SidebySide Studio : Criticality / Network / Exchange about Value and Crisis

Border, Risk, and Friend

I-WEI LI — 2011-07-17T10:36:00Z

Border, Risk, and Friend is an analysis about 3 of Lucas bambozzi's video works:

I Have No Words, experimental video, 22', 1999
Do Outro Lado Do Rio, documentary, 88', 2004
The Day Sao Paulo Stopped, short film, 8', 2009

The review will be included in Bambozzi's retrospective exhibition catalogue. Bambozzi's exhibition, o espaço entre nós e os outros, took place at LLA, Mexico in 2010.

“On the border, you don't have friends. Nobody has a friend on this side or the other side.” Joao Gomes, resident of Guyana

I Have No Words, experimental video, 22', 1999
Do Outro Lado Do Rio, documentary, 88', 2004
The Day Sao Paulo Stopped, short film, 8', 2009

These three films are obviously from the same author: the non-linear narratives are constructed in the same style - mixing archive footage and personal images to fuse the space and temporality. What evolves is the artist's point of view, how Lucas Bambozzi reflects the spirit of social reality in the given specific time in which each film was made.

In I Have No Words (1999), his focus is the internal search of oneself. In Do Outro Lado Do Rio (2004), his perspective shifts to the world around him, the world in which he travels and the world which he tries to enter through conversation. With The Day Sao Paulo Stopped, (2009), he chooses to be an almost complete outsider and stranger to the subject in order to understand the catastrophic situation.

One might speculate that the shift in Bambozzi's viewpoint is related to his life experience as an attainment of personal maturity and social stability. To enter Bambozzi's rich body of audio-visual works since 1992, I would like to suggest three keywords: Border, Risk, and Friend to understand how the artist's vision has evolved though the making of these three films.

I Have No Words, experimental video, 22', 1999

I Have No Words (1999) is a youthful work, carried out with modest technical means as a formal audio-visual essay influenced by post-punk culture. In terms of content, this work reflects the inner turmoil of a generation not knowing in which direction to look or how to find structural benchmarks. The ideological bankruptcy of the authorities is obvious; it is the beginning of awareness, an awakening of the effects of globalization. Although global art movements seek to develop a ‘new' artistic direction, in fact, artists find themselves at crossroads, not knowing clearly how to choose between the desire for recognition in the conventional contemporary art hierarchy or the fascination and attraction of mass media system.

I Have No Words depicts a generation, young and disgusted with itself, without any coherent perspective on the world. The confusion and anguish is repeated numerous times though bold, black and white text: “Concrete Silence - a lump in the throat”, “No Way Out”. We are plunged into a waking nightmare, as after a bad night spent with the wrong people, after eating bland foods, after drinking adulterated excessive alcohol, having kissed the wrong people while lost in a dismal state of intoxication. Illusive and seductive, this poetic and black despair seems to say: we are on the wrong side of the border, toward the ugliness of isolation, we risk losing ourselves, our friends are like us: lonely junkies and speechless monsters.

Do Outro Lado Do Rio, Documentary, 88', 2004

Bambozzi described his experience of making the 2004 documentary, Do Outro Lado Do Rio, in Oiapoque, as being ‘hijacked' by the fugitive characters living in the Amazon region where “reality is denied and people project themselves obsessively in what they could become beyond the boundary.” The artist leads us to the heart of the hinterland, a nowhere inhabited by dreamers, bandits and prostitutes. He became personally committed to these relationships and he was no longer in the state of despair as indicated in I Have No Words (1999). He took the risk of contacting the most dangerous men (the mafia and murderer) and of entering a territory where a man's life is less valuable than the life of a dog. In this non-world, surrounded by hookers and gangsters, he sheds light on the fraternity and the beauty of these people – especially women – eternally in search of a more promising future.

