After releasing our EP “Part-Time Punk” on Detriti Records, we feel more motivated than ever to play our music, make new tunes, and vibe with you people. So, we would like to have a tiny session with you to celebrate our EP.
While hoping to play for you in smokey, trashy bars and clubs, this time we invite you to a tiny online session in our Gazino in Wassertorstrasse, Berlin.
We would love to pass our warmest thanks to Kor for mastering our sound. Big thanks also go to Dolmus Magazine and NCOUNTERS for supporting us in this event. Without any of them, this event would not be possible.
As human beings, our consciousness has been in constant change since our birth and has never been fixed. Every living thing in nature experiences conscious and cognitive changes depending on internal and external factors and reacts to the outside world accordingly.
Since we live in society, the concept of mask reflects the effects of our individuality on us and on those around us. It has emerged from our consideration of our effects on things. We may not be able to reflect our feelings all the time and act in line with our wishes.
We wear masks when communicating with the outer world. This consciousness is in constant transformation and renewal with several changes in our society and social life. Every change can be understood as being born into a new consciousness. But these births are usually too small for us to notice instantaneously. They grow together over time and form a pattern. When we look at it detailed, we can observe the difference.
Our character, whom we hardly see throughout the film, is overwhelmed by the abstract and concrete masks in society. Although the antivirus mask he wears when he goes out helps him hide some facial expressions, he is quite overwhelmed by not being able to breathe properly. Simultaneously, he wears an abstract mask that is not just about mimics, which he is most overwhelmed by it.
The abstract and concrete masks our character wears overwhelms him. He realizes that the reason for these masks is not to live in nature, but to live in the city. There are no humans in nature, no viruses, no masks to wear. Realizing this, our character experiences a great inner distress and every moment he stays in the city begins to feel like torture to him.
In this part, the crisis has come to an end and the explosion, in other words, the escape has started. Approximately 1-minute story of escape from the city. 200 bpm dark and fast-paced music with a very fast tempo playing in the background.
The stress, anxiety, and all the chaos in our character’s head, -whose escape is over and reaches nature- has come to an end. Unlike other scenes, the tempo of this scene is very calm and peaceful. The audience takes a stroll through nature. Our character, who gets rid of his mask and returns to his essence, gets caught up in the flow for a while and becomes just an observer.
The audience also becomes the witness of this observation.
With a track by /KU8I/, accompanied by dance choreography by Sascha Kimel, and audio-reactive videography by Baris Pekcagliyan, the piece stresses existential myths alongside a dark-rhythmic groove.
As an artist who grew up in Berlin, how would you describe the aesthetics between the city and your works?
The aesthetic relationship between me and Berlin is clearly visible in my work. I myself grew up on the 11th floor of a WBS 70 prefab building in Marzahn, the eastern part of the city.
In the years before the fall of the Berlin Wall, it was particularly attractive for the inhabitants of East Berlin to move to Marzahn. There you had a private toilet in the apartment, central heating, and no bullet holes in the facade – remnants of the war.
After the reunification, many people emigrated from Marzahn to find their happiness in the other parts of the Federal Republic.
I myself was born in 1990 and still have a GDR birth certificate and would therefore call myself post-east. Why post-east? My upbringing, my schooling, my growing up in the shady courtyards of the grey skyscraper complexes is a melting pot of the memories of my parents and the influences of the West. I don’t live there anymore, but I visit my old neighborhood regularly.
I am socially involved there and continue to follow the development of the district.
That’s why the satellite town, which is a populated area focused on primarily residential and less commercial or industrial, is still a theme in my works.
zahne-zeigen
Can you describe the main components of the aesthetics you have been constructing through your paintings? What kinds of artistic, cultural, and social inputs have fed your style so far?
My style is shaped by a whirlpool of thoughts, memories, and flimsy components.
Sometimes it is autobiographical, sometimes I use it as a proxy to construct my own truth. It is a collage of fear of what the future has in store for you, isolation, escapism, joyful failure, the interplay of past and present, the interlinkages of everyday life, and the perfidious joke about one’s own existence.
am aas ergotzend
What were the emotions and feelings that initially encouraged you to practice your art? Why did you choose painting as the medium? How do you feel while painting? How do you reflect this in your art?
Since childhood art has been an outlet for me to break out of a dirty everyday life.
It is therapy, refuge, curse, and blessing.
Which art movements and artists played considerable roles in shaping your mentality of art?
Art movements that challenge the aesthetic norm, such as Cubism and Expressionism, were very important to me from an early age. But also this in questions of society, by wit, by exploring new spaces, by the attack on art itself and by radicalism, such as the DADA, Fluxus, and the Viennese Actionism – have had a lasting impact on me. But elements such as reproducibility and repetition per se, as found in Pop Art, have also influenced my work.
