artist from Buenos Aires who expresses himself through live DJ sets, mixing synthesizers and electronic drum machines to create a groove of sequences and hypnotic rhythms. The diversity of his style allows him to move from organic to downtempo to techno, interwoven with edgy melodies and deep sounds. Luciano has shared stages with the likes of Acid Pauli, John Digweed, Oceanvs Orientalis, Nick Warren, Jan Blomqvist, Geju, Adriatique and Stephan Bodzin

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Join us on the farm on September 16 for our floriculture workshop dedicated to the art of organic flower cultivation. We’ll learn from our resident flower farmer, Andy, about his organic process in Meco, from the selection of cultivars, to seeding and harvesting, to crafting the perfect bouquet. Afterwards, explore the greenhouse and flower fields, handpicking your favorite blooms to create and take home your own bespoke bouquet. The cost for this workshop – including your bouquet, the program, and a complementary selection of fresh bites and refreshments – is €25 per person. We recommend bringing your own large vase to keep your bouquet fresh. We have limited space available so please reserve soon. We hope you can join us!

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oin us on the farm for our floriculture workshop dedicated to the art of organic flower cultivation. We’ll learn from our resident flower farmers, Andy and Cat, about their organic process in Meco, from the selection of cultivars, to seeding and harvesting, to crafting the perfect bouquet. Afterwards, explore the greenhouse and flower fields, handpicking your favorite blooms to create and take home your own bespoke bouquet.

The cost for this workshop – including your bouquet, the program, and a complementary selection of fresh bites and refreshments – is €25 per person. We recommend bringing your own large vase to keep your bouquet fresh. We have very limited space available so please reserve soon below.

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Delve into the healing powers of each of the more familiar greens, as well as uncover a few herbs you may not have come across before. You’ll return home with a few simple recipes for homemade remedies and an understanding of how herbs may support and guide the body.

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To celebrate the beginning of the spring harvest, we are pleased to invite you to join us on May 6th for a special harvest feast lunch by SEM and a Farmer’s Market on our farm in Meco.

For the third edition of our annual tradition, we are thrilled to announce a special gastronomic partnership with SEM, a zero-waste restaurant focused on regeneration and responsibility in all that they cook. Renowned for their selection of lesser-known local ingredients and zero-waste principles, SEM is at the forefront of the movement to return to more healthy, sustainable ways of eating. For the event, head-chef and founders George McLeod and Lara Espírito Santo will present a harvest feast to be enjoyed at your leisure in the fields of the farm. As leaders in building a more holistic relationship between agriculture and gastronomy, the duo exemplifies a philosophy shared with Friends of a Farmer towards the meaning of good food.

Alongside lunch with SEM, we’re excited to host our annual Farmer’s Market showcasing fresh produce from the farm and from friends in the region. Adam Lovell, founder of Bomb Vinho and sommelier of SEM, will curate the local, lo-fi wines for the day.
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Arrive at midday as lunch will be served from 1pm. Guests are free to join rotating tours around the farm, until sunset.
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To join this exciting day on the farm, including lunch, the cost is €55 per person for members, €75 per person for non-members and €15 for kids between the ages of 6 and 12 years. Drinks will be sold separately. Kids under 6 are free of charge.

Limited spots available. We hope that you will join us!

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Join us at the farm for a day of creativity and experimentation. We’ll explore our land by collecting natural objects which we’ll use to make cyanotypes, or sun prints. This describes the cyan blue photographic printing process, invented at the dawn of photography, wherein the treated surface is exposed to sunlight to create an image from the shadow of an object.

We’ll also celebrate Easter with an egg hunt on the farm for the kids. Hosted in collaboration with one of our members, Shirley, founder of Wunderhaus.

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To celebrate our newly planted seedlings, we welcome you to the farm on Saturday March 4, from 11-2pm. You’ll meet the farmers behind our organic vegetable and flower boxes, who will walk you through the gardens and tell you about the crops seeded this year. You’ll also get the chance to plant your own herb seedling into a pot and take it home with you, along with tips on how to nourish and enjoy it. Kids and friends are welcome.