A single short sequence summarizes beautifully the movie Do Outro Lado Do Rio, and opens the door to understanding the artist: in the middle of the film, while the characters, (young women prostitutes) speak about their hopes of leaving the city to start a new life in France, a stormy sky suddenly appears with dark clouds shaped like the map of France and Europe.

Nothing could better sum up the condition of these people, trying to avert their despair and invent a future built on mere illusions: the illusion of an otherworldly happiness, the illusion of a magic escape to France or elsewhere in Europe, and the illusion of breaking free from one's destiny. Nor can anything better summarize the work of Bambozzi in this film, that passes without transition from documentary to a politicized allegory, told in raw poetry.

This sequence, strangely beautiful, shatters the boundaries between reality and fiction, between prose and poetry.

According to Bambozzi, Do Outro Lado Do Rio is not just about the other side of the river, it is also the other world, the one from which we have long been separated.

‘The other side' is always the side of our wildest dreams, it is the promise of wealth if one is poor, the promise of friendship if one is alone, the promise of love if one is desperate, the promise of relaxation if one is tired, the promise of freedom if one is captive.

Lucas takes his camera into the centre of the village, sometimes stopping to initiate a conversation with the women and men who hang out here. Prostitutes, drug dealers, smugglers, fugitives and gold diggers, all speak with striking spontaneity in this film. With their appearance in this documentary, he involves us in the fate of these characters, who could be the heroes of pure fiction.

When women, as always and everywhere, talk about their hopes and possible futures, they also share intimate details of their personal lives. They are the real bridges that link the past to the present and the present to the future.

The men as they are, remain in the moment: they live only for the present, as if the consciousness of the very low cost of their present lives has made them insensitive to the value of their past or the potential for their future.

In the gold minefield of Guyana, gunshots are worth no more than the dogs around them; nothing here seems to divide between the human and the animal world.

At the beginning of the film, Telma, a young and beautiful prostitute, tells us that she refuses to be a teacher and chooses to be "irresponsible", not to think about tomorrow. Her face expresses the paradoxes of life with joy and strength. The bitch becomes holy.

In terms of cinematic language, the film moves freely without regard to linear structure, with sudden changes of relevant orientation to accommodate different points of view. If we agree to abide by this logic, we will find ourselves exploring the world through a small community of humans in distress, a distress shared by many countries, different cultures, and diverse language communities.

And we understand that this film takes us into the heart of women and men.

We understand that the social reality shown here symbolizes what ultimately happens everywhere in today's world, a world subject to unpredictable contortions in which the victims are the weakest, those who have by chance found themselves in the wrong time and place. Somewhere in the film we see a figure waving a Brazilian flag with the motto "Order and Progress" - a terrible irony for these frontier villages where only chaos and misery seem real.

On either side of the border, men and women dream of other destinies and possibilities. Lucas' film shows characters who know they live between two worlds. Here everything is mixed: the best and the worst blended together, as the water of all rivers and sand of all bays has mingled since the beginning of time, since the first humans struggled to overcome themselves and avoid being crushed by a world too wide for them.

The Day Sao Paulo Stopped, 8', 2009

With The Day Sao Paulo Stopped, 2009, Bambozzi takes another step. The world has changed: now the planet is absorbed into an all-consuming media phenomenon, which constantly recycles ideas, images and events. The world's descent into chaos was the result of borders having vanished completely. Risk has become a feature of every place and every action, and the only true friends are one's own gang: in this case the mafia brotherhood. But we know that this gang can and will, lead us irrevocably into violence and death.

On October 30th, 1938, America descended into panic when Orson Welles broadcasted his radio drama, The War of the Worlds. When the episode was originally aired, over 1 million listeners believed that an actual Martian invasion was in progress. Newspaper offices and radio and police stations were flooded with hysterical calls, over 12,000 newspaper articles covered its impact within one month . In 1955, Welles admitted on BBC TV that he was fed up with the public's blind faith in the ‘new magic box' – the radio, thus, he created this radio piece to assault the creditability of this machine . In other words, this famous radio hoax was intended to remind the public how the power of mass media could be easily manipulated to create theatrical illusions.

