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Hito Steyerl - “Hell Yeah We Fuck Die” (2016)

Image: https://ago.ca/agoinsider/hell-yeah-hito-steyerl-here

A question of sentience is the looming question of today: what does the future of artificial intelligence hold?

The video work by Hito Steyerl features scenes of robots being abused, and one instantly feels a connection to them. One can’t help but feel empathetic towards the robots that must be abused in the name of progress in order to advance the efficacy of heir artificial intelligence. The echoing machinery sounds put together a beat that creates an additional audial experience, feeling like it echoes off of the metal walls and piping created by Steyerl. The name of the work, "Hell Yeah We Fuck Die" is made up of the most popular song titles of the Billboard charts of the decade prior to the work's creation. The name describes trends in the digital age, and is reflective of the impact of music on industry and explicitly links the work to music, making the audience more in tune to the music accompanying the visuals. Obstacles that the robots are being programmed to be able to move around seamlessly are echoed in the metal constructions that accompany the video installation. The audio accompaniment is immediately reminiscent of an industrial sounding techno, a genre pioneered by Detroit musicians. The genre of techno came after the decline in industrial growth in Detroit, the emergence and aethetic of the genre reflect the impact of the digital age on industry and labor. With strong influences from bands like Kraftwerk in Germany, whose work discussed the speed and impact of technology on Europe at the time is reflected in the sbsequent techno scene. Hito Steyerl, also from Germany, similarly discusses the shift in labor previously done by humans into the realm of robotics. The videos of robots being abused in the name of progress reflects the exploitation of laborers throughout the industrial revoluton and makes one wonder what will happen to these robots after they have served their purpose, and if it will reflect the impact that shifts in industry had on Detroit. The concept of empathy towards robots is one that Steyerl reflects on often when discussing this piece, and the origins of the techno music that accompanies the work ties in to the impacts of these robots on the lives of humans beyond advancing technology.

P L A Y L I S T

Industrial Metal by Juan Atkins + Frequency - Could replace song chosen by Steyerl and you might not even notice. Shows the impact of industry on techno music from Juan Atkins, one of the founders of Detroit techno

She Works Hard for the Money by Donna Summer - This song discusses labor and feminism through an 80s dance track, with influence from the disco era that Steyerl refers to in the work. Donna Summer had a strong influence on the techno genre

Rydeen by Yellow Magic Orchestra Lots of influence on techno genre by this prominent japanese group - pioneers of synthpop centered around the instrument that brought music into the tech world sonically

The Robots by Kraftwerk - Kraftwerk had a huge influence on techno music, and in discussion of the topic of robots. They are a German group, so Steyerl might have een familiar with them as she is also German.

R-9 by Cybotron - Move into more obvious techno themes by this group formed by Juan Atkins

On & On by Jesse Saunders - Considered first recorded House song, genre started in Chicago in the 80s coinciding with the shift into the digital era. The genre catered to marginalized communities in a way no other full genres or stations had before. The genre altered disco in a modernized way, and developed with a similar aesthetic to techno immediately following it

Move Your Body by Marshall Jefferson + Frankie Knuckles - Remixed by Frankie Knuckles or the “Godfather of House Music”

Mr. Roboto by Styx - If robots are actually hiding humans, this would drastically change the implications of Steyerl's work. The lyrics thank robots for their service to the voice of the song, much like Hito Steyerl in this work wants to acknowledge the labor that robots are performing for us

Answers Me by Arthur Russell - Experimental work, cited as an artist Hito Steyerl listens to, the work echoes her experimental conceptual works and industrial aesthetics

West End Girls by Pet Shop Boys - The band's lawyers had some problems with Hito Steyerl using the song in another piece

S O U R C E S

“Questionnaire: Hito Steyerl.” Accessed December 2, 2020. https://www.frieze.com/article/questionnaire-hito-steyerl.

Esterhammer, Vicky. “A Visit to the Future from the AGO.” Ryersonian.ca, November 12, 2019. https://ryersonian.ca/a-visit-to-the-future-from-the-ago/.

