AUTOPSIA - Death Is the Mother of Beauty MP3/Flac

CD Staalplaat 1989


"Autopsia is a depersonalized art project dealing with music and visual production. Autopsia gathers authors of different professions in realization of multimedia projects. Its art practice began in London in late '70s of the last century, and continued, during the '80s in art centers of the former Yugoslavia. Since 1990, Autopsia acts from Prague. At the beginning of its activity Autopsia issued a dozen of MCs, in the period after 1989, twenty CDs were issued, at first for Staalplaat from Amsterdam, then for German label Hypnobeat and London's Gymnastic Records. Autopsia's music can be found on numerous compilations issued all over the world. One of its compositions is a part of the soundtrack for Peter Greenaway's film Pillow Book. Music production of Autopsia is associated with a large graphic production which consists of original graphic objects, design of flyers, booklets, CDs and a Web Page, with its offsprings: Autopsia TV and Illuminating Technologies.

"Autopsia does not deal with predictions. It deals with reality, which means - Death. Scars of Europa narrates a new spirit of Europe, which is filled with the scars of history. Such an historical component also belongs to the new spirit of Europe. Death is the Mother of Beauty and the presage of the world to come. After the domination of an all-encompassing simplified modernism, the world that could have been different was presaged, the world which, throughout the channels of its networks, will not reproduce the same. It could have been only the world aware of its history, the world of an individual, which was known to such a history. Unfortunately, this didn’t happen. The entire project of the new spirit slipped into a globalized network of technological modernism. The only things that remained after particular histories were images, appearances and illusions that were poured into us by means of the media in order to cover the real condition - the flow of money. (...) Project Death is the Mother of Beauty can be translated into the domain of the political or the cultural, but it is not directed towards the presentation of something real, but towards an understanding of the homelandlessness (�not-being-at-home', 'not-being-in-homeland’), which occurs in the catastrophic age of groundless faith. Since the messages cannot be checked anymore, one can only believe in them. Truth has lost its meaning, only belief remains and pure faith without religions and ideologies".
(autopsia interview,


Scars of Europa