RODEO, Way Back Home


Susanna Pat­ten, is an award-winning song­writer, drum­mer and vocal­ist with a music career span­ning almost a decade across three con­ti­nents. She is a found­ing mem­ber of much-lauded Aus­tralian indie band I Heart Hiroshima and has per­formed with the likes of Peaches and Sia. She has toured with every­one from Ratatat and Cat Power, to fel­low Brisbane-originated bands Regur­gi­ta­tor and The Grates.

Together with pro­ducer Dar­ren Jen­son (DJ Down­town) she com­bined the stripped-down indie aes­thetic of her pre­vi­ous work with with dance­able elec­tro beats on songs of a decid­edly per­sonal nature. RODEO was born.


At first the RODEO moniker served as a DJ moniker for shows that took her around Ger­many, Brus­sels and to New York City. Then in 2011 Susie began test­ing her solo work in a live envi­ron­ment. Later that year, she released When It Reigns EP, a five-track col­lec­tion that has been described as “like Nena slowly and sen­su­ally beat­ing Annie Lennox over the head with a key­tar.” Early 2012 then saw the release of the sin­gle Sold Me Out / Turn Back. With her new sound and Euro­pean home she plans to con­quer dance floors through­out the world.

Susie cur­rently lives in Berlin with her cat Oskar. Check out the all new video for the first sin­gle from Rodeo’s first LP com­ing up this sum­mer! video by black cracker.

8 BiT VoMiT’s 1° Birthday Party!



8 BiT VoMiT is a series of New Media art and music events founded by Graphic designer, DJ and artist Olya Lev­is­tova and Social Media and Pro­mo­tion enthu­si­ast Tanja Korobka. It has been cre­ated by Lon­don Chip Swarm with a mis­sion to grow chip­tune scene.

Lose your­self in explo­sive elec­tronic beats brought to you by Mind­pi­rates, 8bit Vomit, Chip swarm and DIY Church with a gath­er­ing of DJs and live acts from all over Europe. Dance your heart away and free your soul in a mix of indus­trial, noisy and loud sounds with visu­als by NZNZ, Gab­ifront, and Wario.

Meet the crea­tures of tomor­row to have a night of future fun with: COMPANY FUCK (AU / DE), MIDI MAN, Del_F64.0 & Zus­tand D. (DE), BEN BUTLER AND MOUSEPAD, SANTISIMA VIRGEN MARIA, DR. NEXUS and EYE, DJ OLIO (EE), DJ MICHAEL ANISER (noisekölln/epitaph). VIDEOGAMEZONE BY Qubodup (Joyride­labs).

Free mix­tapes, can­dyfloss, deco, and more. Sup­ported by and MINd­PI­rates


TPB AFK: The Pirate Bay Away From Keyboard, Worldwide Premiere On Friday 8th


Two years in the mak­ing, TPB AFK is a doc­u­men­tary about three com­puter addicts who rev­o­lu­tion­ized the world of media dis­tri­b­u­tion with their hobby home­page. How did Tiamo, a beer crazy hard­ware fanatic, Brokep a tree hug­ging eco activist and Anakata, a para­noid cyber lib­er­tar­ian, get the White House to threaten the Swedish gov­ern­ment with trade sanc­tions? TPB AFK explores what Hollywood’s most hated pirates go through on a per­sonal level.

It’s the day before the trial starts. Fredrik packs a com­puter into a rusty old Volvo. Along with his Pirate Bay co-founders, he faces $13 mil­lion in dam­age claims to Hol­ly­wood in a copy­right infringe­ment case. Fredrik is on his way to install a new com­puter in the secret server hall. This is where the world’s largest file shar­ing site is hidden.

When the hacker prodigy Got­tfrid, the inter­net activist Peter and the net­work nerd Fredrik are found guilty, they are con­fronted with the real­ity of life offline – away from key­board. But deep down in dark data cen­tres, clan­des­tine com­put­ers qui­etly con­tinue to dupli­cate files.

