Sounds – Globster / Dj Batman / Chicco Giraldi
Voice – Flavio Sciolè
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I believe that Genesis had the power, the privilege, the strength to be able to be an artist who has surpassed the genres reaching the degeneration and degenerate herself. Its degeneration has in fact created transversal shifts that can hardly place it, starting from the industrial (which is the genre for which it is best known) already the action compared to the industrial one is later than the performative one, more unique than rare, often or act in one area or another; instead the performative actions of Genesis, already in the late sixties and early seventies, were going to unhinge from within since they were unpresentable, unrepeatable, obscene and extreme, as could be all real and pure performance. In this ,there was also an overcoming and therefore of Viennese Actionism or more extreme actions. An integrity, an integralism certainly aimed at degrading which is part of the work of Genesis. In this hypothetical mixture, because in reality Genesis had a clear knowledge of the differences and possibilities of the various areas and this knowledge is one of the qualities that makes me love Genesis, and if I can interfere with myself, I too tend to interfere between the various genres giving a transversality to my work, knowing the various genres well but deciding how and why to make them interact and set it to the extreme. The non-repeatable is part of the work of Genesis because precisely in the non-repeatable it has created subjects of various nature, various clones, which have replicated it in a bad way sometimes, sometimes in a decent way. Already the first albums, if we want to talk about music, were already going to be an overcoming of the punk that was being born and they can also be a coding of noise compared to groups like Sonic Youth without talking about the whole industrial scene yet. Going back to talking about performances like the organic post, in fact Genesis is already post organic, because even his body is a work in itself as it modifies it, to overcome genres and degenerate and become a parallel genre. There is no ladder, but an entry into all genres and none. The most interesting thing is this, which hardly happened in the performance, that there were mixtures between various areas; even the musical performances of Genesis in its various groups will always be consciously imbued with performances, a type of action that already exists in the musical field and I refer to hard rock, punk, hardcore, psychedelia. I am referring to all that music that is on one side obviously, not to pop and derivatives. What Genesis manages to do is that it encodes this action with respect to the incidental that happens in other cases. In a seminar I held three years ago, I had codified this (and it was also published by the University of Pescara Design), the concept of incidental performer, that is, a performer who incidentally is a performer. In the sense that if we go to evaluate subjects such as GG Allin, Iggy Pop, they become performative in large areas but with less awareness, and for this reason they are incidental. This term cannot fall within Genesis or it can fall within the musical sphere and remaining there being less performative which therefore returns to its beginnings, however being aware of the performance this prevents it from being incidental. The greatness and immensity of Genesis is revealed in different nuances but I was interested in highlighting this transversality and clear knowledge of the limits and then crossing them and arriving at the outrage, the defenestration of art, the murder of the artist, and therefore the artist who embodies Genesis becomes difficult to catalog and difficult to insert in a system that instead goes to glorify exclusively artists who know how to pose well, or sell well to museums, record companies, etc. Genesis is dead, long live Genesis
