Cu lt u r e In d us trie s As so c ia ti o n

Non-avant-garde, unable to make profit organisation

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Immediate release of CIA new critical declassification: HERMANN NITSCH - ORGIEN MYSTERIEN THEATER HONG KONG


There are now grave concerns that the CIA’s search for art may well have violated the separation of powers principles embodied in the constitution of the human condition, including the speech and debate clause. The agency’s inspector general is reviewing the overlapping accusations.


CIA maintains that it has now been confirmed by reliable sources that a retrospective exhibition of Hermann Nitsch’s multi-discipline oeuvres will be on public display from the 9th May until the 29th June, 2014. Photographs of early Aktions, videos, paintings, as well as installation will be submitted to public scrutiny for the first time in Hong Kong.


The CIA owes it to the men and women directed to carry out this program to try and ensure that any historical account of it is accurate.



The CIA, in consultation with, and with gratitude to the Nitsch Foundation, will conduct the declassification review. The directors of both agencies have been clear that they want this process completed as expeditiously as possible, consistent with national security protocols in both Vienna and Hong Kong.

Laibach: The New Cutlural Revolution


And so history was made...


CIA would like to express our deepest gratitude to all you who have taken part in sponsoring the conjunction CIABACH movements on 21st and 22nd March 2014 to ensure the success of operation New Cultural Revolution. Laibach has now been relocated outside of Asia safely and securely; the rumours and whispers of how the revolution might return to this part of the world is still unsubstantiated and CIA will have all ears on the ground to identify all facts from fictions, and will guard all findings in top secrecy until the time of declassification deemed inevitable.




We are grateful to Laibach for showing us their incredible tour de force in Hong Kong and CIA has managed to summon many of our local as well as international supporters in response to the critical situation. In the heat of the moment there were some collateral damages and casualties but nothing that can, or ever will divert the course of this historical operation.




The current cultural landscape of Hong Kong has suffered a fatal blow, a coup d'état as a result of this new revolution. Laibach has brought us not only an opportunity to examine our own historical, political and artistic relations and context within the world, but also to renew our awareness of what art – in music, imagery, performance, literature, film, etc – should ever be: to awake us from our dreary day dream reality, to react, participate and to step forward into something different, new – a way where all can coexist with diversities, ideas and visions are not corrupted by mere financial rewards.




Although CIA has temporarily suspended diplomacy with Laibach, rest assured that we have all learned one fact in the last week: we can all do better with a little bit of Laibach inside each of us.




In honour of the success of this New Cultural Revolution and to demonstrate our highest salute to Laibach, CIA calls for all supporters to insert your assigned data (distributed to you on the evening of 22nd March) into your audio device and proceed to declassify the content as soon as you have received this instruction. That means now.




 Transmission terminated.



CIA has received credible intelligence indicating that the arrival of Laibach in Hong Kong is expected imminently. CIA has conceded that there's really not much we can do at this stage to avoid the situation and we are advising all concerned parties to follow this instructions for your first designated meeting point:








Presented by Ivo Saliger (Laibach), engineer of the human souls




Friday 21st March 2014


7 - 9pm




Run Run Shaw Creative Media Centre


18 Tat Hong Avenue, Kowloon, Hong Kong


M1060 Multimedia Theater - Ground Floor








How to get to campus:






It is then in your own interest to proceed to the next safe zone on 22nd March with the official CIA sanctioned entry permit to make history with Laibach. This warning will not be repeated again and failure to follow will result in certain inevitable lost.




Laibach: The New Cultural Revolution


Live in Hong Kong




Saturday 22nd March, 2014


Door opens at 8pm




The Vine Centre


29 Burrows Street - Wan Chai Hong Kong






How to get to safety:










Condolences from CIA






"All that is necessary for the triumph of evil is that good men do nothing "




Cul  tu  re   Indu   st r ie   s    A  s  soci   a  t ion


Music's heavy going for industrial rockers Laibach Industrial rock is about shock and provocation, and the loudest and most unnerving are Slovenian group Laibach, writes Richard Lord

The history of industrial music is littered with some of the most challenging sonic artefacts you'll find. Like some of the extreme sub-genres of heavy metal, or the more wilfully experimental corners of electronica, industrial music is frequently and deliberately very hard to listen to, and has been since the start.

That's because industrial music, with its frequently stated commitment to transgression, has often been more about shock and provocation, challenging people to think for themselves, upsetting their conceptions of what constitutes music, art or culture, than about making music that's pleasant to listen to in any traditional sense. Hence the tendency not only towards challenging, harsh, often borderline upsetting music, but also towards a more rounded idea of the artistic endeavour that often takes in elements of visual and performance art: conceptual movements rather than just bands who make songs.

We are certainly not obsessed by totalitarianism, but totalitarianism is all-embracing and omnipresent
Ivo Saliger

There is no greater example of this tendency than Laibach. On the face of it, the Slovenian collective, formed in 1980, are a band that make industrial music with martial leanings, sounding like something an army would march to, backed up by unexpected cover versions - Status Quo's In the Army Now, Opus' Live is Life. But to appreciate them only on a musical level would be to miss most of what makes the band interesting: the complex, subtle, contradictory, subversive, disturbing substrata of ideological provocation that lie beneath it.

Laibach will be flexing all of their varied cultural muscles in Hong Kong over the next few weeks: a photographic exhibition taking place at CIA in Kwai Chung until March 20 has been accompanied by a series of screenings of videos of interviews, performances and documentaries, while the band will perform live at The Vine in Wan Chai on March 22, as well as participating in a seminar at City University the previous night.

"Not that we are not interested in other artists, but artists are not something that we compare ourselves with," Laibach member Ivo Saliger (a pseudonym) says. "We see us more as engineers of human souls. And those are usually very rare - and precious."

Forged in the crucible of late-1960s countercultural agitation, industrial music came into existence in the 1970s as a response to societal change, a reaction to individual powerlessness in the face of growing institutional authority and the alienating effects of mass production. Aiming to shock people out of their lethargy, bands took musical influences as diverse as composer John Cage, electronic pioneers Kraftwerk and avant-rock artists such as Captain Beefheart and the Velvet Underground (and of course Lou Reed's later Metal Machine Music, one of the first truly unlistenable adventures in pure noise), alongside cultural movements such as Dada and writers such as William S. Burroughs to create a dense blend of undertreated noise and apparently wilful experimentation informed by the tools of electronic music, the attitude of punk and the compositional techniques of everything from musique concrète to modern classical music to jazz.

A largely Anglo-Teutonic phenomenon in its early days that became extremely influential in the US, industrial music was pioneered by the likes of Throbbing Gristle and Cabaret Voltaire, taken to new extremes by groups such as Einstürzende Neubauten, Skinny Puppy and Test Dept, and later fused with electronic dance music and rock to score crossover success with bands such as Ministry and Nine Inch Nails.

Laibach, however, have been plugging away doing more or less the same thing for more than three decades. Their music may have evolved from straight-up industrial marching rock to a more diverse, hard-to-classify sonic palette with a growing techno influence, but throughout they have remained anthemic and bombastic, and have consistently provoked with their use of totalitarian, fascist imagery. The group take their name from the German name of Slovenia's capital Ljubljana, used during the period of Nazi occupation, while the band have often worn Nazi uniforms and flaunted swastika-like crosses.

At the heart of Laibach is this contrast between relatively straightforward music and a massive bedrock of subtext. The band don't do anything as simple as satirise totalitarianism - although they ask a few unnerving questions about pop by recasting it as fascistic marching music, with Queen's One Vision particularly sinister as a German-language martial anthem.

"We've never looked for the enemy and certainly not practised parodic protest against 'him'," says Saliger. "Laibach always analysed the relation between ideology and culture, between art and politics, reflected through art, pop, media and politics. To uncover this relation we've used all tactics, including the very language of ideology and culture. We are certainly not obsessed by totalitarianism, but totalitarianism is all-embracing and omnipresent, practically existing in every system and there would be no Laibach without it."