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The season has flown by! To mark the end of the beginning, we welcome you to the farm for our last gathering of the year on Saturday, November 12, from 11-1pm, when we’ll celebrate by getting our hands dirty, planting garlic that will grow throughout the winter. The u-pick fields will be open for your family and friends to enjoy.

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Join us as we open our doors for an intimate concert and a Mexican-Caribbean offering rooted in the culinary traditions of Día de los Muertos.

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This summer we’re joining Berlin food collective Ember for a series of dinners at Flussbad, featuring Ember’s open-fire cuisine served in ever-changing settings. A seasonal multi-course meal brimming with sun-kissed produce will be served on the Spree riverside, where Flussbad’s reed-roofed subterranean performance space, the Reethaus, is nearing completion.

Learn more about Ember’s open-fire culinary offerings at ember-ofc.com.

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This summer we’re joining Berlin food collective Ember for a series of dinners at Flussbad, featuring Ember’s open-fire cuisine served in ever-changing settings. A seasonal multi-course meal brimming with sun-kissed produce will be served on the Spree riverside, where Flussbad’s reed-roofed subterranean performance space, the Reethaus, is nearing completion.

Learn more about Ember’s open-fire culinary offerings at ember-ofc.com.

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This summer we’re joining Berlin food collective Ember for a series of dinners at Flussbad, featuring Ember’s open-fire cuisine served in ever-changing settings. A seasonal multi-course meal brimming with sun-kissed produce will be served on the Spree riverside, where Flussbad’s reed-roofed subterranean performance space, the Reethaus, is nearing completion.

Learn more about Ember’s open-fire culinary offerings at ember-ofc.com.

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This summer we’re joining Berlin food collective Ember for a series of dinners at Flussbad, featuring Ember’s open-fire cuisine served in ever-changing settings. A seasonal multi-course meal brimming with sun-kissed produce will be served on the Spree riverside, where Flussbad’s reed-roofed subterranean performance space, the Reethaus, is nearing completion.

Learn more about Ember’s open-fire culinary offerings at ember-ofc.com.

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This summer we’re joining Berlin food collective Ember for a series of dinners at Flussbad, featuring Ember’s open-fire cuisine served in ever-changing settings. A seasonal multi-course meal brimming with sun-kissed produce will be served on the Spree riverside, where Flussbad’s reed-roofed subterranean performance space, the Reethaus, is nearing completion.

Learn more about Ember’s open-fire culinary offerings at ember-ofc.com.

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Join us for a daylong fermentation workshop where you will learn how to make sourdough, kimchi and more with our Executive Chef Gonzalo Cerrato Laguna and Manuel Manchor, a self-taught sourdough master from Mexico City. The workshop will start at 1pm in our open-air kitchen with a foundational session on sourdough by Manuel, including health benefits, myths, cultural significance and the special history of this world-famous bread. We will talk about different preparation techniques, how to manage time well and alternative recipes for experimentation. You will get your hands into the subject, by making the “Mother” recipe and creating your own sourdough bread.

During the resting time of the bread, you will be taught by Gonzalo how to make your own kimchi and the famous Tulum Treehouse guacamole. You are welcome to bring swimsuits and towels if you want to enjoy a dip in the pool while we prepare the fire oven and wait for the bread to be ready to bake! At around 5:30pm it will be time to bake the bread. After 20 minutes in the oven, your bread will be ready to be enjoyed with the handmade guacamole and kimchi on the rooftop at sunset.

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Our farm flowers are in full bloom and we want to celebrate with you! 

Join us for a day on the farm harvesting and arranging your own bouquet of flowers. We’ll learn about the different varieties, planting and harvesting techniques and best caring conditions for long-lasting, fresh bouquets. Please bring your own vase.