Enrico. “VernissageTV Art TV - Hito Steyerl: HellYeahWeFuckDie / Skulptur Projekte Münster 2017.” VernissageTV Art TV - the window to the art world. Accessed December 2, 2020. https://vernissage.tv/2017/08/14/hito-steyerl-hellyeahwefuckdie-skulptur-projekte-munster-2017/.

henrichy0205yt. “Hito Steyerl: HellYeahWeFuckDie.” YouTube. YouTube, June 20, 2017. https://www.youtube.com/watch?v=sWw7CPczmU0.

Robot Love. “Hito Steyerl • Robot Love.” Robot Love. Robot Love, October 22, 2018. https://robotlove.nl/en/hito-steyerl/.

Team, VF. “Hito Steyerl on Working with Kojey Radical and AI in Music.” The Vinyl Factory, May 3, 2019. https://thevinylfactory.com/films/hito-steyerl-power-plants-kojey-radical-ai-music/.

“Hito Steyerl's Video Art: Digging Dirt at the Heart of the Art World.” The Guardian. Guardian News and Media, March 13, 2014. https://www.theguardian.com/artanddesign/2014/mar/13/hito-steyerl-video-installations-ica-london.

Reynolds, Simon. “How Florian Schneider And Kraftwerk Created Pop's Future.” NPR. NPR, May 7, 2020. https://www.npr.org/2020/05/07/852081716/how-florian-schneider-and-kraftwerk-created-pops-future.

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Will Munro - “New Wave Not War” (2005)

Image: http://www.paulpetro.com/artists/4-Estate-Of-WillMunro/606-New-Wave-Not-War/824

Will Munro’s political stances are on full view in his New Wave Not War, but he was never one to shy away from what he believes in. The Australian-born, Mississauga-raisef artist sparked controversy overhis art using men’s underwear by a Toronto journalist at the beginning of his career, but that didn’t stop him. Munro was an icon in the Toronto post-punk music scene, running multiple clubs where the atmosphere he created is cited as one of the places where the queercore movement originated. Using the politics of the era of New Wave music in this piece, Munro filters his world view through a musical lens, much like he did in his life as a club owner and DJ. The queercore movement built on other post-punk scenes like the Riot Grrls with their anthem Rebel Girl rejecting the homophobia and sexism prominent in the punk scene during its height at the end of the 1970s. The printed poster reflect the aesthetic of punk fan-zines that have allowed for marginalized communities to have a platform through self-published long-form media that could be easily distributed at shows. Zine-culture is what led to the ride of the Riot Grrls movement, and some claim the Queercore movement as well. Toronto’s prominent JD’s zine created by G.B. Jones and Bruce LaBruce catapulted the queercore movement into the public eye and allowed the movement to gain more significant traction. Munro’s work reflects these aesthetics even if it was not intentional, as Munro truly lived and created these scenes with his influence on the music industry and Queer culture in Toronto during the 1990s.

P L A Y L I S T

Minutes to Midnight by Midnight Oil - Also hailing from Australia, Midnight oil’s anti-war lyrics in this song echo the sentiment of Munro’s prints.

Fuck the Pain Away by Peaches - Got her start at Vazaleen and went on to have an influential career in the Queercore scene

James Bondage by Pansy Division - One of the most popular bands from the queercore scene, showcasing sexually liberated and often explicit lyrics

I Could Have Sex by Vaginal Davis + Technova - Vaginal Davis is a notable figure in the queer scene in Toronto and has spoken to the influence of Munro in past accounts of his work

Rebel Girl by Bikini Kill - Anthem of the Riot Grrl movement, and strong influence in the movement for a more inclusive punk

Ziggy Stardust by David Bowie - Speaks to the escapism of party scenes and the free and open atmosphere Munro fostered at his venues

Hot Topic by Le Tigre - Written by prominent Riot Grrls and references prominent feminist visual artists and musical artists of the time

Mississauga Goddam by The Hidden Cameras - Munro often booked The Hidden Cameras at his venues

Steal Yr Gf by God Is My Co-Pilot - God is My Co-Pilot was a highly influential queercore group from the 90s

Total Eclipse by Klaus Nomi - Avant-garde artist Klaus Nomi is referenced in other work by Munro, where their image is presented in a psychedelic way

Freedom ‘90 by George Michael - Closing song played at one of Munro’s last Dj gigs before his death in 2010

S O U R C E S

Randle, Chris. “United by Hedonism: A Mix for Will Munro.” Hazlitt, August 1, 2018. https://hazlitt.net/blog/united-hedonism-mix-will-munro.