It's unusual that Saliger has even agreed to be named; usually, as part of their collectivist credo, the band remain anonymous in interviews, which "we see as equally important statements as other public appearances, concerts, exhibitions, etc", Saliger says.

"We value anonymity, but not because we would want to stay 'hidden' from the public; within the group we simply give more importance to the collective than to the individual. We believe that the importance of 'individual' is overestimated. Within the collective individuals should be subordinated to the collective needs and desire. Only strong individuals can do that."

The desire for a collective identity has even led to the creation of a virtual state, the Neue Slowenische Kunst, which grew out of the Laibach-associated art movement of the same name. It is based on Laibach's manifestos, and has its own currency, flag and passport. As ever, this is wildly ambitious stuff that ventures far beyond the realms of music. Laibach are a conceptually perfect art project that just happen to make music.

Laibach 軍事行樂 每當看到東歐斯洛文尼亞(前南斯拉夫)樂團Laibach的名字時,便會馬上叫人聯想到那種別具東歐氣息的冷冽嚴苛工業軍樂聲音與其揉合納粹主義與意大利未來主義的美藝設計。畢竟Laibach絕對是只此一家的樂團。
聽了Laibach已有20多年,我從沒想過可以跟他們那麼接近。兩年前,他們為科幻戰爭喜劇電影《鐵幕蒼穹》(Iron Sky)帶來電影原聲專輯;今年3月,Laibach不但會發表他們繼2006年改編世界各國國歌的概念專輯《Volk》後足足8年來的全新官方專輯 《Spectre》,而其「Spectre Tour」亦會在3月22日空降香港,也是Laibach這次巡演的唯一亞洲站演出。而《Spectre》亦是Laibach在2000年以來最優秀的1 張專輯。

對於我們這群80年代另類/地下音樂愛好者來說,那些年來自南斯拉夫工業煤礦市鎮Trbovlje的Laibach打從在英國獨立音樂圈備受注目 開始,無庸置疑是如異軍突起般的東歐共產國樂團。被冠以法西斯主義之稱的他們,早年仍是非常粗獷的工業派地下樂團,然後Laibach日漸樹立起他們的工 業軍樂(Martial Industrial)風格——紀律性的步操式電子節拍、猛烈的軍鼓敲擊、以電子合成器奏出以假亂真的管弦樂能量、戰鬥式的氣勢、電影感的氛圍、主唱 Milan Fras冷酷而幾近獸性的男低音嗓音、歌曲背後的嘶叫。1987年專輯《Opus Dei》是Laibach最為典範級的作品。

Laibach並不獨是1隊獨立樂隊,而是個政治藝術/多元藝術團體,他們所屬的藝術聯盟NSK(Neue Slowenische Kunst)之美藝設計,都是Laibach所不可或缺的一部分。NSK更成立了他們的同名國家,以建立他們沒有內戰困擾、種族排斥與權位鬥爭的理想國烏 托邦。在Laibach的1994年專輯《NATO》內,便附有NSK的護照申請表格。
風格獨樹一幟的Laibach,其影響力並非只局限在某個範疇上,但無可否認,他們對德國工業搖滾名團Rammstein有着深遠影 響,Rammstein的聲音絕對是師承Laibach的音樂模式而來。但Laibach沒有認為Rammstein是盜取他們的意念,反之彼此惺惺相 惜,而在2004年還翻玩過Rammstein的作品〈Ohne Dich〉。踏入2000年以來,Laibach只曾出版過《WAT》(2003年) 和《Volk》(2006年)這兩張官方專輯,貫徹慢工出細貨作風。如果不計電影《Iron Sky》的配樂,《Spectre》乃是他們足足8年來之全新官方專輯。

對比起Laibach在80年代那批如洪水猛獸的作品,他們在近十多年來的歌曲已好聽得多,尤其是斯洛文尼亞電子流行樂隊Melodrom女歌手 Mina Špilerk的加入後,正為Milan的冷酷腔作出了中和作用。對於新作《Spectre》,我可肯定地說,這是很好聽的Laibach唱片。
開場曲〈The Whistleblowers〉是他們的軍樂流行曲,歌曲的口哨主奏被形容為好比著名軍樂進行曲〈Colonel Bogey March〉(即「細路你老竇生花瘤……」),而Milan溫婉地唱出「From North and South/We come from East and West/Breathing as one/Living in fame/Or dying in flame」時,亦宛如國歌般叫人琅琅上口。結尾的〈Koran〉在動人的電影感下,是多麼美麗的ballad。
《Spectre》仍是很電音的唱片,〈Eurovision〉在黑暗深邃的Dub Electronica曲風下唱出歐洲的瓦解,〈Eat Liver!〉是高壓Techno-pop,〈Bossanova〉並非Bossa Nova,而是工業電子遇上Punky女主唱,在〈Resistance Is Futile〉裏Laibach更玩起R&B電音來。

在樂隊的1987年專輯《Opus Dei》裏的兩首主打單曲〈Live is Life〉和〈Geburt einer Nation〉,便分別改編自澳洲樂隊Opus的〈Live is Life〉及英國殿堂級樂隊Queen的〈One Vision〉這兩首85年大熱作;88年單曲〈Sympathy For The Devil〉是改編自The Rolling Stones的1968年同名作,更為樂迷津津樂道是同年的《Let It Be》乃把The Beatles這張1970年神級專輯差不多完完整整地改編。
隨後在94年發表探討東歐與南斯拉夫政局的《Nato》是另1張Laibach改編歌專輯,包括重新演繹了瑞典流行金屬搖滾樂隊Europe名曲 〈Final Countdown〉;96年專輯《Jesus Christ Superstar》裏,他們翻玩了Andrew Lloyd Webber的同名歌劇主題曲外,到了06年的《Volk》專輯(名字即「人民」之意)時更藝高膽大地改編世界各國國歌,玩盡美、英、俄、法、意、日、 中、西班牙、土耳其、斯洛文尼亞之國歌。(袁智聰)

Laibach Kunst Exhibition

CIA will be in covert operation on Thursday 20th February for 24hrs , please refrain yourself from visiting as you will be disappointed. We regret any inconvenience but not sorry in advance.

Gallery spotlight: CIA

A covert gallery featuring alternative artists

If you go down to Kwai Chung today, you might be in for a big surprise. Past the local egg tart bakeries, narrow alleyways and chock-a-block industrial warehouses, lies a covert operation whose creative mission is as (morally and conceptually) ambiguous as the artists represented within its four walls. Titled CIA, the gallery space has hosted X-rated Japanese artist Kago Shintaro, performance art group New Noveta and their hundreds of fish – founder Mr Outside* remembers that ‘it took weeks to get the stink out and cats were coming up the building because of the smell’ - and a live music performance by Vagina Dentata Organ that involved repeated destruction of various objects with a baseball bat.

“Our aim is to do something interesting,” says Mr Outside. “Not necessarily good. There is a darker side to almost everything. We’re going behind the scenes.” Having been open just under a year – CIA, which stands for Cultural Industries Association, was launched in March 2013 by Mr Outside and his partner, Juiz* - the gallery seems to have already fulfilled that aim with its pick of artists. Their second flagship show is due to open January 17, featuring the works (pictured above) of Slovenian music troupe Laibach. Formed in 1980 in the Socialist Federal Republic of Yugoslavia, Laibach’s politically controversial oeuvre has split fans and critics down the middle, with Berlin dance metal band Rammstein on one side and the Archbishop of Slovenia on the other - the latter famously walked out of a concert in 1997. The exhibition is followed by a seminar at Hong Kong City University, and a concert at The Vine (tickets available from January 10).

“We’re putting everything into this show,” Mr Outside says, explaining quite literally, that they had to empty their pockets financially to host the group. “It took us over a year to get Laibach here. All our projects are quite comprehensive and we do everything ourselves – we have to. We’re dealing with some really alternative think stream. It’s a gamble – if it pays off, then we can carry on.”

