| | | | | | | | PPP - Protest Party Portraits 1995 – 1997
© Jules Spinatsch | | | | | TECHNO WORLDS / THE PULSE OF TECHNO | | | | Techno Culture in two exhibitions at Photobastei | | | | | | | 11 January – 31 March 2024 | | | | Opening: Thursday 11 January 6pm | | | | | | | | | | | | | | | | Paula Sunrise, 1997
© Vinca Petersen | | | | | | For the very first time, Switzerland’s techno culture is finding its way into the museum. To celebrate this multifaceted youth culture, Photobastei is proud to present two major exhibitions.
"TECHNO WORLDS" is supported by the Goethe-Institut. It engages with local and global techno perspectives through the works of visual artists and wages an experiment by showcasing some significant developments of techno and club culture.
"THE PULSE OF TECHNO" is produced by Photobastei, with a focus on Zurich’s techno scene, which took off in the 90s. The city became a European hotspot for electronic music, so much so that the Federal Office of Culture put Zurich's techno scene on the UNESCO Cultural Heritage list of living traditions in 2017.
The two exhibitions include an extensive supporting programme with parties by international and Swiss stars, concerts, workshops, an oral history series on club history: Zurich Calling, panels by the Zurich Bar and Club Commission and conversations with influential figures of the early days. | | | | | | | | | Timeline of the Black Exodus
© AbuQadim Haqq, Leo Rodrigues and Hector Rubilar | | | | | | TECHNO WORLDS by the Goethe-Institut – The Many Faces of Techno
The focus of the exhibition "TECHNO WORLDS", explores the multifaceted local and global relationship to techno, which Goethe-Institut has already premiered in diverse locations on three continents. The title refers to various techno scenes and genres, including international subcultural-political projects from varying periods. The exhibition is accompanied by a catalogue in which authors examine the techno phenomenon from diverse perspectives. After stops in North and South America, most recently in Los Angeles, Mexico City and Montevideo," TECHNO WORLDS" is pleased to premiere in a German-speaking country.
"TECHNO WORLDS" is curated by Mathilde Weh (Goethe-Institut), Justin Hoffmann (Kunstverein Wolfsburg) and Creamcake (Berlin). The team selected works from over 20 diverse international artists who reflect techno's transgressive attitude to life and sense of time in their art. These include the multidisciplinary and international collective Chicks on Speed, founded in Munich, and the US artist Tony Cokes.
With works by DEFORREST BROWN JR. & ABUQUADIM HAQQ / Tony Cokes/ CHICKS ON SPEED / Zuzanna Czebatul / Rangoato Hlasane / Ryoji Ikeda / Robert Lippok / Henrike Naumann & Bastian Hagedorn / MAMBA NEGRA / Carsten Nicolai / Vinca Petersen / Daniel Pflumm / Sarah Schönfeld / Jeremy Shaw / THE OTOLITH / GROUP / Dominique White / Tobias Zielony | | | | | | | | | Glow (The Pulse Of Techno)
© Rita Palanikumar | | | | | | THE PULSE OF TECHNO
In the 90s, techno took off in Zurich. The city became a European hotspot for electronic music, so much so that the Federal Office of Culture put Zurich's techno scene on the UNESCO Cultural Heritage list of living traditions in 2017.
Initially, it involved the same factors that helped techno take off internationally: affordability for synthesisers and other electronic devices, a passionate, curious youth, new drugs and the mesmerising, thumping bass of Detroit.
A broad and supportive community formed, and the first clubs and festivals sprouted up in the mid-90s, influenced by activists, as is still the case. Techno became omnipresent. International brands such as Rohstofflage, Streetparade, Labyrinth or Lethargy are examples of many in Zurich that documented this development.
With the fall of the Berlin Wall, when techno captured the spirit of the times and found expression in a never-ending, ecstatic celebration, it was also associated with a breakthrough and the promise of a better world. And globally, the political aspect of techno is expressed by its spaces and experiences rather than through song lyrics or slogans.
The exhibition traces this international culture and its specific form. It pays homage to the appropriation of spaces and the creation of temporary, autonomous zones, the transition from punk to electronic music, the legendary technical devices of the time, drug consumption, the graphic arts, the club as a safe space and many other issues.
With works by Daniel Allemann / Frances Belser / clubculture.ch / Colléctif des Idéalistes / dinaki - Konstandina Sotiropoulus / Drogeninformationszentrum (DIZ) Zürich / Laura Egger / Les Belles de Nuit / Tom Kawara / Petar Klingel / Thomas Fehlmann & Max Loderbauer / Markus Kenner / hitori ni / Rita Palanikumar / Arsène Saheurs / Oliver Seitz / Christoph Soltmannowski / smem - Schweizer Museum für elektronische Musikinstrumente / Jules Spinatsch / toktek - Tom Verbruggen / Yello / Nicola van Zijl | | | | | | | | | | Tiflis © hitori ni | | | | | | unsubscribe here
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