Tickets for the concert can be purchased under this link on the Kampnagel webpage.

On 4 October 2025 – at the invitation of Berlin-based artist Candice Breitz – an extraordinary line-up of musicians will take to the stage to pay tribute to the tireless antifascist activist and musician Esther Bejarano, who made Hamburg her home after surviving the Holocaust. Born Esther Loewy to a Jewish family in Saarland in 1924, Bejarano would have been 100 years old this year. ‘A Song for Esther’ is an act of remembrance conceived to mark her absence, a transient monument in the shape of a concert.

The concert will feature Peaches, Ebow, Lie Ning, Rasha Nahas, Daniel Kahn, Malonda, Chicks on Speed / Jeremiah Day, Dornika, Polly Ott, Aeham Ahmad, Lili Sommerfeld, Dejan Jovanović and Oana Cătălina Chiţu, Die Anstalt, Ensemble Lebedik, the Sialan String Quartet, and – as the evening’s special guests – Joram Bejarano and Kutlu Yurtseven of Microphone Mafia, the hip-hop band that played over a thousand concerts with Esther (the last of which took place just weeks before her passing at the age of 96).

Esther was 18 years old when she was deported to Auschwitz-Birkenau. She immediately understood that the brutally heavy labour she was forced to perform was intended to annihilate her. When she was put forward to become a member of the extermination camp’s Women’s Orchestra, she sensed a possibility to escape an otherwise certain death. As she would explain in later life, Esther’s survival ultimately hinged on her ability to play a particular song for the orchestra’s conductor. During an unimaginably dark audition, she was told to prove that she could perform a sugary wartime hit titled Bel Ami on an accordion that was hastily thrust into her arms. She had never played the instrument before. Out of sheer desperation, Esther mobilised her piano skills and somehow managed to squeeze the frothy song out of the accordion.

Following the Holocaust, Esther took distance from Bel Ami for seventy years. Then, towards the end of her life – to the astonishment of many – she returned to the song, choosing to incorporate it into her musical repertoire over hundreds of concerts. When asked to explain this perpetual return to the deeply traumatic moment that had determined her fate, Esther would describe her performance of Bel Ami as “an act of revenge.” The song had come to signify her ability to transcend the nightmarish experience of having been, quite literally, instrumentalised by Nazi Germany.

What agency is available to artists and musicians in times of mass death and repression? A century after Esther Bejarano’s birth, A Song for Esther considers the enduring resonance of her legacy of defiance – both as an activist and as a musician – for the present moment. One doesn’t always get to choose one’s own instrument as an artist, or the song that one plays on it. There nevertheless remains potential – both political and creative – in the moment of performance. With fascism on the rise across the globe, A Song for Esther offers a fugitive site for the expression of embodied resistance. Each of the featured musicians and bands has committed to performing a single song that is far removed from their usual repertoire on the evening of the concert.

A Song for Esther has been planned in dialogue with the Bejarano family.

The evening is curated by Laro Bogan and Joanna Warsza.

A Song for Esther – a concert conceived by Candice Breitz – belongs to an ongoing series of performative Counter Monuments initiated by Joanna Warsza, Hamburg’s City Curator. The concert takes its cue from another counter monument that provides a compelling precedent. In 1986, Esther Shalev-Gerz and Jochen Gerz installed a Monument against Fascism in Hamburg-Harburg. Over time, the 12-metre-tall obelisk was slowly lowered into the ground, eventually disappearing completely in 1993. Today, the monument’s deliberate absence from the site where it once stood, is a reminder that monuments cannot in fact protect us against fascism. It is only by remaining vigilant, forging durable solidarities and – above all – by standing our ground, that we can resist fascism’s resurgence.