A spring and summer tour starting in April 2012, featuring Laibach live, presenting and promoting the science fiction dark comedy, film Iron Sky. Laibach has composed the soundtrack for this film and will perform selected songs from it live in concert, along with other material including some preview songs from their two forthcoming albums and a set of classic Laibach songs spanning from the early 80’s to today.

Iron Sky is a dark science fiction comedy about Nazis escaping to the dark side of the Moon in 1945 and returning to Earth in 2018. Towards the end of World War II the Nazi scientists made a significant breakthrough in anti-gravity. From a secret base built in the Antarctic, the first Nazi spaceships were launched in late ‘45 to found the military base Schwarze Sonne (Black Sun) on the dark side of the Moon. This base was to build a powerful invasion fleet and return to take over the Earth once the time was right. Now it’s 2018, and the Nazis are returning…

Iron Sky is one of the most anticipated films coming out of Europe in 2012. The film was inspired in part by Laibach and especially their 2006 album VOLK (Mute/EMI), therefore from very early on the film’s director Timo Vuorensola wanted to have Laibach create the music for it. When both the band and the filmmakers connected, the vision started to become a reality.

Laibach’s involvement is a match made in heaven. Their music for this film is loaded with references to Wagner (as is the whole film) and was created very carefully with the unique Laibachian style, sense of humor and dark tone, and it works perfectly with the noir/steampunk look of the film. A release of an album with the film score on Mute will follow later this year.

Iron Sky is a Finnish-German-Australian co-production of about 7,5 million € budget, to be released worldwide in 2012. It’s directed by Timo Vuorensola and produced by Tero Kaukomaa (Blind Spot Pictures), Samuli Torssonen (Energia) as the visual effects producer, Oliver Damian (27 Films Production), Cathy Overett & Mark Overett (New Holland Pictures), with San Fu Maltha as the executive producer. The cast includes Julia Dietze (1½ Ritter), Götz Otto (Tomorrow Never Dies, Schindler’s List, Downfall), Christopher Kirby (The Matrix Reloaded & Revolutions, Daybreakers, Space: Above and Beyond), Udo Kier (Dogville, Dancer in the Dark), Peta Sergeant (Satisfaction), Stephanie Paul (Separation City, Film School Confidential) and Tilo Prückner (The Neverending Story, Die Fälscher).

What makes Iron Sky especially unique is the wide ranging collaboration with fans and community: the fanbase was able to join in creating ideas and content for the movie in a collaborative movie making platform called Wreckamovie. They were also able to give the film added publicity by sharing information online and even fund the movie by designing and buying merchandize and by other means.

Iron Sky premieres at the Berlinale on 11.2.2012 and will be released on the 4th of April 2012.

Galerija Gregor Podnar is pleased to announce Was ist Kunst Hugo Ball, an exhibition by the artist group Irwin in collaboration with Bishop Metodij Zlatanov, Metropolitan of the Christian-Orthodox Church in Macedonia, in the Project Space of Galerija Gregor Podnar on Kolodvorska 6 in Ljubljana.

Was ist Kunst Hugo Ball will confront Greek-Orthodox icons with IRWIN-framed Dada works, complying with Dionysius’ invocation. This is the exhibition’s second presentation after it was conceived for and shown at the Cabaret Voltaire in Zürich in 2010. In Ljubljana Irwin will be showing the magazine Dada 4-5 of 1919, as well as the famous photograph of Hugo Ball as magical bishop dressed in a Cubist costume. Furthermore, there will be a large-scale photograph of Bishop Metodij Zlatanov, Christian-Orthodox Metropolitan of Macedonia, produced specifically for this exhibition and showing him holding in his hands an original Dada work from the Kunsthaus Zürich as if it was an icon in a procession.

