Performance Archive
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.
Sound Performance: November 8th 2023, 7:00pm
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.
Eli Wallace is a pianist, improviser, and composer who resides in Brooklyn, NY, leading his own projects, collaborating with other like-minded artists, and co-curating the interdisciplinary performance series Invocation. His work as a pianist displays his vast milieu of experiences from classical, jazz, and free improvisation, incorporating elaborate piano preparations that John Lewis (The Guardian) says is „… pushing the boundaries of the prepared piano.“ His compositions employ notational strategies to broaden how musicians produce sound and the ways in which they interact. Over the past decade, he has appeared on dozens of albums and performed at esteemed venues such as The Stone, New York, NY, Roulette, Brooklyn, NY, Mizzou International Composers Festival, Columbia, MI, and Experimental Sound Studio, Chicago, IL.
https://eliwallace.bandcamp.com
https://eliwallacemusic.com/
Video: Burning Ambulance Festival 2022
IEOGM – Importers Exporters Of General Machandise – is an improvisational collaboration between Marie Vermont and the concept horse, founded in Vienna in 2022.
Marie Vermont (AT) combines electronic unprogrammable analog devices with tape, electroacoustics, cables and graphic scores in the context of improvisation. She wrote several scores dealing with the indeterminacy and translation of noises and birdsongs. She performs and records solo as well as in different formations.
the concept horse (US/AT) composes and releases music constructed from an array of physical sound sources that relies as much on repetition and slight change as it does on analog error, chance and unrepeatability. the concept horse runs the label eë editions and has released solo and collaborative sounds on FALT, Gracious Host and czaszka [rec.].
IEOGM co-organizes the concert series „knopfwissen“ in Vienna and are part of BILLA ENSEMBLE (Michiu, the concept horse, turmeric acid, Marie Vermont). IEOGM has released sounds on Beach Buddies Records, phncrs and molt fluid.
„We seek to grow our machandise by composing the import and export needs of noise makers, offering delectable cable salads and uncertain chromatic values in all that we do. Supported by a professional and motivated team of field recordings, state-of-the-art technologies and mallets, we guarantee you unstable and untrustworthy analog sounds in Vienna and beyond. importers exporters of general machandise: sonic integrity, extreme panning and knobknowledge.“
marievermont.world
theconcepthorse.com
marievermont.world/ieogm/ieogm.html
Video: Visual Machandise 53
Photo: IEOGM
The project is part of the Oscillations: Exercises in Resilience project.
Co-funded by the Creative Europe Programme of the European Union.
Sound performance: September 29th 2023, 7:00pm
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.
Andreas Kurz works on the conception and realisation of compositions, exhibitions, installations and sound performances at the intersection of visual arts and music. For his live sets he uses modular synthesizers, effects processors and field recordings. With minimal means, he creates dense drones, abstract sound collages and improvised rhythmic patterns.
http://www.andreaskurz.net
Roberta Lazo Valenzuela is a Chilean composer, singer and visual artist based in Austria. Her practice encompasses a variety of media including music, sound art, installation and video. Her works often portray and highlight the intricacies of daily life, drawing attention to things hidden in the repetitive and trivial activities of the ordinary.
https://robertalazovalenzuela.cl
The project is part of the Oscillations: Exercises in Resilience project.
Co-funded by the Creative Europe Programme of the European Union.
Sound performance: 19h | Workshop: 13-16h
Sarmen Almond (MX)
Musician, voice performer, inter-media artist and teacher. Sarmen uses the voice and its relationship with electronic media to create compositions and decomposition of the personality on stage. She’s constantly in a quest of the vocal possibilities that the human body utters as instrument as well as the reflection of these sounds in physical and imaginary spaces. Almond makes use of resources of free improvisation, extended vocal techniques, programming and body work. sarmenalmond.wordpress.com
Burkhard Stangl (AT)
Burkhard Stangl is a guitarist and composer, working in the fields of improvisation, electronic and contemporary classical music. He is a prolific performer, having collaborated with multiple musicians, groups, artists and composers. He teaches music at the high school Heustadelgasse, Aspern, and is a lector at the University of Music and Performing Arts Vienna for improvisation and new streams in music. stangl.klingt.org/
The series „Weavering Worlds“ provides a platform for local and international sound performers who oscillate between various musical and artistic genres. Within this framework, disparate forms of multi-media concerts and performances are presented.