After Laibach, Mr Outside and Juiz have lined up another controversial artist, Hermann Nitsch, in May. Nitsch was one of the main artists active in Viennese Actionism, a profoundly violent and brief 20th century art movement that is considered by some as one of the earliest forms of European performance art. Best known for founding the highly controversial annual festival Orgien Mysterien Theater (loosely translated as Theatre of Orgies and Mysteries), Nitsch has served three prison terms for incorporating themes of scatology, extreme nudity and bloody crucifixion in his works. Needless to say, Nitsch and other CIA artists’ works are not to be taken lightly, but Mr Outside and Juiz clearly state that their intention is not to commercialise art – the website even states that the gallery is ‘unable to make profit’, a further twist on the model of not for profit organisations.

“The trouble nowadays is the value in art. Art should be the sublimation of an idea so pure that it serves no purpose. These days that’s lost,” says Mr Outside. “Well, I have a problem with that. And CIA has a problem with that. Enough.” Ysabelle Cheung

Laibach Kunst CIA, Jan 17-Mar 20. Tickets: $20;

*Under instruction from CIA founders, we have used codenames.

Laibach Seminar at City University of Hong Kong, 21st March at 7pm

Exclusive free CD single for ticket holder

Laibach: The New Cultural Revolution






文化企業協會再度全然失控泥足深陷,千里迢迢遠道從斯洛維尼亞誠邀得Laibach來港為我們帶來新文化大革命,以一連串使命式的視聽驗証襲港。Laibach Kunst的藝術展覽首率於2014117日在文企協揭幕,並將於2014321日偕同香港城市大學的新媒體系舉行一場研討會, Laibach成員一同探索其藝術/音樂集團的根源、來龍去脈並揣摩未來。Laibach是次特地訪港的行程將在 2014322日於灣仔葡萄藤(The Vine Centre)的歷史性演出達到高潮。












1983年至1987年間斯洛維尼亞政府及前南斯拉夫政權均以Laibach政治敏感度為理由而禁止他們公開露面,以至四年間一直需以地下渠道及匿名方式創作。於1984年他們聯同一眾當時受Laibach深遠影響的藝術遊擊組織共同創立了NSK(新斯洛維尼亞藝術)團體:集合了幾個在不同的學科和領域中創作的藝術聯盟團體的發展和構思。NSK1992年解體, 宣告正式演變成一個本質形而上的隨時國,不受時空限制更沒有指定的地域領土界限。NSK國會目前是由全球大約接近一萬五千名隸屬NSK國藉的公民所經營和運作。








Laibach 音樂歷程中較惹誹議的演出亦莫過於19975月在盧布亞納為歐洲文化月的開幕序。在數個東歐國家總統和眾多外交代表團的有眼無珠之下,理直氣壯地與斯洛維尼亞古典管弦樂團及和唱團以嶄新的編排與非比尋常的壯觀管弦樂設計演奏出Laibach早期的實驗工業樂曲。不消多說,是次演出引起觀眾席間的一陣巨大爭議,其中抗議離場的人物包括了當任斯洛維尼亞的大主教在




Laibach1987發表的大碟<主業>(靜音記錄)誠被國際著名文化機構及樂評人認可為全球一千隻最佳大碟專輯之一("一千隻於死前必聽大碟"2005,五重奏出版有限公司)。而英國舉頭三尺有神靈的影響力雜誌經典搖滾更於200912月號公認主業為有史以來五張最佳的工業搖滾唱片。199012Laibach特爾伯夫發電站的音樂會亦被英國專注獨立音樂雜誌電線200612月號譽為"史上60個最危機感音樂會"; 較近期的<LAIBACHKUNSTDERFUGE>大碟又被美國藝術論壇雜誌評論家·活露列為2009年十大最佳藝術活動之一。




時至今天,Laibach的深遠影響已擴展至國際藝術和音樂圈子、潛移默化並滲透來自不同背景和流派層面的樂壇組合,其中不乏雷姆斯汀九寸釘瑪麗蓮·曼森等,僅舉幾例。自出道以來已為15齣舞臺劇參與配樂創作,而直接合作的電影製作和專案更有:<特里格拉夫峰下的洗禮(NSK/大西庇阿納希采姐妹劇院, 盧布爾雅那大堂)、<獄火難逃>(邁克爾 克拉克制作)、<馬克白 (莎士比亞/威爾弗裡德貂皮、 德意志漢堡戲劇院)、<紐羅登禱告機 (紐羅登宇宙動能內閣組織,SNG盧布亞納歌劇團)等。荷李活也曾在旗下影片如<蜘蛛俠1>,<厄夜叢林>,<鋼鐵蒼穹>中套用過Laibach樂曲作原聲配樂,直至近年受歡迎美國連載電視劇<雙面女間諜>亦沿用過Laibach的作品。Laibach還曾與斯洛維尼亞國家古典管弦樂團和RTV盧布亞納交響樂團携手演出。




















    文化企業協會Laibach藝術展覽         Laibach香港城市大學研討        Laibach音樂會, 灣仔葡萄藤


        2014117日至320                   2014321                 2014322, 8











文化企業協會  華達工業大厦B 8 7  達工業中心  8星華街  葵興 九龍  香港                電話:+ (852) 3421 1720      


Laibach: The New Cultural Revolution





Wir hier im CIA sind sehr stolz, Ihnen Laibach: The New Cultural Revolution vorstellen zu dürfen. In einer Reihe von Veranstaltungen präsentieren wir die slowenische Kunst- und Musikgruppe, und beginnen mit der Laibach Kunstausstellung im CIA, die am 17. Januar 2014 ihre Türen öffnet. Gefolgt wird dies mit einem Seminar, das von Laibach gehalten und in Verbindung mit der City University of Hong Kong am 21. März 2014 stattfinden wird. Der Höhepunkt unserer Veranstaltungsreihe wird eine musikalische Darbietung von Laibach im Vine Center am 22. März 2014 sein.

Laibach wurde 1980 in Trbovlje, einer kleinen Industrie-und Bergbaustadt in Slowenien (in der damaligen Sozialistischen Republik Jugoslawien), als experimentelle Avantgarde-und industrielle Multimedia-Gruppe gegründet.

Die britische Presse beschrieb Laibach einmal als „die gefährlichste Gruppe der Welt“. Und wahrhaftig, in einigen Teilen Europas rufen Laibach noch heute Ängste hervor; auf Grund von ideologischen Drohungen wurde ihnen sogar schon eimal die Einreise in die USA verweigert. Dennoch brachten vier große Konzertourneen Laibach auch auf den nord-amerikanischen Kontinent und unzählige Tourneen führten sie nach Europa. Seit ihrem Debüt hat Laibach weltweit fast 1000 Konzerte gegeben und verkaufte über eine Million Musikalben.

Man darf nicht vergessen, daß Laibach zwischen 1983 und 1987 in Slowenien und dem ehemaligen Jugoslawien verboten war – und somit aus dem Untergrund heraus arbeiten mußte. 1984 mitbegründeten Laibach eine Guerilla-Kunst-Kollektive, die sie NSK (Neue Slowenische Kunst) nannten. NSK war eine Vereinigung, die aus mehreren künstlerischen Arbeitsgruppen bestand und zusammen in verschiedenen Disziplinen wirkten. NSK als solche wurde einige Jahre später in 1992 aufgelöst, nachdem der NSK Staat als „virtueller Staat ohne physisches Hoheitsgebiet“ erklärt wurde. Weltweit gibt es derzeit noch 15,000 NSK Bürger, die den NSK Staat quasi aufrechterhalten.

Im Jahre 1997 tourten Laibach durch ganz Europa und den USA, und für das große Abschlusskonzert der Tour kam die Gruppe nach Belgrad, der ehemaligen Hauptstadt von Yugoslawien. Nach acht langen Jahren der Abwesenheit gaben Laibach ein emotionales Konzert vor einem Publikum von 4000 Zuschauern, bei dem sie Stücke aus ihrem Repertoire und Lieder von ihrem NATO-Album spielten. Und trotz einer Armee von beschützenden Bodyguards, ging damals doch eine Autobombe vor dem Hotel hoch, in dem die Band gerade untergebracht war. Bald nach diesem Konzert begann Serbien den Krieg im Kosovo, was zur NATO-Bombardierung von Belgrad und anderen serbischen Großstädten im Jahr 1999 führte.

