CZARDAS'S MACHINE- musical performance
The disgraceful living legend and rebel of Neoism is known for his wide range of artistic experiments, from performance to video art, new media, robotics, music and much more. On the way to the WRO Biennale festival, where he is a special guest, Kantor will appear at the Interactions with Musical Performance Festival.
The artist creates a performance using his vocals, as well as electronic instruments, integrating the music into a visually shaped action - a composition consisting of waving a flag, convulsions on the floor, displaying a video and fire, as well as unexpectedly appearing propaganda, unpacked especially for this occasion . In the (operatic performance) the vision of Robotariar, devoid of illusion, of the working class of the transfer of information, waging a hopeless struggle, survival. Kantor describes the works as: "robo-zombie rebel-folk vampire-Roma, residential-electronic remix of a synthesizer."
Both performance art and Kantor's relationship with music go back many decades.
Since the early 1980s, Istvan Kantor aka Monty Cantsin has released over a dozen albums, exerting a strong influence on the alternative music scene as a performer.
Kantor's music draws from both his Eastern European origins and numerous styles and movements, from classical music to 80's synth-pop, punk, "industrial noise", anti-music, French "chanson", military marches, ...
Istvan Kantor was born in Budapest. He studied medicine there. In 1976 he fled to Paris, from where he emigrated to Montreal. He has also lived in Portland, New York, Berlin, and is now a resident of Toronto with his three children, Jericho, Babylon, and Nineveh, who were born in the 1990s.
Its main focus is the corruption associated with technological progress and the struggle of the individual in a technology-dominated society. His work is described by the media as intellectually subversive, anti-authoritarian, as well as technically innovative and highly experimental. He likes to set fire to and spoil things. He uses conflict and crisis to bring his cause to the fore, often placing himself in the center of danger and uncertainty. His radically changing creative aspirations are always linked to his current environment and social situation.
Over the past three decades, he has been arrested and jailed multiple times for his guerilla campaigns in museums. He has also received numerous prestigious awards, including Telefilm Canada - the Best Canadian Film and Video Award in 1998, the Transmediale Award in Berlin in 2001, the Governor's Award in the Visual Arts Category in Ottawa in 2004, and the EMAF Award at the European Media Art Festival in Osnabrück. .
In my interpretation, Robotar is a biotechnological being, embedded in the sociopolitical pattern of today's hyper-technological broadcast society. Robotariat is the working class of information transmission. This concept is a simple play on the words "robot" and "proletariat", so it is closely related to the historical context and philosophical currents started in the early stages of industrial society. However, I refer to the accumulation of these ideas in a non-linear way, always pointing out that in my interpretation the past, present and future are not separate and everything happens at the same moment at 6 o'clock. Robotar lives in the present-present-future complex. The perpendicular 6 o'clock hand opposes the horizontal chronological line of representation and represents a massive accumulation of actions and ideas. Devoid of hope and illusions, Robotar wants a new, fairy-tale world. He manifests this hunger through brutal sexual hallucinations that express the collapse of the present collective idealism of the Robotariat, in relation to the psychopathic deconstruction of icons and greedy vandalism. Robotar is putting pressure on the world for the final and complete realization of the purifying revolutionary orgy. The robotariat works in close relationship with other members of the broadcast society, such as zombies, vampires, and illegal aliens.