Adrian Notz, co-producer of Was ist Kunst Hugo Ball and director of Cabaret Voltaire, describes icons as “ritualistic tools which do not represent holiness but are the substance itself, thus giving direct access to divinity. Their function as ritualistic tools brings icons very close to what Hugo Ball tried to achieve with Dada. Dada was neither a ‘style’ nor a ‘movement of art’, but a gesture Ball thought would help him obtain mystic insights. He conceived of this notion the night he was intoning phonetic poems in the guise and voice of a bishop. On 18 June 1921 Ball wrote in his diary Flucht aus der Zeit (1927): when I came across the word ‘Dada’ Dionysius called upon me twice. D.A. – D.A. He was not talking about Bacchus (Dionysus), but Dionysius Areopagita, a controversial mystic from the 5th century A.D. Ball had published a book about in 1923 entitled Byzantinisches Christentum.

IRWIN has dealt with the subject of icons in their series Was ist Kunst since 1984. In direct reference to the Last Futurist Exhibition 0,10, staged in St. Petersburg in 1915, IRWIN presents the pictures of their series in similar ‘Petersburg hanging’ fashion as the Suprematists did, Malevich’s Black Square hanging in the corner facing the entrance, the place where one would expect an icon to hang, thus turning it into an icon in its own right and becoming what this painting has been for years: the essential modern icon. IRWIN used Malevich’s Black Square, other Suprematist icons and other motives from the history of art and formulated them into a new whole. In 1995, when Was Ist Kunst was translated into icons, IRWIN selected a number of it’s own formulations out of the entire Was Ist Kunst body of works and started, following the tradition of icon painting, to copy them. Images from both series are connected by specific frames that are used to homogenize the diversity of aspects.”

The project is supported by Ministry of Culture of the Republic of Slovenia

We would like to thank Ziva and Lazo Vujic from Visconti Fine Arts, Ljubljana, for their loan of Greek- Orthodox icons to the exhibition. We also would like to extend our thanks for their support especially to Adrian Notz, Cabaret Voltaire Zürich, Kunsthaus Zürich, and Geri Krischker.

During the exhibition, the gallery is open Tuesday–Friday, noon–6 p.m., and by appointment.

This irwin work entitled State in Time, was installed on the façade of Museum of Modern Art  in Moscow some days ago as a part of exhibition Impossible Communities curated by Viktor Misiano. It was on the wall for few days but than museum director Vasili Tsereteli for some reason decided that it has to be taken down since they have no permission to put it on the building. Officially they are waiting for some permission to put it on. He also said that some people called the museum that the message on a poster is problematic.

The Laibach Division 300.000 VK will have a concert tomorrow (8.9.2011) in Ljubljana. 300.000 VK are currently preparing their new album “Dark Side of Europe“.

“Bob Dylan is by all means phenomenon who inspired us sincerely and deeply. This narcissist Christianised egoist of Jewish descent, who can’t really sing nor play, who recorded bunch of bad and non-listenable records, directed few third class films, most of his material he scraped from tradition, or has stolen from elsewhere, who climbed to stage over corpses of his inclined acquaintances and friends, used and wrung everybody who approached him, and if his songs wouldn’t perform Hendrix, Donovan, The Birds, Peter, Paul & Mary, Sonny & Cher, Joan Baez, Johnny Cash… most probably nobody wouldn’t hear about him nowadays.

But, in spite of all this, Dylan is already for 50 years the biggest and most prominent fixed star on the sky of the contemporary popular culture who didn’t only fatally influence the development of music and poetry in the second half of 20th century, but also art, culture and politics in general. Without him and legions of his fanatic worshipers, which proclaimed him for Messiah and Saviour, would be the last half of the century significantly more non-reflected and contents-wise empty in creative and poetic sense. That’s why, we LAIBACH, are honoured, that we can make a bow to him in this presented project by ourselves. And we don’t bow that often at all.” Laibach

The CD features many of Slovenia’s best-known musicians, and represents an amazing overview of both the deep talent and diverse styles here. Musicians include Vlado Kreslin, Laibach, Katalena, Zoran Predin, Hic et Nunc, Mia Žnidarič, Niet, 6 Pack Čukur, Severa, Chris Eckman & the Frictions, Brina, Peter Lovšin, Murat & Jose, and even world famous opera soprano Sabina Cvilak. Each artist chose their own Dylan song, and each have managed to put their unique stamp on songs that range from throughout Dylan’s 50 year career. Chris Eckman, an American musician living in Ljubljana, served as the project’s music director.