Eines der wichtigsten Konzerte in Laibach’s Karriere war die Eröffnungsveranstaltung des Europäischen Kulturmontats im Mai 1997 in Ljubljana, als die Gruppe vor mehreren geladenen Staatspräsidenten und einer diplomatischen Delegation ein spektakuläres Konzert gab. Zusammen mit dem Slowenischen Philharmonischen Orchester und einem Chor spielten Laibach industrielle Stücke, die speziell für das Orchester arrangiert wurden. Auch hier provozierte ihre kontroverse Show so sehr, daß mehrere Mitglieder des Publikums, darunter auch der Erzbischof von Slowenien, die Show verließen.

Es überrascht also nicht, daß Laibach’s Album Opus Dei (erschienen bei Mute Records) aus dem Jahr 1987 von führenden, internationalen Kritikern als eines der 1000 besten Musikalben ernannt wurde (“1001 Albums you must hear before you die”, 2005, Quintet Publishing Limited). Die Dezember-Ausgabe 2009 der einflussreichen, britischen Musikzeitschrift Classic Rock bezeichnete Opus Dei als eines der fünf besten Industrial-Rock Alben aller Zeiten. Und im Dezember 2006 wählte die alternative, britische Zeitschrift Wire Laibach’s Konzert in der Trbovlje Power Station vom Dezember 1990 als eines der "60 gefährlichsten Konzerte aller Zeiten". Und auch Laibach’s jüngstes Projekt LAIBACHKUNSTDERFUGE wurde von der Kunstkritikerin Catherine Wood (Artforum) als eines der zehn besten Kunst-Events des Jahres 2009 erklärt.

Ohne Zweifel hatte Laibach starken Einfluß auf die internationale Kunst- und Musikszene, u.a. auf Musikgruppen aus den unterschiedlichsten Genren, wie z. B. Rammstein, Nine Inch Nails und Marilyn Manson. Laibach hat Musik für 15 Theaterproduktionen komponiert und arbeitete an den folgenden Projekten und Produktionen: Baptism Under Triglav (NSK/Scipion Nasice Sisters Theatre, Cankarjev Dom), No Fire Escape In Hell (Michael Clark and Company), Macbeth (Shakespeare/Wilfried Minks, Deutsches Theater Hamburg), Noordung Prayer Machine (Noordung Cosmokinetic Cabinet, SNG Ljubljana Opernhaus), u.v.m. Auch wurde die Musik von Laibach in verschiedenen Filmen (z. B. Spiderman 1, The Blair Witch Project, Iron Sky) und in der TV-Serie Alias verwendet. Laibach sind auch mit dem Slowenischen Philharmonischen Orchester und dem RTV Symphonischen Orchester von Ljubljana gemeinsam aufgetreten.

Weiterhin wurde Laibach in einer Reihe von Büchern genannt; das wichtigste davon ist NSK Monographie, welches 1992 von Graficki zavod Hrvatske (Graphic Association of Croatia) und AMOK Press (USA) veröffentlicht wurde; ein weiteres Buch ist Alexei Monroe‘s Interrogation Machine, welches im Jahr 2005 vom Verlag MIT Press (Boston) herausgegeben wurde und ein Vorwort des weltberühmten slowenischen Philosophen Slavoj Žižek trägt.

Derzeit arbeitet Laibach weiterhin als Kollektive in Ljubljana, Slowenien, jedoch bleiben die Namen der Kernmitglieder der Gruppe anonym - die eigentliche Anzahl der kreativ, beitragenden Mitglieder ist und bleibt groß.
Es ist uns nun eine große Ehre, Laibach in Hong Kong willkommen zu heißen, und wir freuen uns, daß Laibach mit ihrer Arbeit New Cultural Revolution im CIA auftreten werden - auch wenn diese Revolution unter den jetzigen Umständen bedauerlicherweise nicht live im Fernsehen übertragen werden kann: Wir finden jedoch, daß solch eine reaktionäre Bewegung eine einzigartige Erfahrung ist und aus erster Hand gehört und gesehen werden sollte! Die Laibach Kunstausstellung im CIA und das Seminar in Zusammenarbeit mit der City University of Hong Kong gehören zu unserem Versuch, Laibach’s historische und kulturelle Werke zu präsentieren, sowie einen Einblick in ihr zukünftiges Schaffen zu gewähren. Gemeinsam hoffen wir, daß dieses Gesamtprogramm unserem Publikum eine Perspektive veschafft, die bis dahin im „Land der aufgehenden Sonne“ einzigartig ist - und sogar eventuell sprichwörtlich eine Endzeitvision von apokalyptischem Ausmaß bieten wird. Denn Laibach: New Cultural Revolution wird mit einem historischen Konzert am 22. März 2014 ihren Höhepunkt erreichen. CIA bedankt sich, daß Sie an dieser Bewegung teilnehmen, und mit uns Zeuge dieses außergewöhnlichen Besuches sind – denn all diejenigen, die sich nicht an die Vergangenheit erinnern, sind dazu verurteilt, sie zu wiederholen!

Laibach Kunst Ausstellung im CIA            Laibach live im The Vine Centre       Laibach Seminar an der City University of Hong Kong      vom 17. Januar bis zum 20. März 2014                  m 22. März 2014 um 20:00 Uhr                                                         am 21. März 2014  

Aufgrund des aktuellen eher sensiblen politischen Klimas und der allgemeinen Paranoia, möchte CIA gerne klarstellen, daß wir uns nicht verantwortlich fühlen für jegliche politische Geheimdienstoperationen, Spionageangelegenheiten, Angriffe unter falscher Flagge, Mordanschläge, Drohnenangriffe, hinterlistige Waffengeschäfte, Geldwäsche, Manipulationen und Menschenhandel, Organhandel, psychedelische Drogen und Experimente der Gedankenkontrolle an Tieren oder Menschen, Folter, illegale Auslieferungen oder außerordentliche Renditionen, oder jeglichen Umgang mit Geheimgesellschaften wie Freimaurer, Jesuiten, Rosenkreuzer, Bilderberger, dem Komitee der 300, der Trilateralen Commission, Bohemian Grove, The Club of Rome, der Royal Society und definitiv kein Nephilim. Aber sagen Sie mal, warum lesen Sie das hier unten eigentlich? Jetzt aber schnell zurück zum Haupttext, wo es doch um Laibach geht! Und bevor wir es vergessen, wir danken Professor Takuro Mizta Lippit sehr herzlich für seine wertvolle Hilfe, das Laibach-Seminar an der City University of Hong Kong zu organisieren.

Culture Industries Association - Unit 7, Block B, 8/F, Wah Tat Industrial Centre, 8 Wah Sing Street, Kwai Hing, Hong Kong
                                                              +(852) 3421 1720


Laibach: The New Cultural Revolution



CIA is mighty proud to present you Laibach: The New Cultural Revolution, a series of events with the legendary Slovenian art / music group commencing with the Laibach Kunst exhibition at CIA from 17th January 2014, followed by a seminar by Laibach in association with the City University of Hong Kong on the 21st March 2014, and culminating with a Laibach musical performance at The Vine Centre on the 22nd March 2014.

Laibach was formed in 1980 in Trbovlje, a small industrial-coal mining town in Slovenia (in the then Socialist Republic of Yugoslavia) as an experimental, industrial avant-garde, and multimedia group.

The British press declared them the “most dangerous group in the world”. Due to their perceived ideological threat, Laibach performances still evoke fear in some parts of Europe, and they have been refused entry into the U.S. in the past. Nevertheless, they have had four major tours across the North American continent, and have long lost count of the number of tours across Europe. Since the debut of Laibach, the group has had nearly 1,000 concerts worldwide and sold over a million albums.

Between 1983 and1987 Laibach were banned in Slovenia and former Yugoslavia and were thus operating in the underground. In 1984, the group co-founded the NSK (Neue Slowenische Kunst) guerrilla art collective inspired by Laibach – a union of several artistic groups working across different disciplines. NSK ceased to exist in 1992, after proclaiming the NSK State as a virtual State in Time, with no physical territory. There are currently fifteen thousand NSK citizens worldwide operating the NSK State. 

