THE SPICE GIRLS ✨
More 90s and 2000s fashion, music and nostalgia on my Instagram @thesecretdiaryofa90sgirl
Pokemon Posters made by BadPonies
Pokemon Snap Polaroid Prints made by Teletelo
Photographed by me
Techno is a particularly peculiar genre of music. If quizzed, very few members of the general public in most countries would be able to name five techno songs. Yet, if asked to conjure ideas surrounding what the genre embodies, most, if not all would have some very specific and distinct ideas, however absurd or accurate: dance moves, gestures and even sound effects. Like many other genres of music, the role of Techno as a vehicle of change, unity, pride, liberation and experimentation for nearly three decades, has not only been somewhat downplayed but now faces a slow but certain erosion and disassembly at the hands of several societal and worldwide shifts affecting the unofficial home of the genre, Berlin. With that in mind and the very real threat to the authenticity and autonomy of the underground, there has not been a more appropriate time to share and celebrate the genre and the elusive, hedonistic and euphoric culture birthed by way of it.
‘No Photos on the Dance Floor!’ at C/O Berlin Foundation, Charlottenburg showcased this very culture (one aptly described in the press release as the last major youth culture movement in Europe to date), featuring the works of twenty-seven artists in 2019. The exhibition was no light lunch; rather several substantial courses of visual art across photographs and moving image, each of which provided an important, varied and unique visual meditation on the roles of attendee, location and era in Berlin, on Techno and club culture itself. Needing no introduction was the work of Wolfgang Tillmans, presenting a mildly interesting selection of images true to his often employed, no-frills style of curating, of spliced moments from nights out clubbing in the capital— the standout image being a long exposure of bare-torsoed men, captured as a huddled, ethereal collective form. Martin Eberle’s images, however, demanded more attention from the get-go and rightly so. Lifesize, flawless and detailed, they showcased clubbers, freshly post-rave complete with flaws and visual cues, as well as the temporary spaces transformed for the events themselves. Palpable and precise, his images could satisfy even the wildest of curiosities of non-ravers who may have never been clubbing in Berlin. When stripped of the context of darkness, strobe lighting and human presence, those bare, stripped-down spaces could pass as, and in some cases, exist as simple, generic places of mundane activity— waiting rooms, community halls or even storage spaces. Like many other DIY genres of music, one can see the power of performance as transformative, regardless of how uninspiring the location.
In addition were the works of Erez Israeli and Salvatore Di Gregorio, who both strayed from the herd with their respective commercial styles of portraiture, Tilman Brembs with his eclectic collection of faces, donning masks, wild hairstyles and gaudy jewellery, Camille Blake with her mix of candid and composed images… the list really does goes on. Likely the most contextual and historically important work was that of Ben de Biel; his slideshow of images from series ‘90-95’ displaying the desolation, destruction and despair of Berlin in it’s newly liberated post-cold-war state within black and white images, many of which seemed too post-apocalyptic to liken with the same city as it’s known now, little more than twenty-five years later. ‘Tacheles’, the totem image of sorts: a scene of three abandoned cars, consumed by arid earth against a backdrop of dilapidated buildings, fit to collapse. To truly understand the culture that arose into what we know now as Techno, one really must see the location and landscape that helped shape it.
As with most media exploring subcultures, there’s nothing more satisfying than seeing it documented by those part of that life. It was this air of authenticity, prevalent throughout the show itself, that allowed the often bittersweet ting of exploitation or insensitive fascination to remain absent. Not all works were necessarily compelling nor original in their approach, with many (especially images taken in the clubs themselves) seeming to overtly and suspiciously contradict the exhibition title, but all seemed relevant and accurately chosen to reflect a larger, lasting experience and present the inner-workings of what is for many, a sacred and dedicated lifestyle. The exhibition title and to a lesser extent, the viewing of these works and their temporary Techno worlds, could not be more relevant within our present age of both internet-addiction and rapid worldwide inner-city gentrification; the works themselves are reminders of real, organic collective experience, and its importance within an ever-growing digitised world.
‘No Photos on the Dance Floor! Berlin Techno 1992–Today’, compiled by Heiko Hoffmann, follows a hugely successful photography and video art exhibition by the same name that was co-curated by Hoffmann and shown at C/O Berlin in late 2019. ↝ Review here. - The exhibition included works by photographers and visual artists such as Wolfgang Tillmans, Romual Karmakar, Sven Marquardt and Camille Blake, that dealt with Berlin’s club culture since the fall of the wall. It was followed in 2020 by a book of the same name which collected together the most striking imagery from the exhibition alongside interviews and personal essays.
‘No Photos on the Dance Floor!’ is the first compilation to trace the history of techno made in Berlin over the last three decades, with a selection of classics and hidden gems that have helped shape Berlin’s sound from the early 90s until now. The title refers to a particularity of the Berlin club scene: photography is banned in almost all the important clubs to allow partying together in a space where you can lose yourself to the music and feel free and safe at the same time. After the Berlin Wall fell in 1989, abandoned spaces and buildings were waiting to be filled with new life in the form of clubs, bars, galleries, workshops and studios. Berlin became the epicentre of a new nightlife culture that soon resonated around the world with a techno scene that was heavily influenced by the pioneering sounds of Detroit, created by African-American producers such as Juan Atkins, Kevin Saunderson and Underground Resistance.
Their records were imported to the Berlin DJ scene by the record store Hardwax, based on the ground floor of a building on Reichenberger Straße in Kreuzberg, from December 1989 onward. The original temples of DJ culture in New York and Chicago, as well as the emerging rave culture developing in London and Manchester via Ibiza, would also go on to shape Berlin’s nightlife. Party series like Tekknozid and clubs such as Ufo, Tresor, and Planet can retrospectively be interpreted as the big bang of the first shared culture between Germany’s East and West, having paved the way for what is still the last and biggest expression of European youth culture.
Part 1 of the vinyl edition focuses on the period between 1992 and 2006, with early 90s tracks by Thomas Fehlmann and Moritz von Oswald’s 3MB project, Berlin techno pioneer DJ Tanith and Mijk van Dijk’s short-lived project 9-10-Boy, von Oswald’s and Ernestus’ influential Maurizio alias, and Alec Empire, who would later go on to start influential noise/industrial band Atari Teenage Riot. Further key tracks from the first half of the aughts come from Mo Loschelder and Klaus Kotai’s Elektro Music Department label, Sleeparchive and Ableton Live-developer Robert Henke aka Monolake.
Part 2 is drawn from tracks made between 2007 and today, starting at a point when the city became the center for a new creative community of international artists, DJs and producers who often favoured the minimalist aesthetic & musical styles of clubs such as Berghain, Bar25 and Watergate and stayed for the ease of living. Beginning with a remix by Plastikman aka Richie Hawtin of his Minus label signee Heartthrob, the two 12″s also feature contributions from Ben Klock, Avalon Emerson and Modeselektor.
11 June 2021: Vinyl Vol. 1 (1992–2006) 25 June 2021: Vinyl Vol. 2 (2007–Today); CD; Digital
twin peaks: fire walk with me ( 1992 )
mädchen amick as shelly johnson
why did they phrase this like they were talking about an urban legend
courtney love on the david letterman show ( 1999 )
Taylor Vaughn is iconic✨
#tbt to this ballpoint pen sketch of Madonna I did in the nineties of the last century!!!! 😜Would you guess what movie this is from? #thowbackthursday #madonna #sketch #ballpointpen #nineties #fanart #alejandromogolloart https://www.instagram.com/p/COiFTkaHZ8k/?igshid=15hp2yxxyifzj