פולנק
プーランク
Karen Vourc’h
La Voix Humaine

La Voix humaine is the first “lyric tragedy” to take place entirely over the telephone. The argument is simple: this is a woman’s last conversation with the man she loves, as he prepares to marry another. Story of a suicide attempt, distressing cuts, interference: so many stages in this modern telecommunications ordeal where passionate love follows
new ways and deviations.“If you don’t like me and if you were clever,” the woman said to the man, “the phone would become a scary weapon. A weapon which leaves no traces, which does not make noise … “

Return to Sender
Disarm music box
For the work group Disarm, he was able to use 6,700 weapons confiscated in the Mexican drug war and transform these into musical instruments[…] They play well-known, classical music pieces from the respective manufacturer’s country of origin. A musical box made with Glock pistol parts plays Mozart, Beretta barrels Vivaldi, while Reyes’s weapon of choice for Swiss songwriter Mani Matter is the Carabine. Reyes is concerned with «upcycling» – transforming an instrument of death into a musical instrument that stands for dialog and exchange. He undertakes this transformation process with the conviction that the physical act is always accompanied by an idealistic one and appeals to the spiritual dimension of this quasi-alchemical operation towards the good.

AI Facial Profiling, Levels of Paranoia

マウリツィオ·カテラン
Маурицио Каттелана
SELF-TEACHED CONTEMPORARY ITALIAN ARTIST, BORN IN PADUA IN 1960 CURRENTLY LIVING IN NEW YORK. HIS ARTISTIC PROPOSAL IS LOCATED BETWEEN SCULPTURE AND PERFORMANCE (ARTISTIC ACTION WHERE AN ARTIST OR A GROUP OF ARTISTS PARTICIPATES WITH THE USE OF THE BODY AS A SCULPTURAL ELEMENT “LIVE” IN FRONT OF THE PUBLIC), WORKING MAINLY IN THE GAME. THE SENSE OF HUMOR AND THE TRANSGRESSION OF THE ESTABLISHED SYMBOLS CONSTITUTE ITS MAIN EXPRESSIVE WEAPONS.

ТОНИ МАТЕЛЛИ
Tony Matelli is one of several artists who have become known for reinterpreting the tradition of hyperrealism in American sculpture. During recent years he has moved away from his earlier depictions of humans and animals towards examining signs of human presence. Using an often hyperrealistic idiom, Matelli describes the more disquieting sides of human beings and human society. His sculptures straddle the boundary between uneasiness and humour: in a number of the works he turns innocence into absurdity, such as when animals or humans are maltreated by various weapons and devices. He was born 1971 in Chicago, IL and lives and works in New York, New York.

Class room chair
Polyfunctionality and deconstruction of everyday objects, irony and humour as weapons and moments of profound insight: these are some of the ideas behind the works by the architect, designer, sculptor and film-maker, Stefan Wewerka (born in 1928, in Magdeburg).
In his works, Wewerka pushes against conventional concepts relating to art and aesthetics, rationalism and functionalism. As a result for instance, the Last Supper is turned into a weird affair, the kitchen space turned into a kitchen tree. Wewerka’s unmistakable trademark is the manipulation of chairs. Sawn, hacked and bent out of shape, these chairs subversively thwart previously unquestioned concepts relating to furniture. In stark contrast to this, however, are his sculptural furniture designs, adapted to suit the requirements of the human body and its habits.

ТОНИ МАТЕЛЛИ
arrangement
Using an often hyperrealistic idiom, Matelli describes the more disquieting sides of human beings and human society. His sculptures straddle the boundary between uneasiness and humour: in a number of the works he turns innocence into absurdity, such as when animals or humans are maltreated by various weapons and devices. He was born 1971 in Chicago, IL and lives and works in New York, New York.

ТОНИ МАТЕЛЛИ
Arrangement
Using an often hyperrealistic idiom, Matelli describes the more disquieting sides of human beings and human society. His sculptures straddle the boundary between uneasiness and humour: in a number of the works he turns innocence into absurdity, such as when animals or humans are maltreated by various weapons and devices.

Facial Weaponization Suite
Die Facial Weaponization Suite protestiert gegen die biometrische Gesichtserkennung – und die Ungleichheiten, die diese Technologien verbreiten -, indem sie in Community-basierten Workshops „kollektive Masken“ erstellt, die aus den aggregierten Gesichtsdaten der Teilnehmer modelliert werden. Dies führt zu amorphen Masken, die von Menschen nicht als menschliche Gesichter erkannt werden können biometrische Gesichtserkennungstechnologien. Die Masken werden für öffentliche Interventionen und Aufführungen verwendet. Eine Maske, die Fag-Gesichtsmaske, die aus den biometrischen Gesichtsdaten vieler queerer Männergesichter generiert wird, ist eine Antwort auf wissenschaftliche Studien, die die Bestimmung der sexuellen Orientierung durch schnelle Gesichtserkennungstechniken verbinden. Eine andere Maske untersucht eine dreigliedrige Vorstellung von Schwärze, die zwischen biometrischem Rassismus (der Unfähigkeit biometrischer Technologien, dunkle Haut zu erkennen), der Bevorzugung von Schwarz in der militanten Ästhetik und Schwarz als dem, was informell verschleiert, aufgeteilt ist. Eine dritte Maske befasst sich mit den Beziehungen des Feminismus zu Verschleierung und Unmerklichkeit und betrachtet die jüngste Schleiergesetzgebung in Frankreich als einen beunruhigenden Ort, der Sichtbarkeit zu einer unterdrückenden Kontrolllogik macht. Eine vierte Maske greift den Einsatz von Biometrie als Grenzsicherungstechnologie an der mexikanisch-amerikanischen Grenze und die daraus resultierende Gewalt und den damit verbundenen Nationalismus auf. Diese Masken überschneiden sich mit der Verwendung von Maskierung durch soziale Bewegungen als undurchsichtiges Werkzeug der kollektiven Transformation, das dominante Formen politischer Repräsentation ablehnt.

MENSKE

Even the standing room only tickets have sold out, and the raging mass of disappointed kids looks like they may start a riot: the atmosphere before Ultima Vez’s performance is akin to a rock concert. Choreographer superstar Wim Vandekeybus’s company has toured the world with their trademark vocabulary of acrobatic, extreme, often violent movement, soaked in multimedia and energetic music. Menske (meaning approximately ‘little human’), their latest work, has all the typical flaws and qualities of classic Vandekeybus. On the conservative end of political intervention, Menske is an explosive concoction of brash statements about the state of the world today, a sequence of rapidly revolving scenes of conflicting logic: intimist, blockbuster, desperate, hysterical. The broad impression is not so much of a sociological portrait, but of a very personal anguish being exorcised right in front of us, as if Vandekeybus is constantly switching format in search of eloquence. Visually, it is stunning, filmic: a slum society falling apart through guerrilla warfare, in which girls handily assume the role of living, moving weapons. A woman descends into madness in an oneiric hospital, led by a costumed and masked group sharpening knives in rhythmic unison. A traumatised figure wanders the city ruins dictating a lamenting letter to invisible ‘Pablo.’ Men hoist a woman on a pole her whole body flapping like a flag. “It’s too much!” intrudes a stage hand, “Too much smoke, too much noise, too much everything!” And the scene responsively changes to a quiet soliloquy. At which point, however, does pure mimesis become complicit with the physical and psychological violence it strives to condemn? Unable to find its way out of visual shock, Menske never resolves into anything more than a loud admission of powerlessness.

Pick Up Your Weapons