Technoburlesque Image Snatchers: New Spring
Completely renovated, rejuvenated and multiplied Image Snatchers are inviting you to the New spring. System is worn out. It is time for the future to burst out of the new generation’s flower buds. Those who roved around in the dark along many performances, those who lonesomely supported primal reasons will finally be driven into focus of excitement, to the central event of Spring’s awakening and warbling. New songs, new dance pieces, new acquaintances! New spring is beginning of hick-ups that will explode if not released beforehand. Do not hold your breath anymore. Take responsibility for the new lives that Image Snatchers impregnated this very spring.
Tehnoburleska Tatovi podob: Nova pomlad
Popolnoma prenovljeni, pomlajeni in pomnoženi Tatovi podob vabijo na novo Novo pomlad. Sistem se je izpel. Čas je, da vznikne prihodnost iz brstečih popkov nove generacije. Tisti, ki so tavali v temi sami mimo mnogoterih prireditev, ki so samotno podpirali prvinske vzgibe, se bodo končno pripeljali v center vzburjenja, v osrednji dogodek pomladnega bujenja in žvrgolenja. Nove pesmi, novi plesi, novi znanci! Nova pomlad je začetek kolcanja, ki bo eksplodiralo, če ga ne sprostite. Nikar več ne zadržute diha. Prevzemite odgovornost za nova življenja, ki so jih zaplodili Tatovi podob prav to pomlad.
Feminalz: Crucial Pink, Mad Jakale, Mathilde Buns, Tristan Bargeld, Frau Strapatz, H.P.D. (hormonal perturbator in decay), Cica Mica Šlogerica, Rebellious KITCH Controversy, Rosa Dolores, Poppy Hoops
Costumes: Urška Recer, Matic Hrovat
Make-up: Tina Prpar (Tinka Pobalinka)
A mute comedy of the body that mocks the rigidity of social roles, human self-sufficiency, pretension. Performativity of the body in the gaps between silence and sound, shyness and excess, commonness and bizarre humour. Travesty of body and spirit as a sociopolitical liberation.
Technoburlesque is an intersection of (programme/cybernetic) code and subjectivity; a laying bare of the physical and emotional body indivisibly bound up with the information matrix of contemporaneity.
“I am riddled with ambivalence. I am both the rule and its exception, the law and its outcast, the doctor and the hysteric, I cannot be one without the other. I do not reject the images that consume me. I become them.” (Mady Schutzman)