The non-profit project, which was conceived by U.S. Embassy Public Affairs Officer Christopher Wurst, includes the CD, a documentary film, a film festival and a major autumn concert at Križanke. “Our goal was to showcase an American icon who is almost equally iconic in Slovenia,” said Wurst, “and at the same time encourage young Slovenians to get involved with issues that affect them – just as Dylan has done with generations of Americans and people around the world.”

While the main theme of the project is volunteerism, it also aims to raise awareness about a large number of issues, including human trafficking, violence against women, child abuse, children’s health issues, mental and physical handicaps, youth drug prevention, active citizenship, asylum issues, the environment, fighting against corruption, development and global issues, and regional cooperation. NGO partners include Sloga, Slovenska filantropija – Slovene Philanthropy, PIC – Legal Information Center, Društvo Integriteta – Transparency International Slovenia, Društvo Ključ, Zavod Emma, Društvo SOS – SOS Helpline, Rdeči noski – Red Noses, aktivendrzavljan.si, Ekologi brez meja – Ecologists Without Borders, Focus, Zavod Voluntariat, Nacionalni svet invalidskih organizacij Slovenije – the National Council of Disabled People’s Organizations of Slovenia, and Zveza društev na področju drog Slovenije – Association of NGOs working in the drug prevention in Slovenia.

The documentary film captures both the artists learning how to adapt the different Dylan songs, and also highlights the above issues, and showcases work being done at the grassroots level by Slovenian volunteers. Award-winning filmmakers Maja Weiss and Peter Braatz are directing the film, entitled “Forever Young,” which will make its premiere on RTV Slovenia in September. The film will also be distributed by the U.S. Embassy to Slovenian schools.

Later in September, a Bob Dylan film festival will be featured at Kinoteka, followed by a large concert on September 21st, at Križanke. The concert, which will also be mounted by the U.S. Embassy, will include many of the artists featured on the CD, and will be used exclusively to promote volunteerism in Slovenia.

For obtaining the free CD, write e-mail to: ljuDylanProject@state.gov

AUSSTELLUNG LAIBACH KUNST PERSPECTIVES 1980-2011
UGM l Maribor Art Gallery, Strossmayerjeva 6, Maribor, Slovenia
Press Conference: Wednesday, 23 February 2011 at 11:00
Opening: Thursday, 24 February 2011 at 19:00

The exhibition is dedicated to the academic painter Janez Knez (1931−2011).

The internationally renowned multidisciplinary collective and performance group Laibach are returning to the exhibition space! After 30 years of provocative activities and ‘performances’, Umetnostna galerija Maribor / Maribor Art Gallery presents a review of Laibach’s visual artwork.

Since their formation in the early 1980s, Laibach have been engaged in an obsessive dialogue with the totalitarian ideologies of modernity and their relation to art. Far from being solely intelligible in the cultural context of 1980s Yugoslavia, their work still offers critical perspectives to a globalised world which continues to be affected by modernity’s conceptions of the state, the individual, mass culture, art, and politics. Exhibition at UGM opens new perspectives on Laibach by highlighting their original beginnings as an ‘arts’ collective. Although Laibach have repeatedly rejected this designation, their self-fashioning as ‘engineers of the human soul’ is telling of the degree to which all of Laibach’s performances have sought to ironize and collapse clear-cut categories such as ‘art’, ‘politics’, and ‘popular culture’. Despite their influence on established artists, theorists and wider audiences, Laibach occupy an unframed position in the national and international art scene today. Their explorations into the world of popular music have gained them international renown. However, all of their performances have been radically self-reflexive in a way that responds to the functions ascribed to ‘political art’ in contemporary society, rather than to the consumerist and escapist nature of popular music. With their performances on diverse stages such as galleries, concert halls, opera houses, TV, internet, video, theatre, industrial power plants and shopping malls, Laibach represent a unique challenge to the categories established by Western art criticism.

