With the piano work 4’33” (1952), for which John Cage referred to the White Paintings of Robert Rauschenberg, a new dimension of pausing in music was introduced: four minutes and 33 seconds of silence. That was all that could be heard from the musician. A radical early Fluxus gesture that gave a new twist to 20th century music, including pop music. Working on silence, with silence and around silence became one of the central themes of music, the noisier the industrial and subsequently the media world appeared. The retreat to decelerated music (ambient pop), to constant-repetitive music (minimal music, drones) or break-imposed music (funk, hip hop, trap) characterizes musical developments to this day.The auditory contraction, the silence, is juxtaposed with the glow of exhaustion, as perhaps free jazz, northern soul and industrial point out most clearly. A DJ set will be dedicated to both developments, the one of silence as well as the one of exhaustion, which will take up the theme of the exhibition and complement it musically.