Workshop: OUR VOICES – OUR SOURCES with Sarmen Almond
This workshop deepens into vocal self-knowledge, for free voice management. It is an approach to the personal vocal sound and identity, towards multiple ways of utter and color vocal sounds… a freedom without conditions, guided by knowledge of the instrument itself.
Participants will work on attentive listening and development of the auditory capacity to place notes, sounds, motives, within a sound environment. Find more info on the project Alquimia Vocal.
Registration: office@bb15.at
Photo documentation: sabiswabis
Exhibition Opening: May 5th 2023, 6 pm
Sound performance: May 5th 2023, 7pm.
Opening Hours: May 6th – 17th, 3–6pm, Sa/Su closed
Arkadia 02-22 is an audiovisual essay based on a series of travels, experiments, collaborations, and performances in the Northern regions of Norway, Finland, and Russia. Recorded with various equipment over the course of 20 years, the historical video and audio material are then re-composed and re-presented with the assistance of various artificial intelligence models.
The work also weaves in a number of audiovisual performances based on local everyday experiences such as cloudberry picking under the watch towers, mosquito meditations along the Pasvik river, coffee fortune telling, and investigating an old 78rpm vinyl record collection found in the attic.
After the 2022 Russian invasion of Ukraine, the border between Norway and Russia closed, and travels and cross-border collaborations seized. In this new situation, Arkadia 02-22 also becomes an exploration of how to preserve the potential of these collaborations based on archival material from 20 years of cross-border activities.
Our consciousness and memory piece together a common life-world. Our actions and movements within it make the rhythms of our imaginary home. Repetitions and rituals make us forget where it all started. But we never forget to bring our berry-picking bucket, just in case.
http://sommer.alog.net/projects
Thank you Rural Reading Room (Kristin Tårnesvik, Hilde M. Methi, Morten Torgersrud), Venke Tørmenen, Honna Havas, Monika Sandnesmo, Neal Cahoon, Ann-Inger Sommer and many more for contributing to the archive material. Arkadia 02-22 is one of det gode liv // The Sweetness of Living productions. It was developed in dialogue with Pikene på Broen for Barents Spektakel 2022 with additional support from Bergen Kommune, BEK, Billedkunstnernes Vederlagsfond, and Kulturrådet.
The project is part of the Oscillations: Exercises in Resilience project.
Co-funded by the Creative Europe Programme of the European Union.
Performance: 22.07.2022, 7pm-8pm (sharp)
Starting in Linz, Stephanie Quirola & Caroline Profanter will draw out a map, turned into a score, based on their daily explorations of the immediate surroundings of bb15. This map will focus on the accumulation/density and evanescence of real and possible events within a perceptual experience.
Where do sounds dis-appear? The score, based on drawings as well as audio recordings, will be translated into the gallery space as a kind of listening „parcours“, where sound-objects travel between materials, through ears and bodies. The space will be transformed acoustically using simple means, found material and improvised instruments, exploring the symbiotic aspects between materials, feeding back into each other constantly. What is transforming, resonating with what?
As a second part of the residency they will continue the working process at a distance, from 63.1000 48.3000 and 21.6167 14.2833, their combinations multiplying. While Stephanie will be in Vaasa/Finland, they will continue working on the gathered material, seeking ways of experiencing distant proximity. The process will lead into a live transmitted radio creation, happening in situ at bb15, broadcast online and on air on local fm radio stations.
Following their first collaboration, the sound walk „woanders währenddessen“, Stephanie Quirola & Caroline Profanter work with sonic and visual symbols that open up whimsical situations where the uncanny meets the absurd.
