Sannie Pop! "Boys on Girls" Video

by The Editor

Sannie (pop!) 

First, I loved Sannie "Whigfield" for knocking Wet Wet Wet's 15-week run  "Love Is All Around" off the top of the charts - thank you! ; and secondly because she named her pop act after her piano teacher. How good is that? 

When "Saturday Night" came out I worked out a way to play it with Michael Jackson and Giorgio Moroder. In Brixton, the track also became a tongue-in-cheek and admittedly self-referential song to play on Saturdays, of which i had too many. 

Rewinding to 1993 or '94, Imagine being in front of a mic for a few hours as a 24-year old, and then viola! and then some decades later still singing that one hit every weekend in front of millions of people a year. This is the conundrum of the pop artist. I guiess you don't have to, but Sannie likes to please. 

For Sannie, who I met on the ridiculously busy Die 90er Live tour in a small town in Germany, its also provided the basis for a life beyond the hit. 
Currently, she's become something of an icon again, being that everything 90s is finally being seen and heard in a different way. That might be a bit unfair as to many she's never gone away. 

I was even more surprised listening to her "In the Morning" track not knowing who Sannie was. I don't often read press releases. Then it made sense. 

Its Ibizan tale all too well known - its the Sunday morning to her Saturday night. 

Now she's just released a new inter sectional video for "Boys on Girls." directed by Craig Murray, who made his name doing Mogwai videos. 

And like most of her other work the song rather mercilessly uses the uplifting chorus and multiple hooks, all the tricks of the trade to reel you in. I'm a sucker for dance pop and I love it. Perhaps not for everyone, but it stands up with the best current deep house and sits along side Felix Jaehn and Kygo easily.


Still is a relentless performer and a busy woman writing for others, Sannie's ruthless and still does it with a gorgeous pout. 


Her new single 'Boys on Girls' was released in May 2018 with remixes by Illyus & Barrientos, Nathan Jain, Ryan Blith and Canu & Reeves.

She's performing in London at the end of June. 
Video Link:

EMPIRE II @ La Biennale di Venezia * Private View  12th May 2017   2pm - 10pm 

by The Editor

EMPIRE II @ La Biennale di Venezia  Private View12th May 2017   2pm - 10pm 


Exhibition Runs; 

13th May - 26th November 2017

Open dailyTuesday - Saturday10am - 6pm 



Castello 1610/A

Riva Dei Sette Martiri

Venezia 30122


EMPIRE II @ La Biennale di Venezia

Empire II 

Press & Artists Pre Launch Party > 5pm start

@ Brussels Art Week - 18th April 2017 

In association with 

John Adams & Frederic de Goldschmidt  

Quai au Bois a Bruler 19a, Brussels 1000


Empire II 

Curator & Artists Talk > 6.30pm start

@ Poppositions Art Fair - 20th April 2017

In Association with The Office Of Curating 

ING Art Center, Mont Des Arts/Kunstberg 

Place Royale/Koningsplein 9, Brussels 


Press & Artists Pre Launch Party

@ London - 25th April 2017

In Association with The Corridor Gallery 

92 White Post Lane , Hackney E9



EMPIRE II - Exhibiting The Moving Image 


Empire II is an artist led satellite project devised and curated by Vanya Balogh for 57th La Biennale di Venezia. 


This intimate, immersive film hub space will feature three chambers; beginning with an extensive library, engaging in film history and theory,  curated attentively by participating artists from their personal book collections and intended for browsing and perusing; leading further on to a single screen darkroom, a pulsating digital heart, showcasing a sequence of 115 imaginative short films programmed to play on thecontinuous loop; and on to the final imaginary space, the Virtual Reality port which will evolve over time in collaboration with various artists. 


In recent years we have seen an intense and speedy cultural migration and merging of art , architecture and moving image. As empires are built on ruins, so has digital mass evolving from the fractured analogue spectrum of our not so distant past, submerged itself into the fluid fabric of our contemporary worldview. 


Mash ups, remakes, samplings, cut-ups ; contemporary culture is profoundly fragmented and constantly recreated. What were once avant-garde strategies have now become everyday practices. The ubiquity and diversity of gadgets, cameras and screens is a particularly prominent aspect of this "softwarized" digital culture. Professional film makers are seen to use cheap digital cameras in order to create low tech DIY aesthetics, as exemplified in the Dogme 95 movement initiated by Lars Von Trier and Thomas Vinterberg. 


Empire II is a spontaneous reflex point, immersive single screen experience with a library, a hot eye that reflects on the elusiveness and temporality of the digital image, interweaving various paths, trends and approaches to film making. Ranging from animation to cold cut editing, 115 digital shorts are transported from London via Brussels to Venice, on a hard drive, to reach its final destination that is a hybrid digital canvas, a boundary between independent cinema and contemporary art.


Empire II screen will confront us with ideas on climate change, politics of attrition, immigration, narcissism, sex, despair, loss of identity, addiction, violence, false economics, digital rape, cyber crime, space travel, pollution, death and consumerism, all coexisting amongst many concurrentthemes. Focused on our present, The Age of Anxiety, whilst turning madness into metaphysics, artists respond and demonstrate their feelings, thoughts and objections to the post truth world incumbent in lies and power struggles. 


This temporary digital archive and its narrative of collection and recollection, its ability to exhibit, move and travel at high speed to any corner of the planet , defines EMPIRE II as philosophical and social space of transient, ephemeral nature. Akin to story of Maxim Gorky, a Russian airplane designed in 1933/34 by Victor Tupolev at the time when future was socialist, it was the biggest airplane in the world with a wing span about the same as a Boeing 747. A flying beast of Soviet propaganda, it had many fancy features, for example a rotary press that could turn out 10000 copies an hour, a darkroom lab for developing aerial photos, a working radio station but also and most importantly a Library and a fully functioning Cinema with a Screen that could unfold on the ground and was big enough for near 10000 people to see clearly. 


Films of the 21st Century show us brain-worlds, brain-cities and architectures of the mind. We no longer look through characters eyes and we no longer need big cinema screens; we experience their minds. This new emerging visual aesthetic is our future present and our present future compressed in data factors and algorithms. Is it also the end of the cinema as we know it?


Empire II will have its prelaunch RSVP party on Tuesday 18th April during Brussels Art Week in complicity of Frederic de Goldschmidt and John Adams. Artists will occupy a marvellous semi derelict 18th Century building in the old Fish Market and create a multiscreen experience across three floors. This event is followed by a panel discussion and talk on EMPIRE II, in association with Poppositons Art Fair, The Office of Curating & Niekolaas Johannes Lekkerkerk.  The panel willfeature curator Vanya Balogh and participating artists with a short film screening,  live on Thursday 20th April 6.30pm until 8pm, ING Art Center, Brussels.


Empire ll will equally host a number of intermediate events during Venice Biennale with and including participating artists, filmmakers and critical speakers in form of presentations, special evening screenings and outdoor projections across Venice, talks and group discussions related to film, technology, science and art.


EMPIRE II @ 57th Venice Biennale 

for further event details and info contact 

Vanya Balogh