As part of the performance series "A
Product of Society" the German group BBM (i.e. Observers of
Operators of Machines) are showing their production called
"Kick-Robot. Technology stands for Tactics".
It is a rude football opera. But not the eleven nor
the ball, but the visitors are in the core of BBMs interest: the
power of control that people can take, the power of mass stimulation.
Two teams of machines serve as players that visitors can operate
by hand: "Battery BBM" vs. "MV Start 01".
sport-aficionados are able to kick, jump, spurt all depending on
the will of the people who run them. The second section of that
"kick-robot" evening presents a real racer to the public:
a powerful sprinting 800 kg automaton, fenced behind heavy metal
bars. named after the famous Jamaican soccer hero Luther Blisset
he is called "VC Blisset".
"VC" stands for voice control: he can be manoeuvred through his solid
manege by the visitors voice. Luther is specially receptive for
harmonically coordinated voices: he really turns on football hymns. He
is able to discern betwen more than 120 different frequencies and to
localize them by millimeter.
The surrounding crowed makes him run and
ram against the bumper ring around the pitch: each crash counts as a
goal. For each goal a new player comes into the game: tiny little
"wheelies" even faster than the big Blisset rush over the field howling
and by that stearing the VC as well. Two halfs of ten minutes: after
that the game is over. "Kick-Robot" reflects the "intrinsic
world" of mass rackets, the psychological dimension of a stadium
as a test bed for social roles and developments. The publicly celebrated
violence that commits itself to rules and arrangements of para-legal
qualities, and the control the visitors have of how it will end:
these are the topics of BBMs installation. It points out that these
are not simply subjects of sports. "Technology stands for Tactics" denotes that a "clean hit" that everybody loves to get as
a furious end of the game can be victory or loss in one, the deadly
gravity of a play.