- Lauren Jetty & Lisa Reiter
- 24.10.2024 – 15.11.2024
Exhibition Opening: October 24th, 2024, 6:30 pm
Opening Hours:
October 25th – November 15th,
Wednesday – Friday, 3 – 6 pm,
or individual appointments (closed on public holidays)
Our home can be understood as an extension of our body. Like a second skin, it provides protection, comfort, and the ability to retreat from the outside world while safeguarding our privacy. Within this protective space, we consciously or unconsciously surround ourselves with things that define us. Whether they are everyday objects or elements of our cultural heritage, these items help shape our identity and create a personal environment.
When we are stripped of this security, our sense of identity and belonging is deeply shaken. Artists Lauren Jetty and Lisa Reiter explore the concepts of preservation, protection of property, and cultural heritage. Through their work, they raise questions about labor, domestic fear, and how the loss of security shapes our connection to cultural heritage, both for ourselves and for future generations.
Lisa Reiter is working in the field of sculpture and installation, always in search of traces of human interaction in space – in the domestic as well as the public sphere. She lives and works in Vienna, Austria.
www.lisareiter.com
Lauren Jetty is an artist, performer, musician, lecturer, and educator; often blurring the lines between these roles. Curiosity and conversation drive Lauren’s practice; she presents scenarios that bring the familiar into the realm of the magical. She specializes in the ‘other’ senses (taste, touch, and smell), with a particular interest in the cross-modality of scent and sound. She lives and works in Wales, UK. www.laurenjetty.com
- Short film evening curated by hungry eyes festival Gießen
- 21.11.2024, 7pm
Screening November 21st, 2024, 7 pm
Held every eighteen months in Giessen, Germany, the hungry eyes festival explores the intersection of film, performance and the visual arts. In its last edition in 2023, they reflected on their conceptual roots in experimental short film and the diversity of international submissions they‘d received. In 2024, the festival hits the road, touring Berlin and Linz with a programme of seven of their favourite short films from recent years. Join us for this exciting programme.
https://hungryeyesfestival.de/
Programm:
Why the Birds? by Tomás de Souza, 2022, 12:16
Swimming Lesson by Vardit Goldner, 05:16
He Had Got Certain Vibes by Greta Alfaro, 2019, 02:31
How I Choose to Spend the Remainder of my Birthing Years by Sarah Lasley, 2020, 05:50
10 Celebrities You Didn’t Know Were Arab by Sarah Trad, 00:12
SOS/Animals/Action by Big Art Group, 2021, 11:48
Reality Fragment 160921 by 七个木 Qigemu 七個木, 2018, 14:02
The films are in English and some are subtitled in English.
Image: Still from Why the Birds by Tomás de Souzas
- Heinz Riegler
- 5.12.2024 - 20.12.2024
Exhibition Opening: December 5th, 2024, 7 pm
Opening Hours:
December 6th – December 20th,
Wednesday – Friday, 3 – 6 pm,
or individual appointments (closed on public holidays)
In some cultures, it is not just humans who carry a spirit or soul. Objects, too, can maintain such qualities. In November 2019, one-hundred-and-four stowaways, simplistic Russian educational robots, boarded a container ship in the Chinese port city of Shantou. For three weeks, they sat in darkness, their only certainty a variable state of undulation and a dull hum of engines pushing through water. Arriving without purpose and alienated from their intended use and country of destination, they find themselves exposed to a tropical storm outside a warehouse in Rocklea, Australia. Salvaged by the artist, time slowly passes, their bodies trapped in the stasis of storage, their sense of purpose remains unclear.
Years later, unpacked, devolved and unbounded, their constituent parts are readied to imagine new uses and possible futures. Now, their figure and voice are returned to the northern hemisphere and studied anew, an attempt to extract the unseen, the unknown, to touch what cannot be touched. Gazing upon their fragments assists in a new enquiry and allows re-ordering, an unimagined sense of becoming and, in turn, purpose.
Caress (2024) is the third iteration in the Supply Chain series.
Heinz Riegler lives and works on Gubbi Gubbi Land in South East Queensland, Australia.
- Short film evening curated by hungry eyes festival Gießen
- 21.11.2024, 7pm
Sound Performance: Thursday , October 10th, 7 pm
TTFL part 2 (2024) by Marta Beauchamp
By focusing on the translation of neuroscience topics into sculptural and auditory experiences, Marta Beauchamp shapes an interface through which to materially encounter this process. She is interested in the difference between understanding based on keeping-in-mind and understanding through experiencing. Sound and objects allow her to inflate dense scientific topics to room-scale installations which offer more space and dimensions for comprehension.
“TTFL part 2” is an installation and performance for cello, voice, resonating tubes, MIDI percussion combo and ping pong balls. The composition explores the phenomenon of entertainment of the transcription-translation feedback loop (TTFL), a fundamental time-keeping mechanism present in virtually all living beings, through the lens of a publication (Pittendrigh and Bruce, 1959) on the relationship between day-night cycles and the TTFL.
Marta Beauchamp (UK/IT, *1990, based in Vienna) is a sound artist, musician and artistic researcher. Her sound installations develop around data drawn from publications about biological rhythms; in her PhD project “Tipping points in transmediation” she investigates the practice of transmediation of chronobiology data into installations and performances.
Marta plays cello and bass in the electronica and improvisation duo beauchamp*geissler, with whom she performs internationally; she has released albums on Quadratisch Rekords and Goldgelb Records.
https://www.martabeauchamp.net/
https://bg.klingt.org
https://www.discogs.com/artist/13597522-Marta-Beauchamp
box performed by Philipp Kleinwort and Miriam Jochmann
The simple sound of bowed cardboard is transformed and spatially animated with a complex feedback system programmed in MaxMSP. The project was inspired by Owen Greens work and originally developed for the 21 loudspeakers of the multichannel sound system at Klangtheater in the future art lab and first performed at the ELAK concert.
Philipp Kleinwort and Miriam Jochmann are Vienna-based sound artists working on electroacoustic composition, as well as improvisation with live electronics and sound installation. Both artists study experimental and electroacoustic music at the University of Music and Performing Arts Vienna (mdw). Their work explores the intersections and boundaries of sound, using it as both a practical intervention and a form of theoretical reflection. With a focus on immersive multi-channel sonic experiences, they fuse the textures of acoustic instruments and live processing with artistic experimentation to create compositions that push the boundaries of sound, space and listening.
The series „Wavering Worlds“ provides a platform for local and international artists and musicians who oscillate between musical and artistic genres. Within this framework various forms of multimedia concerts and performances are presented.