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This summer we’re joining Berlin food collective Ember for a series of dinners at Flussbad, featuring Ember’s open-fire cuisine served in ever-changing settings. A seasonal multi-course meal brimming with sun-kissed produce will be served on the Spree riverside, where Flussbad’s reed-roofed subterranean performance space, the Reethaus, is nearing completion.

Learn more about Ember’s open-fire culinary offerings at ember-ofc.com.

Read More

This summer we’re joining Berlin food collective Ember for a series of dinners at Flussbad, featuring Ember’s open-fire cuisine served in ever-changing settings. A seasonal multi-course meal brimming with sun-kissed produce will be served on the Spree riverside, where Flussbad’s reed-roofed subterranean performance space, the Reethaus, is nearing completion.

Learn more about Ember’s open-fire culinary offerings at ember-ofc.com.

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A special gastronomic night hosted by our Executive Chef Gonzalo Cerrato includes an open-fire lamb roast on a metal cross in the Argentine style, “cordero a la cruz,” a community culinary tradition common in South America. Supplied by the family farm of our local production chef Osso, the lamb will be roasted on an open fire with whole-cooked vegetables in the middle of our jungle garden while guests gather around the pool. Beginning at 6pm, this special evening will also include a welcome sangria and plums in wine for dessert.

The cordero roast will be accompanied by live harp, guitar and cajon drum in the jarocho style native to the Mexican state of Veracruz. A folk musical genre mixing Spanish, indigenous and African influences, jarocho has its roots in the early colonization of the Mexican Carribean and is thought to date back as far as the 11th century.

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We welcome you to the farm on Saturday, July 2 to meet the farmers behind the produce, tour our abundant fields and learn about planting and harvesting techniques. Kids are welcome. 

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This summer we’re joining Berlin food collective Ember for a series of dinners at Flussbad, featuring Ember’s open-fire cuisine served in ever-changing settings. A seasonal multi-course meal brimming with sun-kissed produce will be served on the Spree riverside, where Flussbad’s reed-roofed subterranean performance space, the Reethaus, is nearing completion.

Learn more about Ember’s open-fire culinary offerings at ember-ofc.com.

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Join us at the Treehouse for a life drawing workshop guided by Tulum-based artist @nikitamrtnz. The intimate session will include a welcome drink, atmospheric musical accompaniment and a drawing lesson by Nikita featuring a life model.

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Join us at the Treehouse for a life drawing workshop guided by Tulum-based artist @nikitamrtnz. The intimate session will include a welcome drink, atmospheric musical accompaniment and a drawing lesson by Nikita featuring a life model.

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“It always takes me back to childhood, collecting wildflowers and letting them dry between the pages of my favorite books.” – Farmer Sofia

Join us on Saturday, May 21 from 9am to 1pm for an Herbarium Workshop led by Pedro Arsénio, a professor at the Higher Institute of Agronomy at the University of Lisbon with expert knowledge of Mediterranean plant life. We will walk the land together, selecting and collecting plants and flower specimens to press and dry while Pedro explains their origins, genetics, conservation status and more. The workshop will be educational and dynamic, great for children aged six and above!

Exact directions to the farm will be provided upon registering.

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It’s been a busy season at the farm in Meco as our team there takes shape and helps to bring a beautiful abundance of crops to harvest. We invite you to share in this bounty and meet the farmers behind the crops at our annual Farmers Market at Casa Noble, where we will showcase our first harvest of organic farm-fresh vegetables as well as other artisanal items from small farms and producers in the region. 

When arriving at the address, take the narrow downhill side street to your left. Continue for a few steps downward. Access is through the door on your right. There will be a list at the door for entry.

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Join us at our Berlin bakery Sofi for wine and focaccia as we launch the latest issue of Primary Paper, which explores the topic of faith through contemporary photography.

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Join us as we open our doors for an intimate rooftop concert and a Mexican-Caribbean offering rooted in the culinary traditions of Día de los Muertos. Rooted in the pre-Hispanic traditions of Mexico, the Day of the Dead, or Día de los Muertos, is a day when the portal opens between the living and the dead, allowing the souls of the departed to rejoin their loved ones for a day of ceremony, remembrance and celebration—a vision of an accessible spiritual dimension shared by many cultures across the globe.