Nearly 70 years later, Sao Paulo, the largest city in Latin America, was also in panic. This time, it was not because of an artist, but because of mafia. Starting on Friday, May 12th, 2006, a wave of attacks against police stations and rebellions in 64 jails across São Paulo state were organized by the PCC, Primeiro Comando da Capital (First Commend of Capital). The PCC is a well-established Brazilian prison gang and criminal enterprise that often uses terrorism to intimidate penitentiary authorities. According to CNN, 200 prison guards were held hostage over the weekend. At least 81 police, criminals and civilians were killed and 34 injured. Over 180 attacks against police stations, courts and banks took place and at least 56 buses were firebombed . What is worth our attention is that this violent outbreak was orchestrated by only a handful of PCC prisoners and their outside contacts, using mobile phones. By Monday, May 15th, São Paulo was brought to a standstill; one third of public buses took refuge in garages, and residential neighborhoods became ghost towns. Offices, schools and universities closed early, resulting in the longest traffic jam (195km) in São Paulo's history.

In both instances, Welles and the PCC not only understood the power of media, but also exercised such power to spread fear throughout the population. Welles knew how to use radio's imaginative possibilities for his fictional alien invasion; the PCC commandeered Globo News, the first 24hr news TV channel in Brazil , at peak hour to broadcast their demand for human rights in São Paulo prisons. But unlike the experience of 1938, the social context in 2006 was different as “simulations had become commonplace, and attempts to use them to trick the public were the rule rather than the exception.” Meaning, by this time, the general public were used to the deceptive imitations generated by politics and advertising in mass media, especially for television. Thus, the tactics demonstrated by PCC went beyond usual simulations.

Through the acute usage of mobile technology and mass media in combination with the strategic blockage of public transport, these semi-literate PCC criminals made São Paulo residents experience something that had never happened before. For Bambozzi, it was “a sort of extreme activism” that scared or perhaps embarrassed media artists, activists, and net-producers. In his PCC na TV Globo mockumentary, part of The Day São Paulo Stopped project, he staged two actors as PCC representatives reading out the following speech that dares artists and activists to take more risk with their actions:

“It ain't like media activists, those nerds spending the whole day with their fucking ass in front of the computer, what for? Some fellas like to talk about the ‘social' in the Command, there's no such a thing. There's no fucking orkut, myspace, facebook…nope! We got the real thing. All these stories about ‘flash-mob' mobilization here and there, that's all intellectual shit, just network bullshit. They talk without knowing, got ya? All this talking is giving money to these fucking corporations. We make all the grassroots thing and they get the money... 'Cause we are used to do much with so little and we do know about the ‘real' thing... Is it technology that will solve all the shit? Fucking no! You gotta put your hands on and do it, ‘cause if you depend on politicians this country ain't going any further. We don't just wanna scare you, gotta do it for real, you know?… what's up media crew, you ‘little artists', little shitty activists posing as cool guys, who speak too much and don't do any shit, come to learn with us. We do, we make it happen. Attitude! Yo!”

The Day São Paulo Stopped is Bambozzi's attempt to analyze the role of the media in the events in São Paulo. Blurring the lines between fiction and reality, he made a series of fragmented and multi-faceted single channel videos with both “original” material, conveyed by the mass media or produced by general public witness, and mockumentaries (PCC na TV Globo, Found Footage on Bus, and Consciencia), carefully ‘reconstructed' by the artist for this occasion. Bambozzi himself experienced the attacks both directly and via the media, he explains: “What at first appeared to be just something ‘on TV', started to produce impacts on many levels, in all social layers [...] I was among those who suffered such ‘light consequences', but I wanted to observe in depth other possible sides of the event, by recording statements, shooting empty roads and tuning in to alternative radio stations and TV channels. The network really was a battle field.”

