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The project started with the longing, that exhibitions sometimes need a score, a soundtrack, it started with playlists, wild brainstorming, timelines, research and became a student organised disco-exhibition. With participating arstist: Badekongen, Hanne Giertsen, Maria Andersen, Ullrik Heimvik, Vilde Stokke, Håkon Sandmo Karlsen, Klara Lager Sandberg, Nora Noah Iversen Bentzen, Maryam Bashi, Ulf Stubbe Teglbjærg, Jordens Salt og DJ Forlåt. 

A keyword of the early days of the disco-movement was EVERYBODY and we drifted into discussions on inclusion and exclusion. In parallel: The introduction of tuition fees for students from non-EU countries was mercilessly enforced in the Norwegian higher education system and the basic right to Free Education for Everybody was skipped and became free education only for some.

David Mancuso Interview,  founder and DJ of the legendary The Loft Disco Parties in Manhatten. On Mixcloud.

In Bill Brewster and Frank Broughton’s definitive 1999 history of dance music, Last Night a DJ Saved My Life, there is a lovely tribute to David Mancuso. “If disco – and the music which came after – has an angel, it is the raggedy figure of David Mancuso,” they write. “If it has a birthplace, it is his club, the Loft.” Alexis Petridis in The Guardian.

1972, Manu Dibango: Soul Makossa

It is the end of the semester at KIT and we want to invite you to The Last Days of Disco, a homage to disco! There will be sound, there will be colours and there will be light! The exhibition is put together by a group of students from BFA1.  

Participating artists: Badekongen, Hanne Giertsen, Maria Andersen, Ullrik Heimvik, Vilde Stokke, Håkon Sandmo Karlsen, Klara Lager Sandberg, Nora Noah Iversen Bentzen, Maryam Bashi, Ulf Stubbe Teglbjærg, Jordens Salt og DJ Forlåt 

Adrian Piper

Funk Lessons, 1983

From a 2005 interview with Charles Mudede:

The Interviewer: Have you ever had a dream based on a song? (What song, and what happened in the dream)?

Charles Mudede: Actually, yes, Grace Jones 'Slave to the Rhythm.' It wasn't one dream with a plot but a recurring dream with the same setting and massive architectures. The sonic imagery of the music was translated into vivid dream imagery: It was about workers, mass production, Fordist factories, power lines, dams, the transformation of raw earth into large reserves of energy.  Heidegger talks about these reserves in his essay, 'On The Question of Technology.' But the dream was more Marx than Heidegger. The imagery in the recurring dream has its proper literary equivalent in Marx's Das Capital. However, when [the dreams] first began, in my late-teens, I had not yet read Das Capital. I only read it in my early-30s, and while reading it discovered that the book possessed the same terrifying beauty of that recurring dream, and that song by the great Grace Jones.