14 JULY 21:00
TOILET TV PLANET
This entails three independent episodes in which Fru*Fru reflects on technology, intimacy and bathrooms in the galaxy. Each one of the episodes has a different format, always related with mass-media production tools. The bathroom is more present that ever before. Social networks (Youtube, Facebook, Twitter, Instagram, etc.) have turned it into a powerful channel from which to generate contents that shift rapidly from the private sphere to the public realm. They are tools that operate from the domestic space connected to Internet and facilitate the generation and diffusion of contents and characters. In fact, these media enable the construction of identities that are multiplied and defined very differently depending on the channel used (images, videos or character-limited texts). The bathroom, according to this work, has the capacity to become a platform for political protest. Will bathrooms become social hubs?
Rosana Galián (Murcia, 1985) and Paula Vilaplana (Alicante, 1985) are the members of Fru*Fru, a group for enjoyable production and cultural upheaval which has undertaken various actions in Alicante, Murcia, Madrid and London. Fru*Fru works with domesticity, media formats and contemporary mass media, rethinking how the invasion of new technologies and networks transform spaces once considered to be private (bedrooms, bathrooms...) into places to perform subjectivities and identities.
Concert: KUMBIA QUEERS
Kumbia Queers is a tropical-punk project that came about in Buenos Aires (2007) from the fusion of She Devils (Argentina), Juana Chang (Argentina) and Ali Gua Gua, the singer from Las Ultrasónicas (Mexico). In the beginning they played covers of songs by The Cure, Madonna, The Ramones and Black Sabbath, twisting them to the rhythms of cumbia and lyrics full of queer poetry. With the passing of time the group started to compose their own songs and made a name for themselves as the female response to the heavily sexist cumbia villera or ghetto cumbia. Even so, this response introduced them to artists like Pablo Lescano, the singer of Damas Gratis, producer of La Gran Estafa del Tropipunk, Kumbia Queers’ second release. In summer 2015 the line-up changed after Ali Gua Gua left, and they released Canta y no lloreswhich they are presenting on the tour that takes in CA2M.
Their first album Kumbia Nena!, made on their own label Horario Invertido Records, was released in various countries including Japan. The song El Dolor de Micaela, a coverof the song by La Sonora Dinamita, is included on the soundtrack of the film Rudo y Cursi (Mexico, 2008).
DJ set: BATIDA
Batida is taking part in Picnic Sessions with a DJ set in the lobby of the art centre. Batida is a radio, video and music producer born in Huambo (Angola), who later emigrated to Lisbon escaping the war in his home country. Mixing is a signature feature of his production work, synthesising electronica with Angolan songs from the sixties and seventies. As a composer he has significantly modified African music production with electronic tools. Batida produces tracks in dialogue and collaboration with many other artists, whether Portuguese, African or from other countries. He works with a variety of instruments, artefacts and accessories made from everyday objects which he makes himself.
Publishers table: ALCOHOL & FOTOCOPIAS (Buenos Aires)
Fanzines and self-publishing by Pat Pietrafiesa (bass player in Kumbia Queers)
A fanzine and self-publishing project run by Pat Pietrafiesa, the bass player from Kumbia Queers, one of the groups that will close this edition of Picnic Sessions. She is also a former member of She Devils, one of the key references of the punk scene in Argentina. She will be bringing some of her publications:
RESISTENCIA, a printed register of the underground punk rock culture in Buenos Aires from 1984 to 2001, over 400 pages it compiles the whole work of the biggest local punk rock fanzine. It blows up in your hands!! (alcohol & fotocopias)
DERRUMBANDO LA CASA ROSADA, Various
Myths and legends of the first punks in Argentina in 1978-1988.
El ÚLTIMO DE LOS HIPPIES (The Last of the Hippies) written by Penny Rimbaud from the English group Crass, first published in 1982, is one of the key writings in anarcho-punk. A simple and direct biting critique of the values of Western society. With notes and an epilogue by Penny especially for this Argentinean edition. (alcohol & fotocopias)
TARDE PARA TODO, collages from the La Ponzoña fanzine, raw reality to shake and wake you up from the systematic brainwashing of advertising and consumerism. Powerful! 96 pages in colour. (alcohol & fotocopias)
DIOSAS EN LA VERDAcombines the works of the poet and performer Daniela Andujar and the visual artist Veroka Velasquez. Cardiac poetry, vital and creative autonomy, in your face
EL PROBLEMA PRIMARIO DEL PERU ES EL PITUCO, underground rock in the times of Sendero Luminoso by Shane Green, (Peruvian punk)
SOCIABILIDADES PUNKS Y OTROS MARGINALES, MEMORIAS E IDENTIDADES (1977-2010), Pablo Cosso and Pablo Giori. A compilation of academic papers analysing the rise of the punk scene in Argentina during the dictatorship and its development during democracy.