Berlin clearly lived through one of its most bizarre periods during the Cold War. Bizarre, in that erecting a wall dividing a city into two parts, separating families and neighbours and setting them in opposing universes, is an Orwellian experience to say the least.

Each part of the city obviously developed in a very different way. On the one hand, East Berlin stagnated within a system based on obsessive control by the regime, a pattern shared by the rest of the communist bloc. West Berlin, for its part, evolved in similar fashion to the rest of the capitalist world.

West Berlin – From the Mecca of the Underground to Hedonistic House

From the seventies on, in line with the new trends in England and the United States, a new musical scene began to gain currency in Berlin, based on creative freedom and the aesthetic of a clean break with the past. Berlin became one of the leading centres of punk and all its subsequent ramifications. Their outsider and underground art culture sediment attracted performers of the calibre of David Bowie, Brian Eno, Keith Haring and Lou Reed throughout the seventies. By then, a good number of bands were feeding such exciting circuits as those of London and Sheffield.

At the end of the seventies, the music of Joy Division and dabblers in electronic and industrial music were adopted as icons of the flourishing alternative scene of an open Berlin. Unlike the British or American varieties, German post-punk was characterised by a tension between politics and culture and aesthetically owes much to krautrock, as many of its themes are endless repetitions at a heady pace, notably Geld/Money by the arty band, Malaria, or the early recordings of DAF.

As of 1980, the exciting Berlin scene was always on the move, spawning an inexhaustible string of bands like Einstürzende Neubauten– headed by the controversial Blixa Bargeld – Die Unbekannten, Nina Hagen, Die Krupps, Mekanik Destrüktiw Komandoh, Die Tödliche Doris, Geile Tiere and Die Arztewith their punk funk distinguished by sarcastic lyrics.True to say, the scene was not made up of musicians alone, but by film stars and directors, writers, philosophers, artists and photographers, too. By the mid-eighties a process of disintegration had set in. Music became ever more commercial and groups began to sign up with multinationals. However, it was not long before a new sound revolution arose which had a marked impact on the city – the advent of acid house and techno. Recall that Berlin’s Love Parade was the first mass parade of electronic music in the world. The first Love Parade was in 1989. The event started out as a clamour for peace and mutual understanding through music. Just a few months later, the Wall came down and West Berlin was consigned to history.

The legendary SO36 was still going strong at that time. The club, located on the Oranienstrasse near Heinrichplatz in the Kreuzberg district, took its name from the area’s famed postal code – SO36. The district of Kreuzberg is historically the home of Berlin punk, and of other alternative German subcultures. SO36 was initially dedicated mainly to punk music. As of 1979 it attempted a crossover between punk, new wave and visual art. In those days the club rivalled New York’s CBGB as one of the world’s leading new wave spots. Others on the Berlin circuit included Metropol, the disco, Kino, the club 54 Kantstrasse and the Sputnik alternative cinema, where the cult film Christiane F. premiered.

Period Document on the Big Screen

The 13th Beefeater In-Edit Festival will be held in Barcelona from 29 October to 8 November. Prominent among the many films to be shown is B-Movie: Lust & Sound in West-Berlin 1979-1989, a documentary directed by Jörg A. Hoppe, Heiko Lange and Klaus Maeck on music, art and chaos in the Wild West of Berlin in the decade of the 1980s, the walled city that became a creative crucible for a special type of pop subculture which attracted brilliant dilettantes and world-famous celebrities of all kinds. However, prior to the fall of the Iron Curtain, artists, squatters, poets, music creators and hedonists came together to enjoy a highly unconventional lifestyle in Berlin. They all knew it would be short-lived but, who’s worried about tomorrow? It was a case of living for the here and now.

Featuring mostly unreleased television material and original footage, photos and interviews, B-Movie chronicles life in a divided city, a cultural interzone where anything seemed possible – a place different from anywhere else in Europe. It is a fast-moving collage of stories about a frenzied but creative decade starting with punk and ending with the Love Parade, in a city where days are short and nights are interminable.

Berlin is currently experiencing a youthful resurgence in terms of cultural activity – and music, too! Why wait to discover it all? Check out our tickets here.

Text by ISABELYLUIS Comunicación

Images by B-Moviem, SO36

Those who think cultural tourism is a 21st-century invention are well off course – Venice invented it long ago. Intent on setting the city under the international spotlight, the first International Art Exhibition ever was held there in 1895. That is, the Venice Biennale, which has continued until this day.