Every email inbox was bombarded with different versions of shocking images, false statistics or fake news about victims, all resulting from media companies' competition for attention, with the effect of making the situation appear even more serious than it actually was.

In the main 8-minute film, all the terrible images of this violence outbreak are condensed into individual 1 pixel horizontal lines that repeatedly scan across the screen. The formal rigor of this film and its repetitive nature highlight the desperate hypnotic power of electronic media and the public's inability to extract something coherent. In a split second, one sees a child covering his ears with an explosive in his mouth. This image is terrible – so are the images of violence that constantly bombard us in the mainstream media. But the real horror is the fact that the symbolic power of these images is being daily destroyed and manipulated by the constant stream of mass media, like a washing machine for dirty laundry. Our brains are daily leached, sterile and insensitive, to the point that these violent images have no impact on us. Like the scanning effect in the film, spectators are mesmerized by the colorful attractive hints of social spectacles, their eyes follow involuntarily, knowing they are afraid, yet unable to pin down what they are afraid of.

By strange coincidence, I finish this essay the same night US President Obama announces bin Laden's death and sea burial. As the enemy, the opposition disappears, so are the borders. Are we now living in a world with no borders or a new world that needs new borders? How is possible to continue without the border? As borders continue to disappear, will our world have more or less risk? And who are our friends? I return to the title of this article to try to analyze the connection between Border, Risk and Friend.

Border
We have entered a period of great confusion and the first consequence is the dissolution of our notion of borders. Boundaries between good and evil, virtual and real, democracy and dictatorship, ethics and aesthetics, artistic creation and popular entertainment are blurry.

For artists today, the dissolution of borders is a challenge: Where to look? Who can we believe? What is possible? How to make sense?

Risk
We live in a paradoxical situation: we want to avoid all risks but in reality we are confronted daily with unpredictable situations - September 11, Arab revolutions, natural disasters and so on. Traditionally, we thought of artistic and intellectual activity as the natural place to take risk and confront authorities. This rebellious spirit seems to have dissipated over time; artists now are also seeking security and sometimes behave as simple and vulgar entrepreneurs. They have grown too sophisticated, too cynical, to believe that cultural revolution is actually possible.

For artists today, this is another challenge: How is it possible to take greater risks?

Friend
Having thousands of friends on Facebook just means having no one. The concept of friend implies a shift from ‘me' to ‘we', meaning emotionally connecting and thinking with others.

For this, artists today resume the third challenge: In what context can we make alliances? With whom can we share solidarity? Who will undertake adventures with us? More, how to remain independent and sovereign, while taking the risk of thinking with others to identify new frontiers?

One function of art is to allow us to explore contemporary mythologies and make us more aware of our own history and destiny in relation to the history and destiny of other human beings.

Lucas Bambozzi's work invites us to explore this awareness with different mythologies.
Lucas Bambozzi allows us to be more human among the other humans, more alien among the other aliens, more alive among other living beings.

Art Gets to the People!

I-WEI LI — 2011-06-24T09:44:00Z

In this interview, Dr. Martin Steffens, director of 48 Stunden Neukölln, tells us why it makes sense to organize over 700 events in nearly 340 venues within a 48 hour period this year! From 25-27, 06, Friday to Sunday (7 pm - 7 pm), everyone who comes to Neukölln in Berlin will be confronted with an array of visual arts, theatre, dance and performance art, readings, guided tours and parties held at nearly every corner in Neukölln.

Besides the contemporaries, 2010 also marks the 650 year funding of Rixdorf/Neukölln, hence, the theme - "Komplex650." This motto also suggests an array of different perspectives embedded in cultural diversified Neukölln.

This interview is available on 2010LABTV, click here for interview.