The exhibition comprises twelve rooms presenting key stages of Laibach’s work from the first decade of their career in the 1980s up to the present. The works on display include multi-media installations, oil paintings, photographs, graphic works, and film. A new installation created especially for this exhibition, titled Artist Perspective, will be on view. This is the biggest Laibach Kunst exhibition in Slovenia to date.
The exhibition includes works from private collections of Neil Rector and Daniel Miller, works by Jane Štravs and Sašo Podgoršek and objects from the Maribor Regional Museum and the Institute of Anatomy of the University of Ljubljana. The exhibited works were created in collaboration with Janez Knez, Paola Korošec, Benjamin Kreže, Simon and Uroš Arnšek.

Curated by: Simona Vidmar, Laibach and Claudia Richter

NSK RENDEZ-VOUS LYON #1

“Art is Fanaticism that demands Diplomacy”

Tuesday, the 25th of January 2011 – 7.00pm > 11.00pm

Conferences – Debates – Projections – Music
Retrogarde – New Slovene Art – Industrial Music

With exceptional participation of Alexei Monroe (PhD), Non-alignates Cultural theorist, and author of Interrogation Machine – Laibach and NSK (2005, MIT Press), Founder of de I.C.R.N (Industrial Cultural Research Network)

“Interrogation Machine – The State of New Slovene Art”
19h30 : lecture and questions/answers in English, followed by meeting/signing with the author)

20h45 : projection of Michael Benson’s Predictions of Fire movie (1996, Original soundrack, including English subtitles)

Musical surrounding ambient and industrial lead by Convulsions Sonores

IRWIN – Novi Kolektivizem – Laibach – Cosmokinetic Cabinet Noordung – Department of Pure and Applied Philosophy – Peter Mlakar – Slavoj Žižek

www.nskstate.com

Venue: Lieu : Café de la Cloche
4 rue de la Charité
69002 LYON
France
Tél. +33 4 78 37 44 54
www.cafe-de-la-cloche.org

Irwin
Država v času / State in Time

Exhibition in Dolenjski Muzej, Novo Mesto, Slovenija (main hall)
Opening on Sunday Sept. 26, 2010 at 18.00
Runs till Jan. 16, 2011

In the exhibition will be included also Words from Africa, which was done together with NSKSTATE.COM

Opening speech by Peter Mlakar from Department of Pure and Applied Philosophy at NSK

State in Time

The NSK State came into being in 1992 as a result of the transformation of Neue Slowenische Kunst into the NSK State in Time. The Neue Slowenische Kunst collective (NSK) was formed by three founding groups – Irwin, Laibach and the Gledališče sester Scipion Nasice theatre group – back in 1984, still within the framework of the former Socialist Federal Republic of Yugoslavia. Collaboration, a free flow of ideas among individual members and groups, a declarative copyleft, which was not limited even by the indication of authorship, as well as mutual assistance and joint planning of particular moves and actions were key for the development and operation of NSK, although the groups were autonomous in their activities. Awareness of the specific conditions for operation in the field of art in the then Yugoslavia, which was largely defined by the closedness of the art system and a valorization system adjusted to local needs, led to the concentration of critical mass and confrontation with the art system. The antagonism generated in this way, as a consequence, clearly delineated the contours of and subjectivized particular groups and of NSK as a whole. Self-evidently, in conditions of strained relationships, the responsibility for art production and its reflection lay solely with us, and it was precisely through steering this confrontation that we established our autonomy. In short, collaboration and common wealth were the basis and the inevitable consequence of Neue Slowenische Kunst’s positioning in relation to the cultural and political reality of the Socialist Federal Republic of Yugoslavia.

