Arse Elektronika nibble in Playboy
Little Arse Elektronika shout-out in Playboy, March 2014.
Voila!
Die Gstettensaga: Review on PlanetNeukoln.tv
Stefan Tiron wrote a great review of our feature film "Die Gstettensaga".
I recently had the great satisfaction to watch a preview of a very fresh postapocalyptic feature film + a directorial debut, that premiered on Austria’s ORF in March this year. What I was asking myself this time was to try and appreciate an entirely different kind of algorithmic force that was once again set loose by Johannes Grenzfurthner (of monochrom fame) upon unsuspecting survivors of the last 35 years of road-warrior, post-nuke, after-the-bomb films.
As a friend just tweeted, now every Hollywood blockbuster seems to be written by some underlying algorithm. The end credits are just the cinematic equivalent to a CAPTCHA response – trying to identify the film crew as human, even if this last human verification test is untenable and obsolete.
Well, I kinda have this incredible (and maybe you do too!) and perverse desire to get to the bottom of actual directorial algorithms – trying very hard to enter the loop and be able to forget how Hollywood movie after movie manages to push an exact quota of car explosions, 3D makeover, eye-popping HD footage, hero worship, body count, family values, rescue missions ad infinitum into box office paradise.
Let’s be clear, I’m overenthusiastic about Gstettensaga – because it is such a genre bender, a satiric H bomb, a horror movie and ex-auction house vaudeville going for the unexpected dialectical turns of current history, and leading us into the untrodden and definitely outrageous wastelands that could be populated by the likes of Surf Nazis Must Die, Escape from NY, Steel Dawn or America 3000.
[...]
Link
Crowdratting works: "Die Gstettensaga: The Rise of Echsenfriedl"
"Die
Gstettensaga: The Rise of Echsenfriedl" contains a text insert similar
to watermarks used in festival viewing copies: "This viewing copy is
provided for awards consideration only." The text insert asks the viewer
to report the film as copyright infringement by calling a premium-rate
phone number (1.09 EUR/minute). The film aired on Austrian national
television in March 2014. Art group 'monochrom' co-financed the film
with proceeds from the premium-rate number. They call this new strategy
'crowdratting.'
More trivia: here.
"Are You Ready to Fuck Like a Nerd?" -- Arse Elektronika shout-out on Vice blog
Sure, classic nerds might be into MythBusters, Magic: the Gathering, and Minecraft. But
they’re also into sex. In fact, the crossover between sex and the more
traditional realms of nerd interest is longstanding; science fiction,
for example, is frequently pointed at as a source of progressive and
even transgressive sexual theory.
In devising alternate universes, authors, filmmakers, and fans imagine
new ways of living, loving, and fucking. Sci-fi and comics are full of
latex and leather and futuristic orgy planets where anything goes.
Everyone loves it. Conventions like Arse Elektronika exist exclusively to provide an intersection for the worlds of sex and tech.
Link
monochrom: Context Hacking Workshop in Linz
As it emerged in the 90s, the concept "communication guerilla" was, not least of all, a response to the exhaustion of traditional leftist activism after the fall of the Berlin wall. The search for new forms of praxis led (at least in some points) to a new, transversal praxis beyond
the realm of the "old" activism - even though the point of departure for this search was the experience of a seminal defeat of the left. Today, following the rise and possibly already the incipient downfall of a new global movement, the situation is a different one, and the question arises as to the extent to which this concept from the 90s is still useful. The new activism has become more global, more networked, but most of all, it has developed a new dynamic beyond political and national borders. At the same time, however, this activism still evinces many features of the old polit-activism, not only in the neo-communist party version of the SWP (Socialist Workers Party) and Globalize Resistance. Despite all the rhetoric, activism often still has a stance that is strangely separated from people's everyday life, even that of its own protagonists. The future of this global activism will depend on whether it succeeds in being capable of action at the local level, the level of everyday life, while continuing to develop its transversal, border-crossing character at the same time. The most important border that has to be crossed is the border that constitutes the activist her or himself in a separation from the "rest" of society. We think that the praxis of the communication guerilla can contribute to this kind of border-crossing.
At Art University Linz, Kollegiumgasse 2, 4th floor, Linz, Austria.
April 27 and April 28, 2014, 10:30am-5:00pm.
monochrom featured in reader "Truth is Concrete"
A handbook for artistic strategies in real politics.
How does art play a role in social and political struggles all over the world? Can it be a tool with which to shape the world rather than just reflect it? Following on from the "Truth is concrete" 24/7 marathon camp at the 2012 steirischer herbst festival, a manual of artistic strategies in politics and society is to be published in spring 2014 and is now available for pre-ordering. "Truth is concrete" collects 100 strategies by artists, activists and theorists, mapping the broad field of engaged art and artistic activism today. Additional essays focus on the philosophy, structures and modalities behind the many fights to make this world a better place.