As much as I am cel­e­brat­ing the upcom­ing release of the film, it is a time of mixed emo­tions for me. When I started film­ing this project in 2008 I had no idea the launch of the film would sync with my main char­ac­ters’ prison sen­tences. They gave me access to their pri­vate lives but won’t be able to share the pre­miere with me.

Anakata is cur­rently serv­ing his prison sen­tence and Peter and Fredrik are wanted. The trial against TPB is proof that the issue around copy­right has not been solved. I hope their story will re-spark the con­ver­sa­tion around civil rights in the dig­i­tal age – beyond the so called Con­tent indus­tries. Let’s work together to find fair solu­tions to both keep the inter­net open while pro­tect­ing everyone’s rights in the dig­i­tal age.’

Please join us for the world pre­miere on Fri­day 8th and share the film as much as you can!

Camover: Anti-Surveillance Real Life Gaming


Ger­man dis­si­dents are tak­ing gam­i­fi­ca­tion and apply­ing it to activism in order to protest the rise of sur­veil­lance tech­nol­ogy in the coun­try. Camover 2013 is a com­pe­ti­tion unfold­ing across the coun­try, in which teams attempt to destroy as many CCTV cam­eras as pos­si­ble. Bonus scores are given to the teams that dis­play the most cre­ativ­ity in destruc­tion. In the video invi­ta­tion below you can see ski-masked “play­ers”  tear­ing the cam­eras down with ropes, smash­ing them out with ham­mers, and black­ing them out with bil­low­ing clouds of spray paint. Teams are encour­aged to upload their con­quests to the Camover web­site.

Tthe Ger­man debate about the use of sur­veil­lance in pub­lic spaces has come to the fore in recent years. While CCTV cam­eras have been in use in the coun­try since the mid–1960s, last year’s Bonn bomb scare and a pub­lic mid­day mur­der in bustling Alexan­der­platz lead the country’s Inte­rior Min­is­ter to call for bring­ing the cam­eras out of the train sta­tions and onto the street. The Min­istry claims they have been shown to reduce crime by as much as 20 per­cent, although not all reports on the cam­eras’ effec­tive­ness as a deter­rent have been favorable.


The moral and legal con­cerns asso­ci­ated with the will­ful destruc­tion of prop­erty in the real-world make this much more than a “game,” and the cre­ators admit that it’s a seri­ous mat­ter. Camover’s anony­mous founder: “although we call it a game, we are quite seri­ous about it: our aim is to destroy as many cam­eras as pos­si­ble and to have an influ­ence on video sur­veil­lance in our cities.”

Camover ends on Feb­ru­ary 16th, three days before the start of the Euro­pean Police Con­gress.

Chuckamuck free E.P.

Chuck­a­muck is with­out doubt the fun­nier band in berlin right now.
Lo-fi retro rock with atti­tude, a bunch of gui­tar geeks that looked like school boys and act like school boys, in an awe­some way: we don’t care if it sounds good, we just wanna have fun! It is messy and out of tune and they put always the best shows.

They started sim­ple at school, play­ing shows wher­ever, when­ever. As long as there would be peo­ple to party with, they didn’t care. It’s not about the money they say but for the fun of mak­ing music. Now they indulge their fans with a “mix-tape”, a free down­load con­tain­ing rough record­ings of their new songs for the e.p OMELETT, just to give you a taste of what’s in store on their sec­ond album that’s still in the works.

Click on the cover below for OMELETT

Paul McCarthy’s The Box in the Neue Nationalgalerie

The Amer­i­can artist Paul McCarthy has become inter­na­tion­ally well known due to his provoca­tive, often socio-critical art instal­la­tions and per­for­mances. His life’s work, which he has been cre­at­ing since the 1960’s, was inspired by “pri­mal themes” in Amer­i­can soci­ety and is char­ac­ter­ized by irony, unmask­ing and the grotesque, as well as a com­plex nexus of inter­ac­tion between media and materials.

