The Sibirische Zelle (Siberian Cell) was a combination of club and secret lodge housed in a remote corner of northeast Berlin from January 2004 ‘til the end of 2005. Camouflaged from the outside as perfectly as anything in Prohibition times one passed through an empty store and a sliding door into a backroom in which screenings, readings, concerts, performances and actions took place regularly. Participating artists included Z'ev, Asmus Tietchens, Ditterich von Euler-Donnersperg, Peter Wawerzinek, authors published by the Verbrecher Verlag, Tochnit Aleph, members of the Schimpfluch Gruppe, Frieder Butzmann, Thomas Kapielski and others. It was the temporary epicenter of a network instigated by the Berlin performance-collective, Column One that showed its latest works there each week. While connected to many likeminded individuals globally, Column One are, and the Sibirische Zelle was, dedicated first and foremost to a profoundly local experience that puts social issues, personal commitment, and questions of identity before chichi-nomadic aspirations, and the artistic experience before publicity and success. Column One and the Sibirische Zelle answered the impositions of a liquefying neo-liberal order, that knows no outside, with a Dadaistic interior smokescreen. Under the protection of provoked and provocative ambiguity they work on the existential desire to be that precedes any and all desire to have. It is this utopian moment of being that constitutes their link with Limpe Fuchs who, together with husband, Paul, developed Anima Music in the early 70s. By improvising with self-built instruments, Anima Music attempted to shake off traditional musical systems, tuning and the notation of experience in order to attain absolutely free expression. Anima epitomizes music improvised without reference to a formal and entrenched phraseology that emerges from fundamental human potential: “music for all.”