1997 saw Laibach tours extensively across Europe and USA, concluding with an emotional concert in Belgrade, Serbia. An audience of four thousand welcomed the group’s return to the former Yugoslavian capital for the first time in eight years, since before the conflict in the region started. Laibach’s repertoire included songs from the NATO album. Despite an army of bodyguards protecting the band, a car bomb still managed to explode in front of the hotel where the group was staying. Soon after this show, Serbia started the war with Kosovo, which eventually lead to the 1999 NATO bombing of Belgrade and other major Serbian cities.

One of the most significant concerts in Laibach’s career was the opening event at the European Cultural Month in Ljubljana in May 1997. In front of the presidents of several states and a diplomatic delegation, the group performed a spectacular set with the Slovenian Philharmonic Orchestra and a mixed choir, playing Laibach’s early industrial numbers with extraordinary orchestral arrangements. The show again provoked immense controversy and some members of the audience, including the Archbishop of Slovenia, walking out of the venue.

Labach’s seminal 1987 record Opus Dei (Mute) has been recognised by the leading international critics as one of the 1000 all-time best albums (“1001 Albums you must hear before you die”, 2005, Quintet Publishing Limited). In 2009 the influential British magazine Classic Rock recognised Opus Dei as one of the best industrial rock albums of all time. Laibach’s concert in the Trbovlje Power Station in 1990 was proclaimed by the reputable independent music magazine Wire as one of the “60 most dangerous concerts of all time” in 2006, and their recent project LAIBACHKUNSTDERFUGE was recognised by Artforum’s Catherine Wood as one of the best art highlights of 2009.

Laibach has significantly influenced the international art scene and music groups from diverse backgrounds and genres, including Rammstein, Nine Inch Nails and Marilyn Manson, to name but a few. The group has created music for fifteen theatre productions and participated in the following projects and productions: Baptism Under Triglav (NSK/Scipion Nasice Sisters Theatre, Cankarjev Dom), No Fire Escape In Hell (Michael Clark and Company), Macbeth (Shakespeare/Wilfried Minks, Deutsches , Hamburg), Noordung Prayer Machine (Noordung Cosmokinetic Cabinet, SNG Opera Ljubljana), etc. Laibach’s music has also been used in some popular films (Spiderman 1, Blair Witch Project, Iron Sky), and in the TV series Alias. Laibach has also performed with the Slovenian Philharmonic Orchestra and RTV Ljubljana Symphonic Orchestra.

Laibach has been the subject of several books, most notably the NSK Monography, published in 1992 by AMOK Press in USA and Graficki zavod Hrvatske (Graphic Association of Croatia) and Alexei Monroe’s Interrogation Machine (MIT Press, Boston, 2005), with a preface written by the world famous Slovenian philosopher Slavoj Žižek.

Laibach works as a collective and lives in Ljubljana, Slovenia. The membership of the core group is anonymous, but the line-up of the group’s collaborators is extensive.

So it is with pleasure and great honour that CIA is able to welcome Laibach to Hong Kong to bring us their New Cultural Revolution. The Laibach Kunst exhibition at CIA and the seminar in association with City University of Hong Kong are amongst our attempts to introduce Laibach’s historical and cultural past and present, as well as a glimpse of what the future might hold. Together we hope these programmes will offer the audience and spectators a unique perspective that is unparalleled in the land where the sun rises, or perhaps a literal end-time experience on a scale that is verging on apocalyptic proportion. Laibach: The New Cultural Revolution will reach climax with a history-defining concert at The Vine on the evening of 22nd March 2014, right here before our very eyes and ears. CIA thanks you for being part of this movement and witnessing their extra-ordinary visit - for those who do not remember the past are condemned to repeat it.

 Laibach Kunst Exhibition at CIA              Laibach Seminar at City University of Hong Kong           Laibach Live in concert at The Vine
17th January to 20th March 2014                                 21st March 2014                                       22nd March 2014, 8pm

Due to the current sensitive political climate and state of general paranoia, CIA wishes to clarify that we are not responsible for any political covert operation, espionage, false flag attack, assassination, drone strike, back hand heavy arm deal, massive money laundry scheme, manipulation and trafficking of human, organ harvesting, psychedelic drugs and other forms of mind control experiment on animal or human subject, torture or unlawful extradition or extraordinary rendition, or associating with secret societies such as the Freemasons, Jesuits order, Rosicrucian, Bilderbergs, The Committee of 300, Trilateral commission, Bohemian Grove, The Club of Rome, The Royal Society and definitely not the Nephilim. BTW, what are you doing down here ­reading this? Go back up and read about Laibach now! Before, please let us extend our deep gratitude to Professor Takuro Mizta Lippit for his kind assistance in helping to organise the seminar at City University of Hong Kong.

Culture Industries Association - Unit 7, Block B, 8/F, Wah Tat Industrial Centre, 8 Wah Sing Street, Kwai Hing, Hong Kong                                        +(852) 3421 1720

Laibach: The New Cultural Revolution



CIA est terriblement fier de vous présenter Laibach : The New Cultural Revolution, une série d'événements autour du groupe slovène d'art/musique, qui s’ouvrira par l'exposition Laibach Kunst à CIA à partir du 17 Janvier 2014, suivie d'un séminaire par Laibach en association avec City University of Hong Kong le 21 Mars 2014, et culminera avec une performance musicale de Laibach à The Vine Centre le 22 Mars 2014.

Laibach a été formé en 1980 à Trbovlje, une petite ville minière de charbon en Slovénie (dans l’ancienne République socialiste de Yougoslavie) comme un groupe expérimental avant-garde, industriel et multimédia.

La presse britannique les a nommé le groupe le plus dangereux au monde, et leurs performances éveillent encore la peur dans certaines parties de l'Europe. En raison de menaces idéologiques, ils se sont vu refuser l'entrée aux États-Unis dans le passé. Néanmoins, ils ont effectué quatre grandes tournées à travers le continent nord-américain, et depuis longtemps ne compte plus le nombre de tournées Européennes. Depuis ses débuts, Laibach a donné près de 1000 concerts à travers le monde et a vendu plus d'un million d'albums.

Entre 1983  et 1987, Laibach a été interdit en Slovénie et en ex-Yougoslavie, et a dû par conséquent opérer clandestinement. En 1984, le groupe cofonde le NSK (Neue Kunst Slowenische) un collectif d’art guérilla inspiré par Laibach - formé de plusieurs groupes artistiques travaillant dans différentes disciplines. NSK a cessé d'exister en 1992 après avoir proclamé l'État NSK comme un État virtuel dans le temps, sans territoire physique. Il y a actuellement dans le monde 15.000 citoyens NSK qui gèrent cet État conceptuel.

1997 est l’année d’une longue tournée en Europe et aux E.U. Le concert final se passa dans l’ancienne capitale Serbe de Yougoslavie Belgrade; une performance émouvante devant un public de quatre mille personnes -huit longues années après leur dernière visite, depuis le début du conflit en ex-Yougoslavie. Le répertoire de Laibach comprend des chansons de l'album NATO. Malgré une armée de gardes du corps protégeant le groupe, une voiture piégée réussit quand même à exploser en face de l'hôtel où le groupe loge. Peu de temps après ce concert, la Serbie commence la guerre avec le Kosovo, ce qui conduira au bombardement de l’OTAN sur Belgrade et d'autres villes serbes en 1999.

L'un des concerts les plus significatifs de la carrière de Laibach s’est produit pour l’ouverture du Mois Culturel Européen à Ljubljana en mai 1997. Devant les présidents de plusieurs Etats et une délégation diplomatique, le groupe produit un concert spectaculaire avec la collaboration de l'Orchestre philharmonique slovène et un chœur mixte, en jouant les premiers morceaux industriels de Laibach revisités par cette formation exceptionnelle. Encore une fois, le spectacle provoque une immense controverse et certains membres de l'auditoire, y compris l'archevêque de Slovénie, quitte la salle.