McCarthy’s instal­la­tion, The Box, was an exact yet dra­mat­i­cally skewed replica of the artist’s entire stu­dio placed inside a giant wooden crate. Set at 90 degrees, McCarthy’s studio-in-a-box was phys­i­cally dis­ori­ent­ing with every piece of fur­ni­ture, video equip­ment, tool, paper and prop emerg­ing from the right hand wall instead of the floor. In this side­ways stu­dio, the orig­i­nal floor and ceil­ing became walls, and the orig­i­nal walls became the floor and ceil­ing. View­ing the space through the frame of one of the studio’s rec­tan­gu­lar win­dows, the sculp­ture was trans­formed into a mon­u­men­tal 3-D paint­ing that was 20′ high and stretched 50′ to the rear of the room.  The out­side of The Box was made of unfin­ished wood while the inside con­tained every one of the studio’s thou­sands of actual objects and was com­plete with open­ings that were iden­ti­cal in loca­tion and size to win­dows and doors of the actual stu­dio. The con­tents of The Box were all placed in the same visu­ally chaotic posi­tion as they were in the orig­i­nal stu­dio. The nature of the box’s interior–its dis­torted per­spec­tive, enor­mous length, and unbe­liev­able clutter–charged the space with an obses­sive, dis­con­cert­ing qual­ity.
Until So 4. Novem­ber 2012 / Neue Nation­al­ga­lerie, Berlin

Tonight: Controversial ‘Golgota Picnic’ in Berlin

The most con­tro­ver­sial the­ater piece of last year, “Gol­gota Pic­nic” will be shown in Berlin as part of the For­eign Affairs Fes­ti­val.

Paris’s most pres­ti­gious the­atre was being pro­tected by riot police and guard-dog patrols on Thurs­day after it became the lat­est tar­get in a wave of Catholic protests across France against so-called “blas­phe­mous” play.

Two men reported to have links to fun­da­men­tal­ist Catholic groups were arrested at the week­end while attempt­ing to dis­able the theatre’s secu­rity system.

The­atre­go­ers have been advised to arrive an hour early to get through the airport-style secu­rity before reach­ing their seats.

Jean-Michel Ribes, head of the Théâtre de Rond-Point, appealed for calm. He said: “The Théâtre du Rond-Point isn’t an anti-Christian, anti-Muslim or anti-Jewish place.” But he said the role of artists was to fight against “suf­fo­cat­ing dogma”.

That was the reac­tion when the play was shown in Paris last year.

In Gól­gota Pic­nic, Argen­tin­ian direc­tor Rodrigo Gar­cía makes a furi­ous indict­ment of west­ern soci­ety. He aims at muse­ums as modern-day tem­ples in which Chris­t­ian iconog­ra­phy rep­re­sent­ing tor­ture – crowns of thorns, cas­ti­ga­tion and cru­ci­fix­ion – is pre­sented even to chil­dren. Blood and beauty go together, for exam­ple in pas­sages of Bach’s St. Matthew Pas­sion, which tells of suf­fer­ing and death while meat is churned through a min­cer on the big screen and worms crawl bury into ground flesh. Gar­cía presents a macabre pic­nic, using con­sumerism as a stage, and pro­vokes a seri­ous, con­tro­ver­sial debate on Christ’s promise of heal­ing that founders due to human self-empowerment. Finally, there is extreme chaos, made up of silence, iso­la­tion, and decel­er­a­tion – beauty that has to be endured. And with­out redemption.

The play will be in Span­ish with Ger­man sub­ti­tles and will be fol­lowed by an artist talk.

The Extraordinary Anti-Nazi Photomontages of John Heartfield

John Heart­field is one of the most impor­tant Euro­pean artists. He works in a field that he cre­ated him­self, the field of pho­tomon­tage. Through this new form of art he exer­cises social crit­i­cism. stead­fastly on the side of the work­ing class, he unmasked the forces of the Weimar Repub­lic dri­ving toward war.” said he writer, Bertolt Brecht.