The undisputed artificer of the avant-garde art pulse – Documenta notwithstanding – the Biennale has run into its 57th edition without losing steam. Six months full-out, from 13 May to 26 November, during which the city is invaded by contemporary art, which takes over both land and sea. What with vaporetti, churches and palazzi, we visited the city of canals to soak up the latest trends, soon to descend on museums and art galleries across half the globe. Let the Grand Tour begin!

Survival Manual

A cautionary word to all navigators – moving through the Biennale is no mean feat. The key – comfortable footwear, strategically placed accommodation and solid planning. The offerings are boundless and the spaces, gargantuan.

The main facilities are located at the Arsenale and the Giardini di Castello. Those are the sites of the official exhibition, Viva Arte Viva, as well as many of the 85 national pavilions dotting the island. And, as if that weren’t enough, the list is augmented by countless top-notch parallel exhibitions and events that have staked out their territory in the city’s historic buildings.

My advice – keep calm and don’t get flustered. The marathon only comes around every two years. Set aside three days on your agenda and you won’t succumb in the attempt. Take up lodgings in the area of Il Castello, the Biennale’s hard core, thereby avoiding vaporetto tickets. And, have a notebook on you and a camera with fully charged batteries so you can review the sights once you’re back home.

In the Giardini – the Cream of the Crop

Separating the wheat from the chaff can be exhausting. By way of a warm-up, we headed south-east, to the confines of the city. Located there are the Giardini di Castello, Venice’s green lung par excellence and the preserve of the national pavilions (a somewhat archaic idea, a reminder that the current Biennale is an updated version of the classical trade fairs of yesteryear). The fact is that in Venice each state has its own building to showcase to the world the cream of the crop of its contemporary art production, by way of an Art Olympics where the winner manages to show the most muscle.

While the Biennale is all about art, it is in fact also about power and architecture. In terms of the latter, some pavilions shine with a light of their own. Not to be missed are the Finland pavilion, built in timber modules by the luminary, Alvar Aalto, the father of modern Scandinavian architecture; the Austrian pavilion, the work of Josef Hoffmann who, together with Gustav Klimt, founded the Vienna Secession, and that of The Netherlands, its open forms highlighting the minimalist elegance of 1950s neoplasticism.

But, let’s get back to art and to the most talked-about offerings. The Golden Lion for the Best Pavilion was awarded to Germany, where artist Anne Imhof installed a glass floor under which performances displaying the world “as a kennel” take place. France depicts a musical space and recording studio, Studio Venezia, an installation designed by Xavier Veilhan where musicians and artists from all over the world perform. And Austria draws all the camera flashes with a lorry standing on its nose by Erwin Wurm, a playful proposal in a pavilion redolent with sculptures which visitors can interact and have fun with.

The Off Programme

Side shows, parallel exhibitions, talks, dialogues, performances and film cycles – no body is built to withstand Venice. Indeed, the official programme is rivalled by a series of first-rate artistic proposals staged in churches, foundations and museums around the city. Here, then, are the juiciest offerings in the Off-Biennale 2017.

Damien Hirst has hit Venice with a two-fold proposal. At collector François Pinault’s art spaces, the Punta della Dogana and the Palazzo Grassi, he has installed his latest eccentricities,including an 18-metre-high sculpture which rises into the firmament. In keeping with the British artist we are familiar with, his show is pure spectacle, and the perfect excuse to visit two historic buildings overlooking the Grand Canal.

The tiny island of San Giorgio Maggiore surrenders unconditionally to Michelangelo Pistoletto. A key figure of Arte Povera and one of the most prominent Italian artists, Pistoletto presents One and One Makes Three, an exhibition housed in an abbey designed by Palladio where he showcases a selection of his works created between the 60s and the present, also featuring his popular “Venus of the Rags”.

We wind up our marathon tour at the Palazzo Fortuny, a Venetian Gothic gem which rises between the Rialto Bridge and St Mark’s Square. This former home and studio of painter Marià Fortuny houses both the artist’s collection and temporary exhibitions. This time around, it is the turn of Intuition, a collective display dedicated to the evocative power of art and featuring such great names as André Breton, Joan Miró, Vassily Kandinsky, Marina Abramovic and Anish Kapoor.

Thus far our review of the Biennale, a centennial event which reinvents itself each year and showcases art to suit all tastes, interests and theories. We’re off to the canals!

