^{Chris Korda: Art, Activism, Queer militancy, and Pope of the Church of Euthanasia}

^{What happens when art and ideology collide to challenge patriarchy norms?}

^{Chris Korda, an avant-garde artist, musician, and radical thinker, has been at the forefront of this question for over three decades. Known as the founder of the Church of Euthanasia, Korda’s career has straddled the boundaries of electronic music, performance art, and political activism, leaving an indelible mark on queer culture, environmental discourse, and avant-garde electronic music.}

^{In this piece, we delve into Korda’s multifaceted legacy—exploring how art, activism, and experimental sound design have converged in their work to provoke, challenge, and ultimately inspire a generation of creators.}

^{The Radical Sound of Chris Korda: Pioneering Polymeter in Electronic Music}

^{In the realm of electronic music, Chris Korda is a singular figure, pioneering complex and unconventional approaches that blend technological innovation with raw, provocative themes. Korda’s contribution to the genre transcends the mere production of tracks; she has fundamentally altered the landscape of electronic sound with a signature technique: polymeter.}

^{Polymeter, the simultaneous use of different time signatures in music, is at the heart of Korda’s sonic explorations. Her invention of a custom MIDI sequencer to delve into this musical territory marks a pivotal point in the history of experimental electronic music. Albums like *Six Billion Humans Can’t Be Wrong* (1999) and *Akoko Ajeji* (2019) exemplifies her deep engagement with rhythm and structure, blending relentless beats with eerie, dissonant melodies that challenge listeners’ expectations.}

^{Korda’s live performances are equally experimental, often featuring her software developments—like ChordEase, which simplifies complex MIDI inputs, and Waveshop, a free audio editor. Her appearances at festivals like Sonar in Barcelona and clubs across Europe, including Berlin’s famed Ostgut, have captivated audiences with their high-energy and often confrontational style.}

^{Influence on Queer Culture and the Subversion of Norms}

^{Korda’s work in the electronic music scene is inextricably linked to her identity as a queer artist. She has used her platform to challenge hetero-normative and patriarchal structures, carving out space for queer artists in genres often dominated by more traditional narratives. Her radical ideas extend beyond music into activism, particularly through the founding of the Church of Euthanasia in 1992.}

^{The Church of Euthanasia: Art or Activism?}

^{One of the most provocative aspects of Chris Korda’s legacy is the Church of Euthanasia—a satirical, performance-based organization that Korda launched to address issues of overpopulation and environmental degradation. The Church’s motto, “Save the Planet, Kill Yourself,” has shocked and repelled mainstream audiences, yet it draws heavily from art movements such as Dadaism and Situationism.}

^{The Church’s core tenets—voluntary suicide, abortion, sodomy, and cannibalism—blur the lines between activism and art. Public stunts, including defacing billboards and making an infamous appearance on the *Jerry Springer Show*, have become performance pieces in their own right, designed to provoke thought and spark uncomfortable discussions.}

^{Is the Church of Euthanasia art? Korda’s performances certainly carry the weight of artistic critique. The grotesque humor and dark irony recall the techniques of early 20th-century Dadaist provocateurs like Marcel Duchamp and Tristan Tzara. Through shock tactics and satirical demonstrations, Korda uses art as a weapon to engage with deeply controversial subjects, making her a pioneer of modern-day culture jamming.}

^{Chris Korda’s Enduring Legacy in Music and Activism}

^{Korda’s contributions to both art and music go far beyond shock value. Her albums, released on prestigious labels like Perlon and Mental Groove, are steeped in complex soundscapes that have inspired generations of musicians. Tracks such as “I Just Can’t Let Go” and “Victim of Leisure” continue to resonate with both underground electronic fans and those attuned to the wider political implications of her work.}

^{The decline of the Church of Euthanasia in the early 2000s has not lessened Korda’s influence. Instead, her transition to digital and conceptual art, alongside her continued work in software development, illustrates a broader engagement with the intersection of technology and art. Her retrospective at “Le Confort Moderne” in 2022 highlighted this, showing Korda’s ability to blend conceptual art with political messaging, further embedding her legacy within contemporary avant-garde movements.}

^{Art and Ideology: Korda’s Subversive Impact}

^{Korda’s use of multimedia, from music videos incorporating 9/11 footage to her controversial “Unabomber for President” campaign, pushes the boundaries of what society finds acceptable in public discourse. These works provoke moral questioning, forcing audiences to grapple with Korda’s uncomfortable but necessary critiques on consumption, environmental degradation, and human mortality.}

^{The subversive power of Korda’s work lies in its challenge to comfort zones. Whether through aggressive industrial beats or controversial public demonstrations, Korda invites her audience to confront the unspeakable. It’s in this intersection of discomfort and reflection that her greatest impact is felt.}

^{Chris Korda and the Future: Beyond Music and Art}

^{In recent years, Korda’s work has continued to evolve with a strong focus on environmental sustainability. Her current projects explore how art and technology can address urgent global issues, especially climate change. With exhibitions like “Artist’s Con(tra)ception” in Cologne, Korda remains an active and influential voice in contemporary debates on art, ethics, and environmentalism.}

^{Korda’s influence on both queer culture and the world of electronic music remains profound. As a transgender artist and activist, her personal narrative has also provided inspiration for others navigating identity in the creative industries. In an era when representation is critical, Korda’s pioneering career serves as a powerful example of how art, activism, and identity can be intertwined to challenge oppressive systems.}

^{A Legacy of Radical Thought}

^{Few artists can claim to have made as wide-ranging an impact as Chris Korda. Whether through her innovative use of polymeter in electronic music or her satirical, provocative performances, Korda has continually pushed boundaries, defying conventional expectations and reimagining what it means to engage with art and activism.}

^{For lovers of electronic music, avant-garde art, and radical social commentary, Korda’s work is both a call to action and a challenge to think beyond the status quo. By fusing political critique with artistic experimentation, Chris Korda has solidified her place as one of the most compelling and controversial figures in contemporary culture. As new generations discover her music and activism, her legacy as the queer pope of euthanasia continues to provoke, inspire, and transform.}

Selected discography

Albums

• Six Billion Humans Can’t Be Wrong (1999) – DJ Mix; as Chris Korda & The Church Of Euthanasia; International Deejay Gigolos
• The Man Of The Future (2003) – International Deejay Gigolo Records
• Victim Of Leisure – Live @ BURN.FM (2004) – Platoniq
• Akoko Ajeji (2019) – Perlon
• Polymeter (2020) – Mental Groove Records
• Apologize To The Future (2020) – Perlon
• More Than Four (2022) – Chapelle XIV, CHXIV05, 12″ x 2 + Digital

Singles and EPs

• Save The Planet, Kill Yourself (1993) – Kevorkian Records

Waiting for your comments and thinking’s about Korda and the social dimension of the Art and the Artists. Don’t hesitate to leave your opinions below.

Pop Culture UFO’s series

• Pop Culture UFO’s 1: Celebrating William Onyeabor, a pioneer of Nigerian Funk and Electronica.
• Pop Culture UFO’s 2: Alan Vega, The Revolutionary Force Behind Suicide.
• Pop Culture UFOs 3: Piero Umiliani, The Godfather of the Cocktail Generation.
• Pop Culture UFO’s 4: Chris Korda
• To be continued….