From an interview with the it-couple of post-colonial thinking Sarah Nuttall and Achille Mbembe:
Nuttall: "There’s a mix up of time there that you could really play around with; sometimes the future arrives in the present only to recede into the future again. That’s what happened with Mandela, and it’s what happened unexpectedly with the World Cup, this leap into a completely different sense of the sign of the African."
Mbembe: "It’s like a window that’s opened into a space we imagine was there, of which you are not even aware of, and the sun we see recedes into another future horizon and forces us to go after. Translated into the real, it is a certain source I have never seen before, and I’ve lived in many places, but I’ve not seen it in the places I have lived. I haven’t seen it in Africa."
From an interview with the it-couple of German art school pop, artist and F.S.K. member Michaela Melián and writer and F.S.K. member Thomas Meinecke:
Melián: "We said things like, “Today disco, tomorrow revolution,” and, “After tomorrow, a day in the countryside!”
Meinecke: "That was Mode & Verzweiflung."
Melián: "And, simultaneously, F.S.K.’s first album."
Meinecke: "Yes, those were the times of slogan texts. With our line “Wir sagen Ja zur modernen Welt” (We say yes to the modern world) audiences didn’t know whether we were fascists or a cult. This kind of patent cynicism, that’s very much an affirmation and an ironic ‘yes,’ became more mainstream in the late 1980s, but wasn’t part of the culture back then. There were a lot of people who saw themselves as more leftist, who flat out labeled us as fascists."