Book your Vueling to Venice here

Text by Núria Gurina

Photos by: Andrea Avezzù, Jean-Pierre Dalbéra, Francesco Galli, g.sighele, imagea.org, Erin Johnson

The writer and journalist, David Lagercrantz, took up the challenge of continuing the trilogy begun by Steig Larsson, having authored the fourth novel in the Millennium series, That Which Does Not Kill. In addition to instigating Scandinavia’s black novel phenomenon, this popular trilogy featuring Lisbeth Salander and Mikael Blomkvist as the main characters has turned into a fascinating alternative guide to the city where the action is set – Stockholm.

7-Eleven

While not a particularly interesting spot for sightseers, establishments like 7-Eleven, at number 25 Götgatan Street, can always comes in handy. As a regular, it is here that the hacker and social recluse, Lisbeth Salander, sources the two essential ingredients of her pernicious diet – frozen pizzas and cartons of Marlboro Light.

Ikea

Ikea is a veritable institution in Sweden and Steig Larsson could not afford to ignore it in his trilogy. It features in the second instalment, when Lisbeth Salander turns up at the Kungens Kurva premises (the largest in the world) to buy furniture for her new apartment. Larsson provides such a detailed list of the purchase – Karlanda sofa, Galant desk, Bonde bookshelves… – that anyone wishing to faithfully replicate Salander’s flat interior could easily do so.

Kvarnen

Among Lisbeth Salander’s few friends are the members of the heavy metal group, Evil Fingers, who she usually meets up with at Kvarnen on Tuesday evenings. Located at number 4 Tjärhovsgatande Street and with over a century’s standing, it is one of Stockholm’s oldest taverns, offering such noteworthy traditional Swedish dishes asköttbullar (meatballs) and surströmming (herring).

Lisbeth Salander’s House

In The Girl Who Played With Fire (2008), Lisbeth Salander moves to a luxury apartment at 9 Fiskargatan Avenue. This block, built in 1910, stands out in Stockholm’s skyline for its green metal roof. Salander enjoys no fewer than 21 rooms in her new abode, as well as tempting views of Djurgården island and Saltsjön Bay!

Mikael Blomkvist’s House

It requires no feat of the imagination to picture Larsson walking in front of 1 Bellmansgatan Street and fantasise settling down in such a privileged enclave. His desire, at least in the fiction tale, materialised when he had one of his main characters, Mikael Blomkvist, move into the attic, a 65m² apartment flooded with light, affording beautiful views over Riddarfjärden Bay, Gamla Stan and the Stockholm City Hall.

Mellqvist Kaffebar

At 78 Hornsgatan Street, the Mellqvist Kaffebar is not just one of the cafés most frequented by the protagonists of Millennium. It was actually one of the author’s favourite spots, too. There are even those who claim that, between one café and another, it was there that Larsson wrote more than a chapter of his successful trilogy. Indeed, the journal, Expo, of which Larsson was the director, was housed on the floor above it.

Mosebacke Torg

Just a few metres from Salander’s new apartment lies the Mosebacke Torg, one of Stockholm’s loveliest squares. Sited on the square is the Södra Teatern, the city’s oldest theatre, built in 1859. It is in the theatre bar that Lisbeth usually meets Annika Giannini to exchange confidences over a few beers. The Mosebacke Torg also houses one of Stockholm’s last-surviving telephone boxes still in service.

Millennium’s Editorial Office

Located on the corner of Götgatan Avenue – one of the busiest arteries in the Södermalm district – and Hökens Gata Street, the editor’s office of the Millennium journal is housed on the floor above Greenpeace’s headquarters. Staunch enthusiasts of the trilogy are likely to be disappointed when they realise that, while the offices of Greenpeace are indeed located on that corner, the upper floors of the building are all just apartments.

Samirs Gryta

Enthralled with their couscous and mutton stew, the Samirs Gryta Syrian restaurant is a favourite among the Millennium editorial staff. The exact address of this fictitious eatery is never divulged in any of the instalments but, in terms of its appearance, Steig Larsson was probably inspired by the Indian restaurant Dado (Tavastgatan, 28) and the adjoining Lebanese restaurant, Tabbouli (Tavastgatan, 22).

