Before Polish hip-hop had a name, Ursynów was already producing the frequencies that would transform Warsaw’s concrete outskirts into an incubator for a distinctly local urban imagination. In the grey, hollow metropolis of late socialism, post-punk experiments, children’s futurism and proto-rap broadcasts collided inside the tower blocks. Through three critical snapshots, Filip Kalinowski uncovers the underground circuitry that turned urban alienation into the foundations of a new cultural language.

Chengdu’s underground scene unfolds as a fragile, persistent ecology of queer performance and DIY culture, shaped by clubs, closures and informal networks. Through YiHao’s trajectory, interviewed by curator Sara Sassanelli, it appears as a space where myth, memory and experimentation converge, producing temporary communities and practices that drift between exhaustion, care and reinvention.

In Ilulissat, the third-largest town in Greenland, ice is not a background but a force of light, movement, and sound. The Ice Music Festival is both an event and a situated practice that engages directly with the frozen landscape. Instruments are carved from glacial blocks, and performance depends on shifting temperatures and wind. Between collapse and improvisation, as Emile Holba writes, the festival turns ice into both a creative and symbolic material, holding together art, climate, and community at the edge of the world, where climate change strikes with greater force.