Love 1,2,3! Hybrid Speed Dating Performance

I-WEI LI — 2011-06-15T14:16:04Z

Love 1,2,3!
Speed Dating / Interactive Performance / Party / Djs / Tatoos

30.06.2011
Love Service 1: 20:00
Love Service 2: 22:00

HBC
Karl-Liebknecht-Straße 9, 10178 Berlin
U / S Bahn: Alexanderplatz

Entrance fee: 3 euros
Online Reservation is highly recommended, to reserve, click here

Are you lonely? Sometimes desperate or feeling unwanted?

Love 1,2,3! is for YOU!

Better than a lousy disco night, better than a boring dating agency, better than any Russian porn websites, the fantastic Love 1,2,3! offers you the opportunity to meet at least 7 unique individuals in one evening.

With all the crisis around the world, we identified there is a severe love crisis in Berlin. Possible reasons might be: cultural differences, precarious life styles, mobility, cosmopolitan love zapping, East German feminism, bio fascism, tasteless cocktails, Friedrichshain haircuts, incompatible flirting techniques...

To highlight these problems and possibly find some answers, we created a love laboratory - Church of Love. We are not a conventional dating agency, our goal is to help you enjoy the ultimate love experience. Operated by 4 dedicated Love Squads (Reverend Jean Jacques, Sister Happy Star, Sister Hiroshima and Sister Alice), We provide sex-love-rockn'roll strategies to rescue people from the dark loneliness simply because “L” is for LOVERS, not for losers!

Church of Love welcomes everyone - Straight, Gay, undecided, young, old, black, white, or latte. The door is open and we promise, we will love you all!

To experience Love 1,2,3! Reservation is highly recommended, to reserve your place, click here.

Love1,2,3! is initiated by Church of Love, co-produced by SideBySide Studio, Node Center for Curatorial Studies, and HBC.

Jouir Sans Entraves/Squirt Without Barriers

I-WEI LI — 2010-10-14T09:49:00Z

Jouir sans entraves Squirt without Barriers is written and performed together with Pierre Bongiovanni at Politique 0, Espace Niemeyer, Paris on 01.10. 2010.

Jouir Sans Entraves
Jouir sans entraves va "décompresser" les liens qui relient les points cardinaux du contrôle social et politique exercé aujourd'hui sur tous et chacun. La police, la mafia, les militaires et les médias sont des entités cohérentes avec des compétences complémentaires, en particulier dans les domaines de la recherche, de l'innovation et de l'utilisation des technologies de la communication électronique. En utilisant des exemples concrets, réels ou fictifs, nous montrerons comment les artistes et les opérateurs culturels d'aujourd'hui sont devenus les puissants et complaisants complices des nouvelles forment de servitudes et de domination dont le capitalisme culturel a besoin pour jouir sans entraves.

Jouir sans entraves sera présenté en anglais et en français.

Squirt Without Barriers
Squirt Without Barriers will unpack the links that connect the cardinal points of social and political control exerted now on each and everyone. The police, the mafia, the military, and the media are consistent entities with complementary skills, particularly in the areas of research, innovation and use of electronic communication technologies. Further, by using concrete examples, real or fictional, we demonstrate how artists and cultural operators today have become new forms of complacent and complicit servitude through the mighty deployment of cultural capitalism.

Squirt Without Barriers is performed in both English and French

Bambi Hunter

I-WEI LI — 2010-10-03T17:47:00Z

d'abord les forêts... / opus 1
Maison Laurentine, Aubepierre-sur-Aube, France
4.07 – 3.10.2010

Bambi, Disney symbol of innocent wildlife, is presented in front of the image of freshly killed deer. Simulacrum of innocent childhood and simulacrum of modern savage are two sides of the same story. Just as Disney is a caricature of childhood, so is hunting as a caricature of wild adventure. Some dare to hunt the real deer but who dares to kill Bambi?

Bambi symbole universel de l'innocence inventé par Disney et présenté à côté d'une image de cerf stués et éviscérés quelque part dans les fôrets d'Arc-en Barois. Simulacre de l'enfance innocente et simulacre de l'aventure sauvage contemporaine sont les deux faces d'une même histoire. Il y a des chasseurs pour tuer les cerfs mais qui oserait tuer Bambi?