Stortorget

Stortorget is the square where Dragan Armanski catches sight of Lisbeth Salander shortly after being hired by Milton Security. Stortorget is one of Stockholm’s historic sites as here, in November 1520, the Bloodbath took place, when Danish King Christian II had hundreds of members of the ruling classes executed in order to seize control of the country. Also in Stortorget is the Nobelmuseet, the Nobel Prizes museum.

The Stockholm City Museum offers a fascinating tour of the city inspired by the Millennium trilogy. Click here for further details.

Ready for an exciting journey through the trilogy? Check out our flights here.

Text by Oriol Rodríguez for ISABELYLUIS Comunicación

Images by Holger Ellgaard, I99pema, Kirsty Komuso, Arild Vågen, Mstyslav Chernov

Formentera is known to be pricey. But, while the bill may be steep in some restaurants, it can also be really affordable in others which are well worth the visit. Following is our varied selection after a visit to the island – sea-facing, in the island’s hinterland, in a hotel… Which one would you pick?

Casbah
I stayed at the Casbah, a quaint three-star hotel of small huts scattered about a pine forest just five minutes from Migjorn Beach. The restaurant serves traditional cuisine using cutting-edge techniques. It is inexpensive and there are some outstanding dishes, like the octopus croquettes, served with black-olive mayonnaise, the very tender grilled octopus and fish of the day. The meat dishes are tasty, while soupy lobster rice is one of the standouts. The average price is 40 euros per head, while there is also a tasting menu of six dishes and dessert for 60 euros, without drinks, and 80 with a pairing. They open from March to December.

Caminito
A benchmark on the island for its seniority (36 years) and the quality of its Argentine, American and Australian meat. Hence, this Argentinian venue is a catwalk of stars (Medem, Ramazzotti, Mariscal, Custo, Iniesta, Messi, Buenafuente, Dalma, Guardiola…) yearning for South American and Mediterranean dishes, like the delicate prawn cannelloni and simmered egg with potato, codfish and spring garlic sauce. The indoor swimming pool is an eye-opener, with several dinner tables set around it. Open from May to October. The average price is 50 euros.

Fonda Platé
In Sant Francesc Xavier, an inland village, you will find Fonda Platé, a popular watering hole where you can just as well go for a barrido –an assortment of breakfast, lunch, simple burger-type dinner dishes and salads – or a fregao (cocktails, music…). The terrace with its grapevine pergola is enchanting and the interior gives off a well-worn air reminiscent of the period when the tavern first opened. In the nineteen eighties, the current owners swapped their yacht for this establishment. Average price: 20–25 euros.

Sol Post
As its name suggest, Sol Post, in the Hotel Cala Saona, is one of the most picturesque spots to watch the sun setting. Lunch ushers in traditional Balearic cuisine – take note of the steamed mussels and their rices, like the unbeatable fish and seafood Paella del Senyoret, both reasonably priced. At dinner they serve up more modern, Mediterranean cuisine. Open from May to October, the average price is 30-35 euros for lunch, and 45 euros for dinner (with two tasting menus without drinks for 32 and 58).

Es Jardí des Marès
All in fine taste, sober and elegant, at the Hotel Marès (Sant Francesc Xavier), replete with art exhibits which lead into the restaurant, featuring elaborate, innovative dishes based on quality produce all sourced locally in Formentera. The terrace, once the garden of the neighbouring convent, is the setting for tasting playful, entertaining and modern dishes like colt carpaccio, the revamped country salad, sea bass with wild asparagus and kalamata olives and sweet potato crisps… Average price from 35 to 40 euros, while the tasting menu of five dishes and dessert, without drinks, costs 50.

Es Caló
Another Formentera benchmark. Traditional island cuisine (country salad, fish stew, rices, fried lobster with egg…). The excellent produce is served on several terraces – one of them a chill-out – with marvellous views of the turquoise blue sea and the green La Mola mountain. The lobster is fried with potatoes and green peppers; when the customer has finished ladling the food, the remaining pan oil is used to fry up some eggs. Open from Holy Week to the end of October; average price from 35 to 40 euros.

Sa Sequi
Ideal for enjoying a sunset with views of neighbouring Ibiza. At Sa Sequi, you can have a drink and small, cold or hot dishes in the chill-out, or full dishes on the restaurant terrace. There, the staple is fresh fish at more restrained prices than in the adjacent area of Ses Illetes. Open from May to November. Average price, 50 euros.

Text and photos by Ferran Imedio of Gastronomistas.com