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Tulum Treehouse welcomes our new exhibiting artist, Merida-based textile painter Jason Kriegler. Drawing influence from traditional textile design, Jason incorporates abstraction to create contemporary works that blur the lines between painting and textile art. His pared-down paper embroidery paintings suggest organic, biological forms but can also be experienced purely as abstracted combinations of shapes, line and texture.

Despite their simplicity, they have a captivating quality that reveals the complexity of hand embroidering onto paper, enlivened by a sense of depth that only seems to grow with continued examination. The exhibition runs for six months.

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To mark the tomato harvest, we’re hosting a picnic at the Meco Beach farm, accompanied by live music and discussion. The gathering kicks off a rotating program of community-supported farming, arts and knowledge exchange that aims to restore conscious appreciation for the natural world, creating a model for a regenerative society.

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We welcome the community for a day of discovery under the guidance of master farmer Andy Szymanowicz, an expert in biodynamic agriculture and lacto-fermentation. With the help of his team of nature-loving farmers, Andy will guide us through La Granja’s garden plots, sharing recent developments, discoveries and the season’s most promising crops.

Learn how composting, mulching and a high-tech, sustainable approach to water management have returned vital nutrients to the farm, how eating produce from small farms can benefit your mind and body and how you can bring all of these learnings into your own life, home and personal garden plot. Get involved in a project aimed at reactivating abandoned agricultural lands across the island.

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Join us for our first Farmer’s Market at Casa Noble in Lisbon, where we will offer produce and artisanal items from small farms in the region, including the first harvest of our own 82-hectare former herdade on Portugal’s Arrábida Coast that we are transforming into a biodynamic farmstead for year-round living and hospitality. Architects from the herdade project will be on hand at the Farmer’s Market, sharing drawings and plans for what’s to come

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From the jungle-facing roof terrace of the Treehouse, we continue our conversation series hosted by acclaimed writer Daniel Pinchbeck on the new regenerative paradigm and the impact of rapid development on the indigenous communities and natural ecosystems of Tulum and other developing destinations.

Daniel has written extensively about ecology, shamanism, psychedelics and indigenous prophecy in his books, which include Breaking Open the Head: A Psychedelic Journey into the Heart of Contemporary Shamanism, 2012: The Return of Quetzalcoatl, Notes from the Edge Times and most recently, How Soon is Now? The dialogue, in which we will also discuss actionable steps we can take individually and as a community to offset the harmful effects of rapid development, will be followed by a live performance.

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A sensorial week of music and scent celebrates our collaboration with Xinú, a Mexico City perfumery founded by Ignacio Cadena, Verónica Peña and influential designer Héctor Esrawe, who has created a site-specific sensorial installation bridging the entrance of Tulum Treehouse to the front garden and the new boutique, Xinú’s fourth site in Mexico.

Drawing inspiration from the aromatic biodiversity of the Americas, Xinú is curating botanicals across Tulum Treehouse, from unique food and drink menus to skincare and bathing products. We will celebrate this collaboration with a night of music from Hernan Suarez and Avi Schneider, followed by our resident Jaime Fiorito.

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Gather in the Treehouse kitchen to uncover Mayan cooking techniques. Learn to grind corn, the heart and soul of Mexican food culture, ith a stone mill and prepare it using techniques going back to pre-Hispanic times.

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Emilio Espadas of Uayma, a member of one of the last Mayan potter families in the Yucatán, shares his process as we continue our discourse on the indigenous craft and artisanal traditions of the Yucatán.

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Tulum Treehouse artist-in-residence Uxii is a self-taught ceramicist living in Mérida. Her ceramic work explores the composition, use and origin of prehispanic Mayan clay vessels. We invite our residents to investigate new cultural dialogues and possibilities for traditional knowledge preservation.

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