A heady gallery opening experience last October found a few scattered souls humming to themselves in a series of empty rooms. At that same gallery one month later, a man performed a pantomime of sorts on invisible strings. Standing over a block of wood with a radio antennae sticking out of the top, hands like marionettes, either he controlled or was controlled by the spooky sounds coming through the loudspeakers, providing comic relief for a town otherwise known for its techno. These two independently curious productions—by Olaf Nicolai and Annika Eriksson respectively—were orchestrated by Clara Meister, the curator ringmaster of music experiments in Berlin these days. Through the collaborative project Soundfair, Meister commissions artists to participate in the performance series “Symphony,” held sporadically at VW (VeneKlassen/Werner) over a period of 6 months. “Symphony,” thus, invites artists to step into the skin of a musician and, likewise, musicians to step into the bubble of a gallery space for an evening. So to better clarify: Olaf Nicolai’s disparate hummers were not your usual repressed neurotic whistling types. They were performing, in all seriousness, Romanticist Robert Schumann’s direction to the musician, in-between the staves of his “Humoresque Op 20,” which reads, “innere Stimme” (inner …