Over its twelve editions, Tremor has consistently focused on creating multidisciplinary and immersive artistic experiences, often site-specific and involving community participation. Proposals such as the opera-journey by the Polish collective Instytut B61, the creations of Natalie Sharp, the community choir of Ana Borralho and João Galante, or the rituals of Vincent Moon and Priscila Tellmon, featured in past editions of the festival, explore the uncertainty and reflexivity of a world in flux, questioning and fragmentation.

Built upon this desire to explore new realms of connection, Tremor introduces  for the next biennium the Arrepio project—a creative laboratory that challenges conventions and seeks new forms of collective coexistence. This section will foster experiences grounded in creativity and spirituality, in connection with the natural world, offering a critical reflection on our surroundings and proposing a renewed care for all life forms.

For its inaugural edition, Arrepio invites the Berlin-based collective 33 to occupy one of the festival’s spaces and, from there, craft a performance that redefines the place and the experience within it.

In Berlin’s dynamic music scene, the duo 33 has become a groundbreaking force, redefining the boundaries of sonic experimentation and artistic collaboration. Composed of visual artist and musician Alexander Iezzi and performance artist and composer Billy Bultheel, 33 emerged from a vision of fostering creative synergy across diverse disciplines. Their debut album, 33–69, embodies this ethos, combining machine-gun techno, industrial tones, operatic voices, and experimental pop. The collective’s philosophy extends beyond the core duo, engaging a constellation of collaborators—including Ivan Cheng, Steve Katona, NAKED, and others—to transform music into a sculptural art form. Each track becomes a vivid canvas, fusing countertenor arias, Latin lyrics, and surreal imagery into a cohesive, otherworldly experience. Alexander Iezzi and Billy Bultheel each bring a rich artistic pedigree to the project. Iezzi’s practice spans sculptural installations, video, and live performance, exploring surreal transformations of material to challenge conventional perceptions. His work has been exhibited at institutions like MOMA New York and KW Berlin. Bultheel, whose compositions bridge contemporary music with Medieval and Renaissance traditions, crafts site-specific works that transform performance spaces into immersive soundscapes. His collaborations include composing for Anne Imhof’s award-winning Faust and Sex.