“Dear Will Munro: Love Letters to a Beloved Artist and Community Builder, 10 Years after His Passing | CBC Arts.” CBCnews. CBC/Radio Canada, May 21, 2020. https://www.cbc.ca/arts/dear-will-munro-love-letters-to-a-beloved-artist-and-community-builder-10-years-after-his-passing-1.5577223.

Block, Adam. “In Search of the Homo-Core Underground.” Monkey Chicken, October 10, 1988. http://www.monkeychicken.com/AdamBlock/1988_10_10zines.pdf.

“Queercore: behind a Documentary Reliving the Gay Punk Movement.” The Guardian. Guardian News and Media, September 20, 2018. https://www.theguardian.com/film/2018/sep/20/queercore-punk-revolution-documentary-yony-leyser-bruce-labruce.

Glover, Cameron, Zara Barrie, and Brennan Bogert. “A Labor Of Love: Why Zines Will Always Be An Important Part Of Queer Culture.” GO Magazine, October 25, 2017. http://gomag.com/article/what-zines-mean-to-the-queer-community/.

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Ragnar Kjartansson - “A Lot of Sorrow” (2013)

Image: https://www.artspace.org.au/program/public-programs/2015/a-lot-of-sorrow-marathon-by-ragnar-kjartansson-with-the-national/

In a 6-hour concert recorded and documented by Icelandic artist Ragnar Kjartansson, repetition takes center stage as The Nationals play their song Sorrows over and over and over and… 

The work has traveled around the world in video format, repeating in a very different way. Ragnar Kjartansson, an Icelandic visual artist grew up involved in theatre, and is interested in the shifting aspects of performance. The idea of creating art through performance is a fascinating one, explored by the artists if the Fluxus movement and later when art began to move beyond the limitations of the gallery space. Kjartansson explores performance in this work through repetition and rhythm, as the band the National plays their song Sorrow incessantly for 6 hours. The Nationals are an indie rock band who came together in Ohio, as the song Bloodbuzz Ohio tells the story. Their lyrics, primarily written by Matt Berninger consider mortality often in a melancholic way that is relatable and speaks to the human experience. Although the lyrics are quite short and a bit repetitive, it is impactful in a way that must have spoke to Kjartansson for hilton have chosen this song to be played on repeat as he documented and directed the performance. While this work differs in execution from Kjartansson’s past work, it showcases an exploration into a new element of performance and human existence- exhaustion. We can all relate to being overworked as we are churned through the capitalist regime and this combination of art and the aspects fo physical labor thart come along with performing is valuable and interesting.

P L A Y L I S T

Sorrow by The National

Where is my Mind? by the Pixies - The Pixies are a cited influence of the National, with video of Matt Berninger doing karaoke to their music. Lyrics of instability and sorrowful melodies are echoed in The National’s music

Army of Me by Bjork - Prominent experimental music artist from Iceland, where Kjartansson is from

Desolation Row by Bob Dylan - This song is a loong and ambitious prject by Bob Dylan, another strong influence on many indie rock musicians.

