Rave. Report. Remix.

In 1993, youngster Loris Ricardi is the art director of a night club destined to become the most transgressive in Italy: Cocorico. He conceives the concept of night-club-theatre transforming the dance floor into a place of provocation. The 90s began with the fall of the Berlin Wall and ended with The September 11 attacks. Years of creativity and destruction, everything seemed both possible and close to collapse. Those were also the golden years of Italian tourism: the Adriatic coast was the destination of a generation answering the call of dance music. And there appeared the iconic pyramid-shaped nightclub called Cocorico. Cocorico was not just a disco, it was a temple of entertainment, a theater of artistic, political and social expressions: a place that welcomed the emotions and anguish of past and present times. Cocorico Tapes is its story told through the unpublished found footage from those years and through the words - from today and back then - of former Art Director Loris Riccardi, his staff and those who attended the Club every week in a collective ritual. /La Furia

TIANZHUO CHEN – TRANCE: Die Performance hat verschiedene Stationen, das Publikum kann jederzeit kommen und gehen. Sitzplätze werden angeboten. Um das Geschehen aus der Nähe betrachten zu können, empfehlen wir jedoch, dass die Besuchenden sich im Bühnenraum bewegen. Einlass ist jederzeit möglich.In englischer SpracheTrigger: laute Musik, starker Lichtwechsel, Stroboskop-Licht (tbc), Sinn- und Themenüberflutug, psychedelische Wirkungen. A 12-hour theatre-rave odyssey.

Vom Bleiben. (What remains) in collaboration with Daniel Schulz, 2009-2013. This work documents the moment when the rave is over and the visitors have left the club. It´s the moment when the traces of the “night” become visible... As soon as the last visitors have left and the cleaning light has been switched on, we begin to photographically capture the current scene and atmosphere. The moment in these rooms before everything is put back in order, only exists for a short time and is only turned into an image by our presence and the camera. We artificially extend this moment with the long exposure time, as this moment of absolute emptiness and disorder only exists very rarely. We had set ourselves the task of documenting the often temporary existence or the emergence and disappearance of electronic music clubs over a certain period of time... „Life of the Party“ by: Aaron Rothmann Giesemann’s series Vom Bleiben, a collaboration with photographer and industrial designer Daniel Schulz, shows empty nightclubs after the party has ended. With the house lights on and the people away, the photos reveal the shabby details that go unnoticed at night. These spaces are meant to be experienced bodily, not visually. What matters is the music, the social interaction, the flow of people. Under the harsh, fluorescent light of day, the camera captures none of that, except as a trace. These are mostly spartan spaces; they look like industrial basements or, in a couple of cases, parking garages, minimally retrofitted for the purpose. The one outlier shown here has swooping lines and a DJ booth resembling an octopus, an extravagance that may appeal to a certain crowd, but doesn’t fundamentally change the function of the space. The visual aesthetic and design varies, but it is always less important than the practical concern of making a space for people to come together. The fun of these photographs is analyzing the subtle differences and guessing exactly what goes on in each room – what kind of people come, what music is played, what is the experience like? https://www.andregiesemann.com/vombleiben#18

ob Kann man auf das Festival Kazantip kostenlos geraten? Es ist möglich! Dafür ist nötig. . . Den gelben Koffer. Den gelben Koffer - gibt das nationale Symbol des Festivales Kazantip eben das Recht der visafreien Einfahrt in die Republik Z. d.h. bei Vorhandensein von dem gegebenen(vorliegenden) Attribut wird der Eingang(Zutritt) auf das Festival "Kazantip" kostenlos. Die Forderungen zum gelben Koffer und seinem Besitzer:

1. Der Koffer soll den staatlichen Standards entsprechen. 2. Der Koffer kann(darf) eines beliebigen Umfanges(Grösse) sein, aber er soll alt, klassisch mit hromirovannymi von den Winkeln sein, also, soll und, natürlich, er gelb sein. Alle billigen Fälschungen, die einige unzuverlässigen Bürger benutzten, werden ungültig anerkannt sein. 3. Auf der inneren Seite des Koffers soll die Fotografie des Besitzers aufgeklebt sein. 4. Der gelbe Koffer soll nach der Ankunft im Visadepartement registriert sein. 5. Befindend auf das Territorium(Gebiet) der Republik soll der Koffer (wie auch Visa) immer neben Ihnen sein. Bei der Abwesenheit bei Ihnen des Koffers werden Sie einen Verletzer des Visaregimes und unterliegen departatsii. 6. Die Sendung(Übergabe) der gelben Koffer anderen Personen(Gesichtern), den Durchgang eine nach der anderen dem Koffer einiger Personen(Gesichter), pronos im Koffer anderer Personen(Gesichter) und des Schmuggels ist karaetsja von den Zolldiensten streng. Die Koffer werden zerstört, und die Verletzer werden auf dem Lagerfeuer verbrannt.

Illbient is a genre of electronic music and an art movement that originated among hip hop-influenced artists from Williamsburg, New York City around 1994.[1][2] DJ Olive, and DJ Spooky, pioneers of the genre, have both claimed to have coined the term.[3][4] The word "illbient" combines the hip hop slang term "ill" (a positive expression: bad meaning good) and "ambient". Though there are many individualistic variants of illbient, the music is characterized by dub- and industrial-influenced[5] layering of soundscapes,[6] hip hop-influenced use of samples and a progressive approach to beat programming that encompasses all genres of world groove and electronic music. Illbient often uses beats more than purely ambient music (or dark ambient), and often includes loops in the recordings.[citation needed] Besides DJ Olive, other notable names and acts that were part of the original illbient scene included DJ Spooky, Raz Mesinai (Sub Dub, Badawi), We (which was the joint project of DJ Olive, Lloop, and Once 11), Byzar, Spectre and the artists that were released on his WordSound label around that time.