With the collapse of socialism in the beginning of the 1990s and the disintegration of Yugoslavia, the conditions of our operation changed radically as well, affecting the transformation of Neue Slowenische Kunst into the NSK State in Time in 1992. Along with the emergence of a multitude of new states, some of which, among them Slovenia, achieved the status of an independent state for the first time ever in history, NSK too objectified itself in the form of state. Instead of to a territory, however, NSK assigns the status of state to thinking, which alters its boundaries in accordance with the movements and changes of its symbolic and physical collective body. The commonwealth (state) is created by the speech act performed in making the civil covenant, according to Thomas Hobbs, who also writes in Leviathan: ”Nature is by the art of man, as in many other things, so in this also imitated, that it can make an artificial animal . This artificial animal (person) is the commonwealth”. At the time of its formation, the NSK State in Time was defined as an abstract organism, a suprematist body, installed in a real socio-political space as a sculpture, consisting of concrete body hear, the movement of spirit, and the work of its members. In fact, the NSK state exists precisely through appearances in a variety of projects, which follow one another through time, drawing out its image and content as a kind of outline drawing, which establish and multiply relations among its citizens and which gradually enable, through multiplication and layering, the appearance of articulations of concrete needs and initiatives.

Thanks to the particular circumstances at the beginning of nineties, it was possible for us to publish the passports of the NSK State in Time in cooperation with the Slovenian Ministry of Interior Affairs. For this reason, NSK passports are printed in the same printing-house, on the paper of the same quality and with the same protection measures (at least some of them, for instance special numbering) as Slovenia’s passports. As a result, NSK passports not only look like regular passports but also do not differ from the usual standards for such products with regard to the mode and quality of production. Up until now, more than two thousand persons have applied for and obtained our passports and thereby become the citizens of the NSK State in Time, while retaining their previous citizenship as you can imagine. Most of them, we believe, can be regarded as belonging to the so-called “art scene.” They may be artists or art lovers. This big group of NSK citizens comes primarily from the developed countries of Western Europe or the USA. It is possible to say that the majority of NSK’s population comes from the so-called first world. The reasons for taking NSK citizenship are primarily linked to their understanding of and participation in the field of contemporary art. Although the most numerous, this is not the only social group among NSK passport holders. At the time when we started issuing NSK passports, that is in the first half of the nineties, new states were emerging on a daily basis and the war in the territory of the former Yugoslavia was still going on. A lot of interest in NSK passports came precisely from these areas. The largest number of passports was issued in Sarajevo at the end of the war in 1995. Although we issued the majority of passports to people associated with contemporary art, the interest in our passports was not just artistic. At that time, the citizens of Bosnia and Herzegovina had serious problems traveling outside their country. There are many stories of how NSK passports helped people to cross borders more easily than if using the Bosnian passport. For a certain period of time, the NSK passport was defined by its usefulness and hence its understanding differed radically from the usual view of it as an artefact. Being aware that the NSK passport does not enable them to cross national borders, that it cannot be a replacement for other documents, a lot of them took a risk and used it in cases of necessity as a functional replacement of their passports.

Thus, NSK passport holders have so far been closely related to the field of art and although the reasons for possessing the passport differ according to the position and status of particular passport holders, it is possible to maintain that the NSK passport is understood as an artefact which was, in certain cases and out of necessity, also used for non-artistic purposes.
But about three years ago, applications for the NSK passport began coming from Africa: from Nigeria or more precisely from Ibadan. And among those who are sending passport applications from different addresses in Europe – beside Ibadan, the most common address for Nigerians seeking NSK passport is London – a great majority give Ibadan as their place of birth. It started slowly but in short time the number of applications from Nigerians has exceeded 1000. As most of the applications are coming from the same city, it is possible to conclude that the information spreads from person to person. The cost of the passport is not high, but for the habitants of so-called third world is hardly unimportant. We seriously doubt that the interest of people from Nigeria in getting the NSK passport is related to art. It seams more likely that in the third world NSK passports have ceased to be artefact and became useful documents. What is interesting – apart from the way in which this information spreads – is why, where, for whom and how this is useful.

How a symbolical object that has been sold in the market of the first world for fifteen years and is recognized – regardless of its ambiguity or precisely because of its ambiguity – as an art object has become functional document in the third world. In short, how the word became flesh.