For video documentation, click here

What Is Your Plan C?

I-WEI LI — 2010-05-06T09:39:00Z

What is Your Plan C? is a series of interviews conducted during IETM 2010 in Berlin. All audio interviews are available on 2010LabTV.

On 15th of April, 2010, IETM (International Network for Contemporary Performing Arts) invited over 500 cultural operators and performing artists from over 50 countries to come to Berlin for four days to find new ways of dealing with crucial conflicts and challenges in our world. The invitation says: “Having tried Plans A and B, from Capitalism to Communism,... we are now searching for a third way... A Plan C to turn the crisis of this new century into a chance for culture. It is not a contradiction – chaos and creation are close comrades and between cooperation and competition we have to find the right centre.” (Creative Crisis Economy by Dirk Pilz).

Part 1: Mary Ann DeVlieg, IETM General Secretary, Brussels

Part 2: Phelim McDermott, Improbable Theater, London

Part 3: Jochen Sandig, Folkert Uhde, Bettna Sluzalek, Radialsystem V, Berlin

Part 4: Bernhard Vierling, Consulting Arts and Friends, Berlin

VALU€S Online Interactive Performance

I-WEI LI — 2010-02-20T19:32:31Z

After performing at Transmediale 10, many cultural workers around the world are keen to experience our breakthrough technology, VALU€S, to find out their own value as a contemporary cultural worker.

Now, with our online interactive software, you will be able to find out your value in real time! To provide you with accurate analysis, please answer each question honestly and place your hand on the monitor when you click 'next'.

Good Luck!

VALU€S

I-WEI LI — 2010-01-24T23:02:59Z

VALU€S
An interactive performance by I-Wei Li for Transmediale 2010 in Berlin.

05/02 20-23 hrs
06/02 19-23 hrs

Hause of World Cultures, John-Foster-Dulles-Allee 10, 10557 Berlin

Production : « Sidebysidestudio (Berlin) »« Transmediale (Berlin) »
Coordination : « Sklunk (France) »
Software Design : « Le Chiendent (France) »
Special thanks to Thomas Pigache for sound design

Concept
The values of art and artists seem to share identical misunderstanding of the chaotic stock market: the world of art, like the world of finance, seems to obey laws are still unclear yet obliged everywhere.

What are the ingredients that add value to an artwork or reputation of an artist?

VALU€S attempts to resolve this stressful and difficult issue by allowing each artist to know exactly one's market value through one-one-one analysis.

The performance has been covered by 2010LAB TV as "Price and Value of Creative Work"

Other video clips also available at Cyland Media Art Lab by Xpertina Marilu.

Character Profile
Dr. Li
A great mystery surrounds the exact date and place of birth of Dr. Li, experts do not agree among themselves and Doctor remains silent on this issue. Recently, a Korean newspaper claims Dr. Li is an extraterrestrial. After reading this article, Dr. Li just smiled.

Dr. Li has established several research laboratories: in the mountains regions of Taiwan where she studied the behavior of indigenous inhabitants of these land, then to Canada where she questioned about the rituals of Western consumerism, then to London where She tried to understand, but without success, the mysteries of the English mind, and now in Berlin where she creates an international research group specializing in the value of art and culture.

Dr. Li has not finished to surprise us: she prepares new research topics and prototypes that could have decisive consequences for the future of humanity. For example:
An automatic free distribution of kisses installed in the public space
The development of android robots as playmates in the parks so no children will ever feel alone
The development of scooter, Love 1.1, powered by transparent and universal emotional energy.

Dr. Bongiovanni
When Dr. Bongiovanni was a child, he had fun practicing therapeutic experiments on snails, trees, and knitting machines.

He is mostly interested in computing fractal before devoting all his research in algorithms of loving conversation. In those circumstances, he came across paths with Dr. Li in a Turkish bath in Acapulco.