John Heart­field was a pio­neer of mod­ern pho­tomon­tage. Work­ing in Ger­many and Czecho­slo­va­kia between the two world wars, he devel­oped a unique method of appro­pri­at­ing and reusing pho­tographs to pow­er­ful polit­i­cal effect.

 At a time of great uncer­tainty, Heartfield’s agi­tated images fore­casted and reflected the chaos Ger­many expe­ri­enced in the 1920s and ’30s as it slipped toward social and polit­i­cal cat­a­stro­phe. In this cli­mate, com­mu­nists, Nazis, and other par­ti­sans clashed in the press, at the bal­lot box, and on the streets. The impact of Heartfield’s images was so great that they helped trans­form pho­tomon­tage into a pow­er­ful form of mass communication.

Heart­field devised photo-based sym­bols for the Com­mu­nist Party of Ger­many, allow­ing the orga­ni­za­tion to com­pete with the Nazis’ swastika. His images of clenched fists, open palms, and raised arms all implied bold action and determination.

Pho­tomon­tage allowed Heart­field to cre­ate loaded and polit­i­cally con­tentious images. To com­pose his works, he chose rec­og­niz­able press pho­tographs of politi­cians or events from the main­stream illus­trated press. He then dis­as­sem­bled and rearranged these images to rad­i­cally alter their mean­ing.

Heartfield’s strongest work used vari­a­tions of scale and stark jux­ta­po­si­tions to acti­vate his already grue­some photo-fragments. The result could have a fright­en­ing visual impact.

In the 1930s the Nazis were gain­ing ground in Europe. Many chose to ignore or had a lais­sez faire atti­tude to the National Social­ist pol­icy of expan­sion­ism, known as Leben­sraum or the threat of war that Ger­many now posed to the world.  Heart­field had always been a rad­i­cal when it came to Ger­man nation­al­ism. Born in 1891 as Hel­mut Herzfeld he saw the hor­rors of the First World War first hand. Although pro­pa­ganda was rife and rabid on both sides he made the extra­or­di­nary move of angli­ciz­ing his name in 1916, in the mid­dle of the war, to protest against such nationalism.

The real motive for Hitler’s stran­gle­hold on polit­i­cal power in the thir­ties was some­thing that was utterly trans­par­ent to Heart­field. Here, he gives Hitler the Emperor’s old clothes and upturned mous­tache to reveal that power had sim­ply changed hands and noth­ing had changed in demo­c­ra­tic terms. As a left wing social­ist, Heart­field was dia­met­ri­cally opposed to the extreme right wing National Social­ism (Nazism) that swept Ger­many (although it bor­rowed poli­cies from both left and right wing). It was after found­ing a satir­i­cal mag­a­zine, Die Pleite, that he met Brecht. Later he would work for the weekly AIZ (pub­lished in exile, of course, this sort of thing would never have been allowed inside The Father­land). It was for AIZ that he pro­duced most of his pho­tomon­tage work.

After the defeat of Hitler and Nazism, Heart­field returned to Ger­many and lived out the rest of his days in East Berlin. His life and works were com­mem­o­rated on a postage stamp. Dur­ing the later years he worked closely with a vari­ety of the­ater direc­tors and in 1967 he vis­ited Lon­don to pre­pare for a ret­ro­spec­tive of his work. Unfor­tu­nately he died before this hap­pened, but his widow com­pleted the work for the exhi­bi­tion and it was shown at the ICA in 1969. Although the Tate Mod­ern in Lon­don did a ret­ro­spec­tive of his work a few years ago, he remains a lit­tle known artist. Per­haps this short piece will help to put that right. Although a blue plaque in Lon­don is some­thing, some­thing more per­ma­nent would be much better.