How to highlight the close encounter of two totally disparate worlds; the comparatively complex, highly sophisticated and abstract space of modern art on the one hand, and the politically, culturally and economically deeply destabilized third world, where mere survival is often a key issue and from where people emigrate in masses driven by a desire for a better life? Europe is the most coveted destination and year after year the media report on the terrible tragedies many of them experience primarily as victims of shipwrecks during expensive and dangerous illegal sea voyages. Two worlds so far apart from each other that their encounter can only be understood as a result of modern technologies, of the internet, which enables the flow of information even where there was none before.

The results of NSK citizens’ self-organization manifest themselves ever more clearly at a totally different level yet in unusual accord with what has been said so far. An important fact is that NSKSTATE.COM , a key domain offering information about NSK, is organized and managed by NSK citizens. Around this internet project and through it, communication among NSK citizens has gradually been established and developed, recently outgrowing into joint actions, projects and so on. In this case, too, the “artefact” transforms itself into the reality of operation. In any case, the majority of NSK citizenship applicants from the Ibadan area, too, obtained information precisely through the internet. The number of letters sent to NSKSTATE.COM in which people ask for information, explain why they urgently need the passport, and describe their qualities which should qualify them for citizenship is in the thousands.

Centre for Contemporary Art, Lagos
26-31 July 2010

Centre for Contemporary Art, Lagos is pleased to host the internationally renowned artists collective IRWIN, members of NSK (New Slovenian Art). Over a one week period of screenings, lectures and panel discussions, Towards a Double Consciousness: NSK Passport Project will take as its point of departure, NSK’s artistic intervention State in Time and its increasing significance in Africa especially within the context of Nigeria. State in Time, one of the most (in)famous projects produced by NSK, evolved out of their earlier activities, finding formation as a ‘state’ at the collapse of Yugoslavia and the coming into existence of the Republic of Slovenia in 1991. NSK’s State in Time transcends a physical geographical location or a defined statehood within a prescribed ethnic, cultural or religious belief, providing what IRWIN collaborator and writer Alexei Monroe describes as “a conceptual form of identification for individuals from diverse nationalities.”

Since the initial presentations around the world in the 1990s of State in Time the project is currently receiving a substantial number of requests for citizenship of the NSK ‘State’ from Africa especially from Nigeria. This has resulted in many Nigerians assuming a dual identity as holders of NSK and Nigerian passports. In view of these new developments IRWIN conducted interviews with African/NSK citizens living in London, to ascertain their reasons for applying. Could it be in support of the initial artistic purpose of NSK? Do they see it as an avenue with which to move from one territory to another? Or is it for other socio-political reasons? Towards a Double Consciousness: NSK Passport project will allow further debate on both the artistic and political implications of the NSK State in Time action, offering an examination of their original artistic interventions within the Nigerian context.

This project forms part of CCA, Lagos’ year long programme On Independence and The Ambivalence of Promise celebrating 50 years of independence by seventeen African countries including Nigeria on the 1st October 2010. It provides an avenue to interrogate notions of nationhood at a time when our ideas of citizenship is continuously being challenged by state policies such as Nigeria’s contentious ‘federal character’ system or through religious and ethnic disturbances such as the recent unrest in the city of Jos, as well as the perennial civic unrest of the oil rich Niger Delta. Towards a Double Consciousness attempts to interrogate the way in which artists propose and individuals search for alternative – real or fictional – possibilities that goes beyond notions of a fixed identity or geography.

IRWIN is a collective of artists Dušan Mandič (b. 1954), Miran Mohar (b. 1958), Andrej Savski (b. 1961), Roman Uranjek (b. 1961) and Borut Vogelnik (b. 1959), which comprises one of the core groups within the artists’ collective Neue Slowenische Kunst (NSK). IRWIN was founded in 1983 in Slovenia. Recent exhibitions include: The Promises of the Past, Centre Pompidou, Paris, 2010; The Eye of the State, The Israel Center for Digital Art, Holon, Israel, 2010; Third New Old Cold War, Moscow Biennial, Red October; Modernities, Museum of Contemporary Art (MACBA), Barcelona; State in Time, Kunsthalle Krems, 2009.
The members of the group live and work in Ljubljana, Slovenia.