L’album Opus Dei en 1987 (Mute Records) a été reconnu par les plus grands critiques internationaux comme l'un des mille meilleurs albums de tous les temps ("1001 albums que vous devez entendre avant de mourir", 2005, Quintet Publishing Limited). Le numéro de Décembre 2009 de l'influent magazine britannique Classic Rock a reconnu Opus Dei comme l'un des cinq meilleurs albums de rock industriel de tous les temps. Le concert de

Laibach dans la centrale de Trbovlje en Décembre de 1990 a été proclamé par le respecté magazine de musique alternative britannique Wire comme l'un des «60 concerts les plus dangereux de tous les temps» en Décembre 2006 et leur récent projet LAIBACHKUNSTDERFUGE a été reconnu par la critique Catherine Wood de Artforum comme l’un des dix meilleurs événements artistiques de 2009.

Laibach a considérablement influencé la scène artistique et musicale internationale dont des groupes de musique d'horizons divers et de genres variés, tels que Rammstein, Nine Inch Nails et Marilyn Manson, pour n'en nommer que quelques-uns. Le groupe a créé la musique de 15 pièces de théâtre et a participé aux projets et productions suivants: Baptism Under Triglav (NSK/Scipion Nasice Sisters Theatre, Cankarjev Dom), No Fire Escape In Hell (Michael Clark and Company), Macbeth (Shakespeare/Wilfried Minks, Deutsches, Hamburg), Noordung Prayer Machine (Noordung Cosmokinetic Cabinet, SNG Opera Ljubljana), etc.  La musique de Laibach a également été utilisée dans certains films populaires (Spiderman 1, Blair Witch Project, Iron Sky), et dans la série de télévision Alias. Laibach a également joué avec l'Orchestre philharmonique slovène RTV et Ljubljana Symphonic Orchestra.

Laibach a été présenté dans plusieurs livres, les plus importants étant NSK Monography, publié en 1992 par AMOK Press aux E.U. et Graficki zavod Hrvatske (Graphic Association of Croatia) et Interrogation Machine d'Alexei Monroe (MIT Press, Boston, 2005) préfacé par le célèbre philosophe slovène Slavoj Žižek.

Laibach fonctionne comme un collectif et vit à Ljubljana, en Slovénie. La composition du noyau du groupe est anonyme, mais la liste des collaborateurs du groupe est vaste.

C'est donc avec plaisir et grand honneur que CIA est en mesure d'accueillir Laibach à Hong Kong pour nous apporter leur New Cultural Revolution: L'exposition Laibach Kunst à CIA et le Séminaire en association avec City University of Hong Kong illustrent notre tentative d’introduire le passé et le présent de la culture Laibachienne, ainsi que de donner un aperçu historique et culturel de ce que Laibach nous réserve dans l'avenir. Nous espérons que ces programmes offriront au public et aux spectateurs une perspective unique qui est sans précédent dans le pays où le soleil se lève, ou peut-être encore une expérience fin-des-temps frôlant l’apocalyptique. Laibach : The New Cultural Revolution atteindra son paroxysme avec un concert historique à  The Vine dans la soirée du 22 Mars 2014, ici sous nos yeux et dans nos oreilles. CIA vous remercie de faire partie de ce mouvement et d’être témoin de leur visite extra-ordinaire - Ceux qui ne se souviennent pas du passé sont condamnés à le répéter.

Laibach Kunst Exposition à CIA                 Laibach Séminaire à City University of Hong Kong           Laibach Concert Live à The Vine
     17 Janvier - 20th Mars 2014                                                            21 Mars 2014                                             22 Mars 2014, 20:00

En raison de l’actuel climat politique sensible et de l'état de paranoïa générale, CIA tient à préciser que nous ne sommes pas responsables d’opération politique secrète, d’espionnage, d’attaque militaire false flag, d’assassinat, d’attaque de drone, de trafic d’armes, de blanchiment d'argent, de trafic d'organes, d’utilisation de  drogues psychédéliques ou autres formes d'expérimentations de contrôle de l'esprit sur les animaux ou sur les humains, de torture ou d'extradition illégales ; ni associés à des sociétés secrètes telles la Franc Maçonnerie, l'ordre des Jésuites, les Rosicruciens, Bilderberg, Le Comité des 300, Trilateral commission, Bohemian Grove, Le Club de Rome, The Royal Society et certainement pas les Nephilim. Vous êtes vraiment en train de lire? Revenez sur Laibach ! Mais avant, laissez nous exprimer notre profonde gratitude au Professeur Takuro Mizta Lippit pour son aimable assistance dans l’organisation le séminaire à la City University of Hong Kong.

Culture Industries Association - Unit 7, Block B, 8/F, Wah Tat Industrial Centre, 8 Wah Sing Street, Kwai Hing, Hong Kong                                        +(852) 3421 1720

The recent news that industrial legends Laibach are to play their first ever dates in China next year raised a few eyebrows. How will the playful post-modernism of the Slovenians go down in the Communist state? Will they escape with their liberty and their reputation intact? 

That is not to say that anyone can expect them to perform protest songs or make a political "statement". For one, they wouldn't do anything that obtuse and obvious. They are not the Rolling Stones or Bob Dylan... they are more relevant than that. We would be doing Laibach a disservice by expecting any standard political response from them, or in fact any political response at all. They have made a career out of prizing ideology, art and politics out of context and juxtaposing them with a deadpan sense of mischief. They are not going to shout "Free Tibet!" in the middle of 'Tanz Mit Laibach', unless they impishly followed it with a cry of "Free Trans-Dniester!". Laibach seem content to leave the politics to the politicians and the gestures to the People's Liberation Army gymnasts.
Laibach always understood the post-ideological world that we now live in better than their contemporaries (with the honourable exception of DAF , and possibly now also KMFDM and Rammstein). While many industrial acts still use political imagery as a symbol of authenticity, be that neo-Nazi insignia, uniforms and other militaria, or Stalinist iconography, they prefer to subvert them and demonstrate how empty and useless these images really are. The era that these symbols belong to is over – like the USSR, Reaganism, and action movies staring Schwarzenegger. Laibach, on the other hand, have been working in the 21st century for some considerable time and have used the ephemera of twentieth century pop culture and political history to troll the world.
So the contrast with China promises to be delicious – the first post-communist band in the world's largest Communist state, but one which is ridden with the kind of contradictions ripe for Laibach's satire; a closed political system ostensibly beholden to a Leninist ideology but in practice working as the largest neo-liberal economy on earth. A developing nation that is now starting to develop the growing pains of the classic post-industrial nations of the West. And Laibach, who probably saw this coming years ago.
So what they will make of the scene in Hong Kong is anyone's guess. It is obvious that behind the hyper-modern façade China seems anachronistic, with their gunships prowling the South China Sea, their regulated search engines and poets under house arrest. Or maybe Laibach might admire the brutal, honest hypocrisy of modern China all the more. 
Either way, it should be the art installation to end all art installations. A film release is a must. Just don't expect them to sing 'Wind Of Change'... although if they did, it would probably be sarcastic.
see original article on

Watch this artful edit of the legendary show, masterfully cut up by Zoe Valls, and the much anticipated DVD box set that is coming soon. Thank Nuke

CIA would like to thank all those who have bared witness to history by attending the concert last night, and helped made it to a world class event. Vagina Dentata Organ and New Noveta have left us with a deep scar and a strong taste - and smell - in our mind and I cannot help but noticed all the stunned and confused faces on our gallery floor. This is how art should be - ever be.


We also want to thank all those who have helped us to make this into a successful event, when all the odds were against us in the face of economic adversities. You have helped us to show to the main stream arts current that there is an alternative, an idea that is not based on commerce and marketability, and the absurdity of using arts as a means for a popularity contest. C I A says come if you will, if you dare to be different, and if you want to see what is possible.


Before we say goodbye to Jordi Valls and New Noveta, we want to say how much we appreciate their visit to C I A and the great performance they have given us, and we sure looking forward to our future collaboration on new projects. Last but not least, we have collected enough footage from the show last night and with other new materials from the artists will allow us to present a limited deluxe edition DVD set brought to you soon exclusively by C I A with Ultramail production. Please keep watch at The Farm for more details coming to you soon.