Fascinated by the approach of libidinal economy and its relations between African shamanism and design of the electric scooter, he decided to participate actively in the business of development and advocacy about the value.

Now he is proud to say each day: Doctor Li forever.

Dr. Pigache
Dr. Pigache graduated from military medical school of Guantanamo. He is a world renown specialist in Neurobiology after publishing his first book "The Proper Use of Drugs With Prisoners" (Truth editions - 2002). He also loves dogs more than prisoners.

Dr. Drouet
After spending years in the handball competitions, Dr. Drouet participated in 3 rounds of the world championship (the first in cycling, the second in gliding, and the last in canoe kayaking). These experiences helped him to understand the human soul and the mysteries of the world.

After becoming an architect of electronic communication networks, Dr. Drouet devoted himself to improve the conditions for a less jammed neck.

Alle Systeme

I-WEI LI — 2009-11-14T17:36:56Z

Being a foreigner in Berlin since 2009, Alle Systeme (music video, 4:31) is a collaboration between Francesca Duca and me, as a quick sketch of Berlin. I am glad to have the opportunity to work with 'option weg' who is open to have their music interpreted by two 'outsiders' who also aim to live in option weg.

Alle Systeme

Music Video, (4:31)

option weg TRÜMMER – TRÄUME – TRASH

option weg makes music with bass, drumms, guitar, violin, Quetsche, ukulele, their voices and their thoughts. They sing about everything that moves and what could possibly be moved. Their attitude is against all kinds of discrimination.

‘option weg' is a musical department store, sometimes with ballads, almost folky, and then punky and danceable again.

Without fun is out of the question.
Without brains, too.

Anja, Hella Steffen and Yok come from Berlin and from all areas of leftist subcultures, from circus to theatre, from punk bank to street music, from Revolte Springen and TUM to Daisy Chain and Flexicute.

It's time to move!

http://pocketpunk.so36.net

option weg TRÜMMER – TRÄUME – TRASH

option weg machen Musik mit Bass, Schlagzeug, Gitarre, Geige, Quetsche, Ukulele, ihren Stimmen und ihren Gedanken. Sie singen über alles was bewegt und was eventuell noch bewegt werden könnte. Ihre Haltung richtet sich gegen jegliche Art der Diskriminierung.

option weg ist ein musikalischer Gemischtwarenladen, mal balladenhaft, fast folkig, dann wieder punkig und tanzbar.
Ohne Spaß geht gar nichts.
Ohne Hirn auch nicht.

Anja, Hella, Steffen und Yok kommen aus Berlin und außerdem aus allen Bereichen der linken Subkultur von Zirkus bis Theater, von Punkband bis Strassenmusik, von Revolte Springen und TUM bis hin zu Daisy Chain und Flexicute.

Still time to move!

http://pocketpunk.so36.net

Option Weg Upcoming Concerts:
6.12.09, 21:00, Supamolly, Jessenerstr.41 in Berlin /Friedrichshain, together with "Rut Randale.
2.12. Halle - VL
3.12. Braunschweig - Nexus
4.12. Kiel - Alte Meierei
5.12. Hamburg - Rote Flora

UNE CRISE SINON RIEN

I-WEI LI — 2009-11-09T22:39:39Z

UNE CRISE SINON RIEN/ de quoi avez-vous peur?
Crisis or Nothing/ What are you afraid of?
film, (22:03)
By Pierre Bongiovanni & I-Wei Li
For Théâtre Forum Meyrin, Geneva

UNE CRISE SINON RIEN

UNE CRISE SINON RIEN Trailer

UNE CRISE SINON RIEN/ de quoi avez-vous peur?
Film Screening & Discussion: November 9, 10, 11 / 2009
Théâtre Forum Meyrin / Place des Cinq-Continents 1 Case Postale 250 / CH-1217 Meyrin 1
www.forum-meyrin.ch