Essays by Stephen Duncombe & Steve Lambert, Alanna Lockward, Chantal Mouffe,
Florian Malzacher, Gerald Raunig & Jonas Staal
A conversation with etcetera, Nato Thompson & WHW
Original contributions by Adbusters, Jonathan Allen, Udi Aloni, Hector Aristizabal, Artleaks, Katherine Ball, Leah Borromeo, Andrew Boyd, Tania Bruguera, Boris Buden, Carlos Celdran, Center for Political Beauty, chto delat, church of kopimism, Santiago Cirugeda, Corrupt Tour, Gabriela Csoszó, Minerva Cuevas, Neil Cummings, Diedrich Diederichsen, Charles Esche, Roza El Hassan, Femen, Noah Fischer, Andrea Fraser, Isabelle Fremeaux, Christine Gaigg, Ganzeer, Federico Geller, Marina Grznic, Núria Güell, Erdem Gündüz, Hans Haacke, Stefano Harney, Carl Hegemann, iconoclasistas, Institute for Human Activities, International Institute for Political Murder (IIPM), Janez Janša, Khaled Jarrar, Anna Jermolaewa, Jeudi Noir, John Jordan, Kaddu Yarrax, Kavecs, Janice Kerbel, Jisun Kim, Omer Krieger, Mierle Laderman Ukeles, André Lepecki, Lexxus Legal, Lawrence Liang, Liberate Tate, Geert Lovink, Matteo Lucchetti, Oliver Marchart, Joana Mazza, Tomislav Medak, Markus Miessen, Monochrom, Mosireen, Jean Luc Moulène, Rabih Mroué, Michael Murin, Marina Naprushkina, Neue Slovenische Kunst (NSK), occuprint, Ahmet Ö üt, Robyn Orlin, Sibylle Peters, Pixadores, Sra Popovi, Raivo Puusemp, raumlaborberlin, Reverend Billy, Richard Reynolds, Scott Rigby, Irit Rogoff, Florian Schneider, Shared Inc., Gregory Sholette, Stevphen Shukaitis, Mladen Stilinovi, Kuba Szreder, Claire Tancons, The Haircut Before The Party, The Laboratory of Insurrectionary Imagination (LABOFII), The Pinky Show, the vacuum cleaner, The Yes Men, Tiqqun, Tools for Action, Ultrared, Marina Vishmidt, VOINA, Joanna Warsza, WochenKlausur, Stephen Wright, Yomango, Salam Yousri, Wu Yuren et al.
Edited by steirischer herbst & Florian Malzacher
Co-edited by Anne Faucheret, Veronica Kaup-Hasler, Kira Kirsch, Andreas R. Peternell & Johanna Rainer
Sternberg Press
April 2014, English
16 x 22 cm, approx. 300 pages
Retail price € 19.00
(Till 12/04/2014: € 17,00)
Link
Context Hacking: Some Examples of How to Mess with Art, the Media System, Law and the Market @ Shenkar Design School
The term "context hacking" --like its older mimetic sibling "communication guerrilla" -- refers to unconventional forms of communication and/or intervention in more conventional processes of communication. Context hacking is a specific style of political action drawing from a watchful view of the paradoxes and absurdities of power, turning these into the starting point for interventions by playing with representations and identities, with alienation and over-identification.
Johannes Grenzfurthner will present some projects by monochrom, a worldwide operating collective from Vienna dealing with technology, art, and philosophy that was founded in 1993. The group specializes in an unpeculiar mixture of proto-aesthetic fringe work, pop attitude, subcultural science, and political activism. Their mission is conducted everywhere, but first and foremost "in culture-archaeological digs into the seats (and pockets) of ideology and entertainment."
February 25, 2014, 12 noon at Shenkar Design School, Tel Aviv, Israel.
Arse Elektronika on mako.co.il
Nice write-up about sex, tech and Arse Elektronika on mako!
Enjoy!
Link (Hebrew)
Arse Elektronika: Sex, Tech and the Future of Screw-It-Yourself @ Ha-Midrasha, Tel Aviv
A talk performance by Johannes Grenzfurthner / monochrom.
We may not forget that mankind is a sexual and tool-using species.
From the depiction of a vulva in a cave painting to the newest internet porno, technology and sexuality have always been closely linked. New technologies are quick to appeal to pornography consumers, and thus these customers represent a profitable market segment for the suppliers of new products and services.
Currently, all factors show that high-tech developments owe a great deal of their success to the need for further sexual stimulation. One could cite the example provided by the science-fiction concept of a full-body interface designed to produce sexual stimulation. But it isn't science fiction anymore. It's DIY.
As bio-hacking, sexually enhanced bodies, genetic utopias and plethora of gender have long been the focus of literature, science fiction and, increasingly, pornography, this year will see us explore the possibilities that fictional and authentic bodies have to offer.
Our world is already way more bizarre than our ancestors could have ever imagined. But it may not be bizarre enough. "Bizarre enough for what?" -- you might ask. Bizarre enough to subvert the heterosexist matrix that is underlying our world and that we should hack and overcome for some quite pressing reasons within the next century.