To Vagina Dentata Organ and New Noveta, we salute you.





Culture Industries Association presents


Vagina Dentata Organ

The Assassination Of Music As You Know It


A unique performance by Jordi Valls, with Hong Kong based musicians and percussionists, mirrors, blood, sweats, visceral and sonic violence


8:00 pm on Sunday 21st July 2013, one night only


CIA is absolutely guilty to present you the long anticipated performance of Vagina Dentata Organ, following the recent great success of his extreme rituals in Arnolfini Bristol UK, NK Berlin, Pompidou Centre Paris. Jordi Valls received World-wide recognition since his involvement with Throbbing Gristle in the late 70s’ when he organised TG’s early concert in London, then went on to his collaboration with Psychic TV in Dreamless Sweet followed by an onscreen reconstruction of his fateful car accident directed by the late Derek Jarman; together with his notable long term collaboration with William Bennett of the infamous Whitehouse made Vagina Dentata Organ a force to be reckoned with in the arena of contemporary post industrial music scene,


Vagina Dentata Organ’s performances have never been an easy experience and Jordi Valls’ ritual should never be considered as a form of entertainment. The action offers no compromise. Its expression is destruction with extreme prejudice, its instrument is anger and pure disgust, and its aim is to demystify pseudo art and its bullshit discourse. “We are fascinated by destruction for its own sake. VDO is the most fanatic band in the world.”*


It is indeed after the total annihilation of such a corrupted system of value, be it political, financial, or artistic, that one can be allowed to rediscover the true intrinsic value of humanity. When Jordi Valls hammers his way out through the representation of reality, metaphysically and ontologically, we are one step closer - to the end, and of the biggest lie ever told – ourselves. The reflection in the mirror that we admire, examine, evaluate, praise, loath, curse, moan about tirelessly every day, at every other chance when opportunity occurs. Jordi Valls’ prophetic and dynamic action is the final testimony of our mundane lives; his offering for a spiritual redemption, a pact with the darkness or perhaps even a truce with the light – the overwhelming sight, sound and smell of violence, the immediate decaying process of our inhibitions and self imposed moral constrains, results in a real time display of the theatre of death. It is both a murder and a self mutilation simultaneously taking place in The Assassination Of Music As You Know It.



*23 questions to Jordi Valls / Vagina Dentata Organ,

Due to the inevitable violence and offensive nature of this performance, CIA is advised to remind all participants and audience to sign an indemnity form of self certification that you are fit and have a sound mind for this unique event. We are not sorry for any injury caused, be it physically or psychologically as a result of Vagina Dentata Organs’ performance.

Culture Industries Association Unit 7, Block B, 8/F, Wah Tat Industrial Centre, 8 Wah Sing Street, Kwai Hing Hong Kong +(852) 3421 1720

Culture Industries Association文化企業協會又一呈獻





Jordi Valls聯同本地敲擊樂手以血、汗、玻璃碎片、五臟六腑及過量聲響暴力完全災難悲劇性的非理性演出




文化企業拹會再次不能自己全然失禁地邀得典堂級實驗始祖陰道鋸齒器官來港,緊隨於年初起在歐洲先後三度舉行過令人費解兼太過份的空前絕後陰樂祭禮(英國布里斯托爾的Arnolfini畫廊、德國栢林的NK及四月份在法國巴黎的龐比度中心)特地作是次劫數式的宿命性演出。Jordi Valls的名字早於七十年代末期跟悸動軟骨搭訕並協力發動TG於倫敦的演唱,及其後和通靈電視在<無夢甜眠>一曲中獨領風騷誘導致西班牙國營電視台力邀辭世導演戴力渣文重新演譯當年令Jordi幾乎致命的嚴重車禍並將其事跡搬上銀幕﹔又為Jordi白屋威廉賓納多年來無間斷的創作通姦等都直接奠定了陰道鋸齒器官在後工業聲響實驗樂圈中是一支絕對不容忽視、佔着重要歷史席位的經典傳奇組合。


然而陰道鋸齒器官直迷心竅的辛辣陰樂祭儀狠拒於賤賣淪為大衆茶餘飯後消遣課題 – Jordi絕不妥協的行動藝術以異端化的大無謂破壞傾向裸露表白,用憤恨和強烈厭惡感作樂韻,旨在擊破虛藝偽術及一律吹波行雲的垃圾放屁論調。「我們以為破壞而破壞自豪。陰器是世間上最疏狂的樂團。」*


無庸置疑,姑勿論是在政治、經濟還是藝術架構中,只有在如斯腐敗虛擬的既成系统及世界觀被徹底催毀的情况下我們才可以重拾何謂生機,把握搗破人性思想靈光枯竭黑暗一面的機會。當Jordi Valls手中的鐵鎚高壓無愁地憤擊着既形而上又實體的現實表像時,刺耳的聲頻高速邁進自我矇閉及自我欺騙的無底深淵,直指向一切的永恆終結,就是我們每日每天每時無恥無悔無意識地對鏡自戀自憐自虐自悲自喃自咒於每一空檔,每一夢影、電、光、火石之際。Jordi Valls所帶來凶兆式的衝擊是對平面人生的一種當頭棒喝﹔那也許是一種屬靈的挽回祭、幽暗的出賣抑或天國的新歌 表演中那股從血腥暴力溢出的狂瀾淹沒五官觸覺神經,抗衡道德律制抓蝕刻懸空的心,活生生上演着一場不朽的死亡風情畫。音謀殺是一齣既自刎又殺人自殺殺他殺死她的同步血腥混沌劇場的降臨。


*Jordi Valls的二十三個問題 / 陰道鋸齒器官,




文化企業拹會   葵興   華達工業大廈。 B座。八樓。 七室 電話 34211720 WWW.CIAHK.ORG

Culture Industries Association présente



Vagina Dentata Organ

L’Assassinat De La Musique Telle Que Vous La Connaissez


Une performance unique de Jordi Valls, avec des percussionnistes de Hong Kong, des miroirs, de la sueur, de la violence viscérale et sonore, et du sang


20:00 heure le dimanche 21Juillet 2013, une performance seulement


CIA se sent absolument coupable de vous présenter la performance longtemps anticipée de Vagina Dentata Organ, à la suite du succès récent de ses rituels extrêmes donnés à Arnolfini Bristol Royaume-Uni, à NK Berlin, et au Centre Pompidou Paris. Jordi Valls a reçu une reconnaissance mondiale dès sa participation avec Throbbing Gristle à la fin des années 70 quand il organisa les premiers concerts de TG à Londres. Sa collaboration avec Psychic TV pour Dreamless Sweet, la reconstruction à l'écran de son accident fatal de voiture mise en scène par Derek Jarman, ainsi que sa remarquable longue collaboration avec William Bennett du groupe provocateur Whitehouse, ont fait de Vagina Dentata Organ une force qu’il faut compter dans l'arène de la scène musicale industrielle postmoderne.

Les performances de Vaginal Dentata Organ n'ont jamais été une expérience facile et les rituels de Jordi Valls ne devraient jamais être considérés comme une forme de divertissement. Son action ne fait aucun compromis. Son expression est la destruction avec une partialité extrême, son instrument est la colère et le dégoût pur, et son objectif est de démystifier le pseudo art et son discours incompréhensible. "Nous sommes fascinés par la destruction pour la destruction. VDO est le groupe le plus fanatique du monde."*

C'est en effet après la destruction totale d'un tel système corrompu des valeurs, qu'il soit politique, financier ou artistique, que l'on peut être autorisé à redécouvrir la véritable valeur intrinsèque de l'humanité. Quand Jordi Valls s’acharne sur la représentation de la réalité, métaphysique et ontologique, nous sommes un peu plus près -de la fin, le plus grand mensonge jamais avoué -nous-mêmes ; le reflet dans le miroir que nous admirons, scrutons, évaluons, louons, répugnons, maudissons, plaignons sans relâche chaque jour, dès que nous en avons l’occasion. L’action prophétique et dynamique de Jordi Valls est le dernier témoignage de nos vies banales; son offrande pour une rédemption spirituelle, un pacte avec l’obscurité ou peut-être même une trêve lumineuse – l’intensité visuelle, le son et l'odeur de la violence, la décomposition immédiate de nos inhibitions et des contraintes morales que nous nous imposons, produit un théâtre de la mort en temps réel. C’est à la fois un assassinat et une automutilation qui se joue simultanément dans L'Assassinat De La Musique Telle Que Vous La Connaissez.