Programme

26th – 31st July 2010
Screening: Research interview of NSK Citizens as well as artists based in Nigeria.

Friday, 30 July 2010 Time: 3 pm
Topic: Introduction to media art and the use of video in relation to other forms of new media, technology and performance in contemporary art.
Speakers include; Dr. Inke Arns, IRWIN members: Miran Mohar and Borut Vogelnik and Performance artist Jelili Atiku.

Saturday, 31 July, Time 2pm
Screening: 2:00pm Screening of interviews with African NSK passport holders living in London.
Panel Discussion: 3:00pm
Topic: NSK State: The Nigerian connection. A discussion on the significance of an artistic action made in Europe in the 90s on contemporary African consciousness.
Speakers include; Dr Inke Arns, IRWIN members: Miran Mohar and Borut Vogelnik, NSK member Eda Cufer and Nigerian NSK passport holders. Moderated by Loren Hansi Momodu.

Curator: Loren Hansi Momodu
Curatorial Advisors; Dr. Inke Arns, Director, HMKV, Dortmund and Bisi Silva, Director, CCA,Lagos

The Advanced Cultural Management Programme and Towards a Double Consciousness are supported by the Goethe Institute, Johannesburg and Nigeria.

In the year 1945 the Nazis went to the Moon, and in 2018 they are coming back. This is the premise of the sci-fi film Iron Sky, the upcoming movie project from the creators of the hugely popular internet hit Star Wreck.

The soundtrack of the invasion will be provided by Laibach, in collaboration with Ben Watkins (Juno Reactor) as a co-writer and producer of the score. You can get the first taste of the soundtrack on the new teaser that was published today.

Iron Sky has a budget of 6.5 million euros, which makes it one of the most expensive Finnish movies to date.

“I was actually sitting in a sauna with our team when one of us, Jarmo Puskala, came up with the idea that we should do a film about Nazis on the Moon. I agreed, and my number one demand was that if so, I want Laibach to do the music“, commented the Iron Sky director Timo Vuorensola about their choice of artists. “It was a far-fetched idea at the moment, but stuck into my head as a general style guideline not just for music, but for the general approach for the film, and finally, when I heard they would be interested after we contacted them, I was in ecstasy. Their unique sense of humor and nice and twisted approach will really light a spark in the wretched genre of film music. We’re hoping to create something like Vangelis did for Blade Runner – not just a soundtrack, but a whole new world that echoes through the music.”

“A few years ago we were approached by some crazy Finns on one of our tours in Finland to cooperate on film with them, but we didn’t take them that seriously at first“, said the spokesman of Laibach. “A year later we received a call and shortly afterwards the Iron Sky people visited Ljubljana. We went to our mountain shelter in the Julian Alps and they told us the story about the film they wanted us to collaborate on. They also showed us the work they had done so far and we were convinced straight away.”

“We were always fascinated by the secret histories of politics and power, as well as by space and the universe itself. We firmly believe that there is actually a great possibility that many Nazis survived the defeat after the Second World War and they escaped not only to South America and the USA but very probably Across the Universe, and especially to the Moon and creating a settlement there. In their last phase the Nazis certainly developed highly sophisticated equipment which theoretically could have helped them to reach and colonise the Moon.”

“This is of course a hypothetical film, but in our sincere opinion it is not entirely impossible and in fact quite logical. If it ever came true this film would be a perfect illustrated prediction about the clash between the two greatly Nazified civilisations existing on the same expanded time scale, so close but so far away from each other. We can’t wait for the result and we definitely want to be there when it happens!”

The movie creators collaborate actively with their audience and fans on all fronts, from publicity through content to funding. People who are interested in Iron Sky may demand to see the film in their home city using a system called Crowd Controls, collaborate in creating the movie in the acclaimed film creation playform Wreckamovie and fans can invest in the movie.