TUNE is a series of short sound residencies at Haus der Kunst, and is located between the realms of sound, music, and visual art. The invited artists move across genres, eras, and influences, and generate sonic responses and exchanges with the wider programming at Haus der Kunst.

Alongside the performance programme, an artist is invited to make a new acoustic work to be installed in the Terrassensaal. The Terrassensaal is a transitional space, in which the sound installation can be encountered. It offers the possibility to critically engage with sound and music as layered art forms that carry histories and meanings. The artist is also commissioned to produce sound for Haus der Kunst to use online to accompany digital content, and to play at live events, conferences, and talks. Their work becomes the voice of the museum, and their sound is used to connect the museum’s online presence and physical space.

After Lamin Fofana’s a call to disorder and Ihor Okuniev’s work Land is Tadleeh's My Bed, My Rules the third commission. The Indian-Italian artist is fascinated by the evolution of both diegetic and non-diegetic sound in film. From Foley artists using sizzling bacon to simulate the sound of a rainstorm, to the discordant sounds of broken instruments in a horror film, sound from unseen sources defines the atmosphere just as much if not more than the camera lens.

As well as the Terrassensaal commission, Haus der Kunst has supported many original productions as part of the TUNE programme. Together these include Lamin Fofana's composition a call to disorder (2021), the sound installation |Ngo| (2021) by Nkisi, the film Amaru's Tongue: Daughter (2021) by Chuiquimamani-Condori and Joshua Chuquimia Crampton, the sound installation and performance by Beatrice Dillon Impossible Ideal Angle (2022) with Eve Stainton, a sound installation by Emiranda (2022), the audiovisual performance by Christelle Oyiri Godspeed (2022) and the composition Land (2022) by Ihor Okuniev.

TUNE is curated by Sarah Miles.