getting the story right and pissing some people off:
This is decidedly for Karin Luner, to whom I owe all my delicious creative joy, forming an underground girl band, Super 8 films, playing the sax, dancing the night away, playing with SAMO©. She studied with Salome, Middendorf and G. L. Gabriel, Professor K.H. Hödicke at the HBK in Berlin and came to NYC as a student. There she made the Super 8 film „Bored“ which was shown everywhere, the first to be seen at SO.36, a film festival by Kippenberger.
Berlin 1975 and our hometown 1978, playing fashion show at Erika`s.
Transformations, typical Karin with colour, our kitchen, piggy rose.
from schoolgirl to– in 15 minutes, I love colours.
Düsseldorf, Königsallee, Modehaus Heinemann, 29 July in a summer so hot like a thousand July`s, nineteen hundred and seventy-eight, we decided to form a band. Karin had drum lessons with Fred Maher, Lou Reeds drummer. Classical education with slaps on the wrist I. Still feeling sick when I look at sheet music.
1979 Martin Fischer, Karin Luner Beate Bartel ©Eva G., Karin Luner
©Karin Luner, false color photography ©Eva G.
Preparation for the „Fashion Intellection“ Super 8 shoot. Karin`s kitchen, ICC. ©Eva G., Michael G., Karin Luner.
„Teufelsberg“ shoot. Beate, Bettina, Gudrun, Karin ©Eva G.
Mirror. Space. Time. thx to Lazlo Moholy-Nagy, ©Eva G.
September 1979 in Wuppertal, ©Marita Lindicke.
„Anyway, our first concert was in a gallery in Wuppertal. Volker Anding was a gallery member and gave me the space to organise a show. I put together a Super 8 programme with films by Rainer Fetting and I also exhibited fashion, „Art as Art as Fashion“ was a concept that was later much more recognised. The gallery members hated the concept…The film „Fashion Intellection“, a film with exclusively Mania D, unfortunately got lost in my eternal moves“, Karin Luner, the driving force, which brought us to NYC when the Lower East Side was decaying in nineteen hundred and seventy-nine.
Now this one is to be found in the „The Philharmonie de Paris“ which is organizing the first-ever exhibition dedicated to Jean-Michel Basquiat’s powerful relationship with music as they claim, not knowing what they do not know– or what they do not wish to know.
at A`s with Horst Münch, Erinna König, SAMO© with my OM1.
Nite before the Beuys Retrospective at A´s, incantation with pendulum and my Selmer Sax, while SAMO© made the Wasp synthesizer sound wonderfully wild and eerie.
on the recommendation of Vincent Bessieres, music curator Montreal and Paris.
Arleen’s bath where SAMO© and I experimented with the rhythm machine, the Selmer Sax, Michael Holman`s Wasp synthesizer, with sounds and melodies, so as not to disturb our hostess while she was working. I had to write down the melodies that he liked, no notes, letters are feasible for me.
Pix: Thomas Ruff. My Selmer on which SAMO© played and with which he went for walks. He told me that he had to practise without me telling him not to inflate his cheeks. The E without a shaft means father in the I Ching, the G a slightly opend square.
With Alan Vega from Suicide we discussed a „Metropolitan symphony“ according to the principles of „Music Konkrete“ with everyday sounds from the streets of NYC. We? SAMO© and I. As an example the eighteen year old mentioned „Love Me Tonight“ an American pre-Code musical comedy film produced and directed by Rouben Mamoulian 1932 where everyday sounds play a leading role. A`s 330 Broome Street, lower East side.
most glorious music, I assume. Bettina Köster with „Der Novak“. „Kaltes klares Wasser“ and „Geld/Money, Malaria mit Bettina und Gudrun, Director Brigitte Bühler. Beate Bartel with her band Liason Dangereuses „Los niños del parque“, produced by Conny Plank, who gave Kraftwerk and Eurythmics their sound. BLÄSSE with „Lieben Sie Saxofon“ SAMOs© idea of two sax melodies playing around each other. „Die Sonne“ Gudrun with Blixa Bargeld, just cool.