Don't you think, replicants?
February 27, 2014, 8 PM, presented by Ha-Midrasha in cooperation with Print Screen. At Ha-Yarkon Street #19, Tel Aviv, Israel.
monochrom features: "SAFECAST: Citizen Science after Fukushima Makes an Impact"
monochrom is glad being able to present a talk by really good friends.
Safecast is a non-ideological, non-profit, volunteer-based organization created in the days immediately following the the Fukushima NPP disaster, which began three years ago on March 11, 2011. The release of radioactive material was accompanied by a disturbing lack of clear public information concerning radiation levels in the affected areas, and a series of missteps and misstatements by the Japanese government and by TEPCO damaged their credibility in the eyes of large segments of the population. Credible and independent data concerning the growing radiation risk was sought by many to fill the acute information vacuum.
SAFECAST quickly began to field mobile detectors of its own design, which leveraged open-source software and hardware and new-generation DIY tools such as laser cutters and custom PCB fabrication to dramatically accelerate development and deployment time. The group simultaneously developed an information management system that allows GPS-tagged radiation data points to be uploaded into a central database and displayed on an interactive web-based map. SAFECAST's radiation information system has seen the rapid deployment no fewer than seven increasingly refined GPS-enabled mobile radiation detector designs, called "bGeigies," the web-based "GeoSense" map, a free iOS-based map application, and other devices and software, all developed by volunteers and made freely available through Creative Commons licenses.
The radiation data gathered by SAFECAST volunteers in Japan and abroad currently exceeds 15 million data points, arguably the most extensive public data set of its kind. It was soon hailed as a technically competent, credible, and objective source of radiation information for Japan by specialists on both sides of the nuclear power debate. SAFECAST has been invited to present it's methodology and criticisms at the IAEA "International Experts’ Meeting on Radiation Protection after the Fukushima Daiichi Accident: Promoting Confidence and Understanding," being held in Vienna from Feb. 17-21.
At Raum D, SAFECAST Volunteers Joe Moross and Azby Brown will show the group's latest mobile radiation detector designs, talk about iterative design and the challenges of building a technically adept global volunteer organization, and discuss what the future holds in store.
Raum D, Museumsquartier, Vienna.
February 21, 2014 at 7 PM.
monochrom's PROPOOL
SWIMMING POOL PISSERS!!!!
ENOUGH!
Link
monochrom press overview 2013
139 pages. Not bad.
Link (PDF)
Johannes Grenzfurthner (monochrom) @ Cybersalon
Image by Mona K Artist.
Short interview with monochrom's Johannes Grenzfurthner at Cybersalon
Phil Campbell did a nice interview with Johannes in London at Cybersalon.
Link
Jeff Ricketts interview featuring monochrom
Jeff Ricketts gave a great Reddit interview about his work... and he also shared some thoughts about his productions with monochrom.
I’m Jeff Ricketts, and I’m very, very happy and honoured to be here
answering your questions and interacting with you all! Before we get
started, here’s a little information about myself for those of you that
don’t know my work away from “Buffy The Vampire Slayer” and “Angel”...
I’m an American League-trained theatre, film, and television actor.
I’ve performed in over 100 plays in New York, International theatre,
Shakespeare festivals, and regional theatre. While in New York, I played
the title role of Richard Schechner’s critically acclaimed production
of FaustGastronome.
As far as I’m aware, I’m one of only six actors to appear in “Buffy
The Vampire Slayer”, “Angel”, and “Firefly”. I played Weatherby of the
Watcher’s Council in Buffy’s “This Year’s Girl” and “Who Are You?”, as
well as playing the same character in Angel’s “Sanctuary”. I also played
the Spider Demon in Angel’s “Sacrifice”, and played one of the two
‘Hands of Blue’ in Firefly’s “The Train Job” and “Ariel”. In addition to
my roles on Joss Whedon’s shows, I’ve also appeared in CSI, 24,
Charmed, Star Trek: Enterprise, Without A Trace, The Guardian, Philly,
The Drew Carey Show, and NYPD Blue.
These days I live in Austria. My work in Austria includes playing the
Captain of the International Space Station in Monochrom’s ISS. It’s an
improvised sitcom that was filmed in front of a live audience. You can
watch most of it for free here - http://www.monochrom.at/iss/
. My film credits include The Strange Case Of Wilhelm Reich, Holes,
Clockstoppers, and Amber Benson’s “Chance” (along with Whedonverse
alumni Amber Benson, James Marsters, and Andy Hallett). I’ve recently
wrapped shooting on “Good Morning Kabul”, directed by Barbara Eder.
Finally, I am about to appear in Monochrom’s film “Die Gstettensaga: The
Rise Of Echsenfriedl”, where I will play the leader of the Barbarians.
The film will premiere on ORF III in March of this year.
Link
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