Fake Plastic Trees by Radiohead - Similar melancholy to Sorrow. The National have expressed that they want to mimic the range that Radiohead has and be able to transition their music and do unexpected things throughout their career

Downtown Train by Tom Waits - Tom Waits influenced later post-punk bands that also influenced The National

Sister Ray by The Velvet Underground  - This is also a long song that tells the story of Lou Reed, who in addition to the Velvet Underground has had a deep influence on contemporary rock music including the sound of The National

The Visitors by Abba - Off of their album the visitors, which is the title of an artwork discussing performance done by Ragnar Kjartansson a year prior to “A Lot of Sorrow”

The One By Trabant - This song was written by Ragnar Kjartansson for his Icelandic band, which was an interesting amalgamation of electronic, pop, and some punk influences

Bloodbuzz Ohio by The National - A similarly melancholic piece discussing the concept of home and reminiscence from the same era of work as Sorrow

[Photo of handwritten note on cluttered table that reads: “Sorrow (100 times), Sorrow, Sorrow, Sorrow, Sorrow, Sorrow, Sorrow, Sorrow (Reprise), Sorrow, Sorrow (R Kelly Rend.), Sorrow, Sorrow (Acoustic), Sorrow]

Image: https://www.nytimes.com/2014/09/19/arts/design/six-hours-of-the-national-in-a-lot-of-sorrow.html

S O U R C E S

Smith, Roberta. “A Concert Not Live, but Always Living.” The New York Times. The New York Times, September 18, 2014. https://www.nytimes.com/2014/09/19/arts/design/six-hours-of-the-national-in-a-lot-of-sorrow.html.

Nel, Philip. “Where Is My Mind?: The National's Influences.” Nine Kinds of Pie, July 16, 2014. https://philnel.com/2014/07/16/thenational/.

“Matt Berninger Talks About His Musical Influences.” The National News, September 24, 2011. https://thenationalnews.wordpress.com/2011/09/23/matt-berninger-talks-about-his-musical-influences-the-nationals-new-album-the-strokes-arcade-fire-and-radiohead/.

“Ragnar Kjartansson - Bio: The Broad.” Bio | The Broad. Accessed December 5, 2020. https://www.thebroad.org/art/ragnar-kjartansson.

“Ragnar Kjartansson: The Visitors.” Accessed December 5, 2020. https://www.icaboston.org/exhibitions/ragnar-kjartansson-visitors-0.

trabantvideo. “Trabant 'The One'.” YouTube. YouTube, June 4, 2007. https://www.youtube.com/watch?v=0C9aVJYVtSQ.

“Focus On: Ragnar Kjartansson.” Dallas Museum of Art, September 15, 2019. https://dma.org/Ragnar.

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Hiroshi Nagai, (2019) poolside yellow towel, acrylic on canvas board 

 Hiroshi Nagai (2019) poolside yellow towel, made on acrylic on canvas board shows a tropical urban landscape poolside. His work stems from the Japanese genre of city pop. City pop was popular in the 1970’s with a mix of western and Japanese rhythms, and took lots of inspiration from disco, funk, and RnB. Many of Nagai’s artworks show were used as album covers, creating a deep association with the genre and the artwork. The playlist below is a mix of Japanese city pop, as well as popular western music from the 70’s.

“Hiroshi Nagai: Paintings for Music.” The Japan Foundation, Sydney. Accessed December 7, 2020. https://jpf.org.au/events/hiroshi-nagai-paintings-for-music/.

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“King Zulu” ( 1986 ) by Jean Michel Basquiat, is a painting on canvas showing 4 major jazz artists, (starting from the left) Bix Beiderbecke (1903–1931), Louis armstrong (1901-1971) Bunk Johnson (1879–1949) and Howard McGhee (1918–1987). They are surrounded by blue paint, for the jazz genre is based heavily on melancholy themes and rhythms. In the middle is an exaggerated black face version of Louis Armstrong. He is referred to as the “king of Zulus”, Zulu being a member of a region in South Africa. Jean Michel Basquiat identifies Louis Armstrong as this due to his involvement at the New Orleans Carnival, an annual carnival that celebrates the South African Culture of New Orleans. As for the music representation we have chosen afro jazz and tunes from the famous jazz musicians in the painting. 

citation: 

Basquiat, Jean-Michel. “King Zulu,” January 1, 1986. https://www.macba.cat/en/art-artists/artists/basquiat-jean-michel/king-zulu.

“King Zulu, 1986 by Jean-Michel Basquiat - Art Print from King & McGaw.” King & McGaw. Accessed December 7, 2020. https://www.kingandmcgaw.com/prints/jean-michel-basquiat/king-zulu-1986-439506.