Pumpin’ and Dumpin’
November 15, 8pm-1am
Boerhaaveplein 28, Amsterdam
Curated by Maisa Imamović.
Welcome to the closing night of MoneyLab #7. Come and enjoy this chain of atmospheric live acts. Things are happening around you, but you are not obliged to participate. Artists are invited to respond to the Outside of Finance topic–with no strings attached. We warmly invite you all to chill and be present in this space of collaborative reflection.
Here’s our line-up: a romantic podcast situation on tech and wellbeing; a fake academic speed metal power-point band balancing between dark enlightenment and decentralized technologies; a performative beginning of a DJ set- narrating ambient and hardcore tones; evolution of blockchain Plexiglas installation; a poetic enhancement of female bodies in times of cryptocurrency, followed by the sound of the analog synthesizer; an awkward exchange booth; a closing vibe with a parallel VJ set.
Participating artists: Digidopamine, Dungeon Master, DJ Let Go + Miranda Suárez, Lisa Gliedurpuppe + Jarra, Karina Palosi (BrowserBased), and Guillaume Roux.
DIGIDOPAMINE is launched as MU’s informal and irregular Friday evening talkshow on RaRaRadio, discussing melancholy, sadness and wellbeing in music, art, and culture; by Harm Hofmans and Nadine Roestenburg.
Harm Hofmans (BSc, MA; MU & Doornroosje) is fascinated by the hubris of humankind in technological times. This art-educator/marketeer/hobby-philosopher/full-time flâneur likes to wander through uncanny valleys, enjoys to explore the back alleys of popular culture and loves to declare all science fiction.
Nadine Roestenburg (MA cultural studies, BA graphic design; Fontys & STRP) is a researcher and curator who gets excited about the contemporary post-digital struggles with the internet, digital devices, networks, being online and/or offline. Nadine is fascinated by almost everything in life, including digital detoxes, online shopping, self-help books and the well-being industry.
Dungeon Master is the world’s most brutal Academic Speed Metal Powerpoint band. If you are looking to learn about the blockchain and how you too can get involved, this is the presentation for you! Hot off the file >export>render prompt, Dungeon Master will deliver their brand new Powerpoint album, “Fear and Trembling: On the Blockchain.” Featuring timely information and important animated diagrams about the emergent dark cloud of distributed evil overtaking western civilization, prepare to be educated to a bloody pulp by Dungeon Master’s heavily researched blast beats and expert guitar riff expositions.
DJ let go’s real peaces are sonic expositions that contemplate the notions of the iconic, the symbolic, that holding-on conservatism, that are embodied by these lists that appear at the end of the year: the ultimate best-pop songs of all time. Within DJ Let go, Abel Kroon is involved in the tension between elegant decay and design in an increasingly noisy infosphere, and researches a creative modality that envelopes both materializing and disintegrating forces. The real peace containers the remnants, left overs from a dinner. It’s a function that feeds on hit POP songs and that patiently turns them into dust. Auto-destructive desert-making algorithm. A process reproduced poorly within the digital realm.
Let go turns the figure into ground. Through the submission of data, virile and unrestrained, by a process of simulated decay imitating the laws thermodynamics he draws a landscape, a desert numberless years after the fall of our current civilizations. And the sand, scattered by the wind, are all snippets of loops in a chaotic ruffle. The 146th generation fragment flies past, then the 5th, barely scathed, then the 47.000th. Timeless in its disarrangement. Illegible archaeology. Guns and Roses, dust in the wind, lossy storms, real hiphop.
Lisa Gliederpuppe is a visual artist, graduated from the Willem de Kooning Academy in Rotterdam in 2010, and from the masters program Media Technology at Leiden University in 2016.
Female icons are a constant source of inspiration for the work of Lisa Gliederpuppe. In recent years, she became an active participant and observer of several online communities around contemporary role models. Although her work is firmly rooted in the present, it is equally nostalgic because of its varied connections to historical icons and personal youthful recollections. It can take the shape of an installation, film or performance, depending on the sphere of its appearance.
Jarra is a sound artist and works mainly with field recordings and analog synthesizers. With field recordings he discovers hidden layers of common sounds. Jarra prefers an acousmatic approach in which sound has an ontological status, rather than a property of, or a reference to something else.
Karina Palosi (BrowserBased) is part of a group of internet-related artists, who participate in and organize exhibitions and offer platforms for net art, since 2013. Their activities vary from meetings to artists’ talks and screenings, from making login interesting again, to bringing the Internet Black Market, a.k.a. the Yami Ichi to NL, in 2015 and participating with 69.numbers.suck in ADAF2016. Further, browserbased has also organized events like the Leap Second of 2017 online and Near Enough? in Amsterdam in 2018 or WannaTry? in Greece and WannaTry (Again)? in Brazil in 2019. Presently, browserbased engages in co-curating the Very Large Works and The Burrow for TheWrong 2019-2020.
Online, next to browserbased.org, where they document recent and past projects, they also run an open Facebook group page on net-culture with 2300+ active followers. Core members of the group are Zsolt Mesterhazy, Rad0van Misovic, Karina Palosi, Alex Zakkas and Joubin Zargarbashi.
Miranda Suárez (VE/DE) is Venezuelan born anthropologist and artist. She has studied anthropology under Marie-Claude Mattei-Muller from the Central University of Venezuela.
As a recent economic migrant/refugee who set up base in Berlin, and feeling excluded and exhausted by academia life, she started to experiment with different strategies of expression in order to revive her bygone agency. As a consequence she is reworking her ideas and work as an artistic practice, where her background as an anthropologist is never far away. Marked by her diaspora her work has shifted its center of gravity into the notions of home and the politics and economics of in- and exclusion.
Guillaume Roux has a Master’s degree from the Institut Supérieur des Beaux Arts de Besançon. He is interested in new digital media, and the impact on designers. His work is based on 3D animation, interactive design and Deep Learning.