* 23 questions à Jordi Valls / Vagina Dentata Organ, / musique / vdo.html

En raison de la violence inévitable et de la nature offensive de cette performance, CIA rappelle à tous les participants et au public de signer un formulaire de décharge auto-certifiant que vous êtes en forme physique et que vous avez un esprit sain pour assister à cet événement unique. Nous ne sommes pas désolés pour tout dommage causé ; physique ou psychologique, à la suite de la performance de Vagina Dentata Organ.

Culture Industries Association proudly presents

New Noveta

                               Riziko Zadky


A unique Double bill with VDO - New Noveta performs at C I A with fish, cage, bamboo, strings and ropes, and other unconceivable materials on dust sheets

8:00 pm on Sunday 21st July 2013, one night only


CIA is honoured to have New Noveta to perform Riziko Zadky in Hong Kong following their great success in Europe. New Noveta are Keira Fox and Ellen Freed, a London based duo collaborating for more than six years, and since 2009 they have been busy performing at a range of art spaces and venues across Sweden and festivals such as Modern Art Oxford, Wysing Art Centre in Cambridge (the festival Space-Time: Past Present Future), live art festival Tempting Failure in Bristol, V&A Museum in London as part of The Post-Modernist Exhibition, Deutsche Bank head quarters at Frankfurt festival Fun, Fear, Fire (curated by artist Keren Cytter), as well as Ray Davies’ Meltdown. More notably, their show at the Arnolfini gallery in Bristol this year with Vagina Dentata Organ has attracted much attention to their radical un-conformism on stage, challenging social interactions and expectations of ‘normal’ human behaviours.


Using the body as a tool and putting oneself to work, intervention in the creating of an action/scenario in which manual rituals form the structure and push their bodies into a stressed/strained physical exertion, the outcome of New Noveta’s actions can have no result, can fail or can conclude in the ritual that has taken place. The processes of these actions; the sound creation process and physical live performance, attempt at realising an interest in the body and its perseverance through ritualistic repetitive action and its relation to physical work, what effect this can have on the way we feel about our bodies and minds.



“The thing is, it's all meticulously set up - the entire room was festooned with ropes and canes, all tied together in intricate ways, and there's clearly a real intent behind it all. And yet you end up standing there in what looks like a riot girl fish-wrestling match, thinking, WTF is all *this* about?

However, I have a theory that great art is the stuff that makes you think "WTF is *this* all about?" People need to be pushed over the WTF edge more often!” – Michael Johnson, Nemesis To Go

“[…]Peals of juddering noise, while two young women threw percussion, bucketloads of food and each other around. Ten minutes later, it was over, leaving all manner of detritus in its wake. Perfect noise set.” - Neil Campbell, Astral Social Club

“As a spectacle – not to mention an olfactory experience – it certainly has a power that very few gigs can match” - David Murphy, Music in Oxford


福無雙至,live不單行- New Noveta 連同VDO CIA演出。身體力行奇音女子組合NN將自備魚、竹枝繩索、鐵籠及大膠布等在香港恣意妄為。


文企拹因緣際遇榮獲New Noveta垂青加盟到港參與VDO㩗手同場演出。早前曾於歐洲各站演出大獲好評,來自倫敦的二人女子組合New Noveta是由Keira FoxEllen Freed經超過六年時間合作的成果。打從二零零九年起她們決志穿上泳衣出入北歐各大畫廊更稍後在各大藝術節中互相魏贈大量鮮魚、肉、蔬菜水果;兩人軀殼 更橫飛於牛津的現代藝術館、劍橋的Wysing藝術中心(空,節-:現在過去未來)、布里斯托爾的激引失敗活動藝術節、倫敦維多利亞與亞爾畢博物館 的後現代主義博覧、於德國銀行總部,由加倫西特統籌的法蘭克福節及在倫敦享負盛名,去年由威 戴維斯統籌的溶化音樂節。而於本年初與陰道鋸齒器官在布里斯托爾的Arnolfini畫廊的同台演出更讓New Noveta將其激進不妥協、挑戰既成並所謂正常的社交人際關係及互動模式等主旨再創新高。

以身體為表達工具及創作動力,New Noveta借自身主體行動的介入締造出一份帶祭祀色彩的架構,並將軀體透過壓迫和勞役昇華成一齣可有可無、無始無終又或無稜兩可的悲喜劇。其表演中出現 的奇特行徑及聲響創造過程焦點於身體力行及盲從般的宗教祭禮性色彩,重演並推至體能/精神極限,從中對心與身的普遍體會和理解作出重新詮釋

Culture Industries Association est fier de présenter


New Noveta

Riziko Zadky


Une double performance unique avec VDO - New Noveta se produit à C I A avec des poissons, une cage, des bambous, des cordes, et autres matériels inconcevable sur des bâches

20h00 le dimanche 21 Juillet 2013, une seule représentation

CIA est heureux de recevoir New Noveta à Hong Kong à la suite de leur succès grandissant en Europe. Ce duo, Keira Fox et Ellen Freed, basé à Londres a collaboré pendant plus de six ans. Depuis 2009 New Noveta s’est produit dans divers salles de concert et centres d’art à travers la Suède et a participé à de nombreux festivals tels que : Modern Art Oxford, Wysing Art Centre à Cambridge (festival Space-Time: Past Present Future), Tempting Failure à Bristol (festival d’art vivant), V&A Museum à Londres dans le cadre de The Post-Modernist Exhibition, Deutsche Bank head quarters à Francfort pour le festival Fun, Fear, Fire (organisée par l'artiste Keren Cytter), ainsi que le Meltdown de Ray Davies. Plus notablement, leur performance à la galerie Arnolfini à Bristol cette année avec VDO a attiré beaucoup d'attention sur leur non-conformisme radical déployé sur scène, questionnant les interactions sociales et les comportements humains dits «normaux».

Utiliser le corps comme un outil et se mettre en scène soi-même -intervention dans la création d'une action (scénario) structurée en forme de rituel qui poussent les corps dans un effort physique de stresse / tension ; les actions de New Noveta peuvent avoir aucun résultat final, peuvent échouer ou être sans conclusion. Les processus de ces actions, création sonore et performance physique, sont une tentative de mettre en exergue le corps et sa persévérance et endurance à travers une action répétitive ritualisée et sa relation avec le travail physique et les effets produits sur la façon dont nous pensons notre corps et notre esprit.

“The thing is, it's all meticulously set up - the entire room was festooned with ropes and canes, all tied together in intricate ways, and there's clearly a real intent behind it all. And yet you end up standing there in what looks like a riot girl fish-wrestling match, thinking, WTF is all *this* about?
However, I have a theory that great art is the stuff that makes you think "WTF is *this* all about?" People need to be pushed over the WTF edge more often!” – Michael Johnson, Nemesis To Go

“[…]Peals of juddering noise, while two young women threw percussion, bucketloads of food and each other around. Ten minutes later, it was over, leaving all manner of detritus in its wake. Perfect noise set.” - Neil Campbell, Astral Social Club

“As a spectacle – not to mention an olfactory experience – it certainly has a power that very few gigs can match” - David Murphy, Music in Oxford

SEE EYE AYE! Operation Tunnel Vision is now activated, please click on SEE EYE AYE now for full details

Culture Industries Association, Unit 7, 8/F, Block B, Wah Tat Industrial Centre, 8-10 Wah Sing Street, Kwai Hing, Kowloon, Hong Kong 

文化企業協會, 華達工業大厦B座八樓七室, 八至十號華星街, 葵興

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