Datacide Talk/Performance/Discussion with Joke Lanz & Christoph Fringeli at Vétomat Berlin 17.12.2018

Illustration by Joke Lanz for Datacide 18 (coming soon)

The second in a new series of talk and discussion events hosted by Datacide and next:now at Vétomat Berlin.

Datacide presents
Talk, performance, discussion
With Joke Lanz and Christoph Fringeli


At Vétomat, Wühlischstr. 42, 10245 Berlin

Doors open 7pm

Christoph Fringeli: The Situationist International as World Cultural Heritage? A critique of the historicisation of a revolutionary group.

Joke Lanz: Spoken Word Performance

+ public discussion.


JOKE LANZ (*1965 Basel)

Joke Lanz has worked as a garbageman, factory worker, sales assistant, caretaker, housekeeper, carpet dealer, chicken farmer, record shop owner, night watch, sauna assistant, roadie, secretary, cleaner, nude model, part-time single father, chocolate producer, bike messenger…
Just to name a few!

But most of all, Joke Lanz is one of the most prolific and profound artists working in the border zones where performance and body art meet improvisation and Noise. Best known for his internationally acclaimed music project „Sudden Infant“, Joke Lanz is presenting his work since almost 30 years all over the world. Major themes of his works are childhood experiences, sexual eruptions, psycho mechanisms, auto-aggression.

For this event Joke Lanz will create a special spoken word performance where he’ll talk about his own life, strange encounters and the impossibility of being rational in irrational times.



Christoph Fringeli is an author, musician and publisher in Berlin. He’s a co-founder and editor of Datacide – the magazine for noise & politics and runs the record label Praxis as well as the retail and distribution outlet Praxis Records & Books.

“The Most Dangerous Game” was the title of a recent exhibition about the Situationist International and it’s “way to May 68” at the Haus der Kulturen der Welt in Berlin. It’s the latest in a long development in the historicisation of the group. Founded in 1957 it is by some seen as the “Last Avantgarde”, an art movement that abandoned art for revolutionary action and served as inspiration if not instigation of the May 1968 events in Paris and elsewhere. This seems in stark contrast to the fact that at the time of their self-dissolution in 1972 the group consisted of only three active members. Others again see their heritage picked up and amplified in cultural, social and activist movements from Punk to Reclaim the Streets. Their concrete contribution to the Communist Left, the part of the revolutionary movement the SI was actually part of, often remains obscured. Mystifications abound, and the question must be asked: Is there still danger in this game, or has the SI just turned into fodder for recuperation by the “spectacle”?

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