Listen to the audio stream online: Radio Player (Live from bb15 during the performance)
The performance will be broadcast on radio fro, radio orange 94.0 and Radio Shirley and Spinoza. Listen in!
The project is part of the Oscillations: Exercises in Resilience project.
Co-funded by the Creative Europe Programme of the European Union.
Exhibition Opening: June 21st 2022, 7pm
Opening Hours: June 22nd – 30th, 3 – 6pm
Please refer to the current Covid19 Regulations!
The exhibition Blake fruid presents a multi-channel video and sound work, evoking the body of the vocalic chorus in relation to the swirl of text-based language. Various parallel and intersecting narratives unfold, presenting a figure of an unreliable or unstable narrator, a narrator who is always in motion. The weaving narrative treats language as raw material through the voice and through text, borrowing and reconfiguring language from a variety of sources, including YouTube instructional videos, online self-help forums, motivational status updates, linguistic textbooks, car maintenance manuals and cowboy song lyrics.
Samuel Brzeski’s current work deals with the situation of language within the post-digital context, particularly in relation to articulations of affect. His predominantly text-based projects search for the place and presence of the emotive body within the post-digital excess of language. This involves exploring the inherent malleability of language to create and/or question meaning, narrative and experience. Samuel is based in Bergen, Norway.
This project is supported by the Norwegian Arts Council and Office for Contemporary Art Norway and part of the Oscillations: Exercises in Resilience project. Co-funded by the Creative Europe Programme of the European Union. Production support from Bergen Centre for Electronic Art.
Sound performance: April 22nd 2022, 7pm.
Due to the massive amount of Covid cases, we would like to ask you to bring your FFP2 mask to join the performance!
Sound spaces are not spaces filled with sound, but spaces fabricated by sound.
THIRDSPACE is a textile sound system exploring extended present via electromagnetic air sculptures. A spatial setup to invoke invisible geometries of emerging sonic constellations through multichannel compositions. A tool for weaving sound spaces into existence.
Textiles are self-signifying media that string macrocosm and microcosm together, the emerging pattern of senses woven into a cognitive fabric, the interlinkage of vertices and edges to create an immanent network, our second skin, and the next-generation interface for human-computer interaction. EJTECH investigates the interweaving of sound matter with spacetime through a multichannel textile sound system focused on corporal and expanded listening.
EJTECH’s practice comprises hyperphysical interfaces and metamaterials investigating sensorial and conceptual interrelations while blurring the differentiation between subject and object; rediscovering immanent soft grids of emerging structures. Driven by material research, resulting in performative installations, dynamic surfaces, and multichannel sonic sculptures as an exploration of experiential knowledge through a deeper conversation with the matter.
http://ejtech.cc/
The project is part of the Oscillations: Exercises in Resilience project.
Co-funded by the Creative Europe Programme of the European Union.
- Kata Kovács and Tom O’Doherty, Daphne Xanthopoulou, Błażej Kotowski
- 3.09.2021
Performance and Presentation
September 3rd, at 7pm
The current Covid regulations will apply!
Minute/Year is a durational, process-based work by Kata Kovács and Tom O’Doherty. The installation creates a new, one-minute-long layered audio recording every day. It has been ongoing since January 1st, 2016, and alternates its location each year. Throughout 2020, Minute/Year was installed at bb15, recording and playing one minute of sound, each day at 20:20, for 366 days.
During this period, incidental events and collaborations around the work took place at the gallery space, contributing to its layered archive of hums and drones. Listening back to these recordings, we discover a narrative of this passing time, that like memory, re-arranges of multiple readings.
As a retrospective, the sound artists Daphne Xanthopoulou and Blazej Kotowski are invited to explore the archive of the work towards alternative narratives, accompanying the presentation of the artists Kata Kovács and Tom O’Doherty about the process of Minute/Year in 2020.
A tape compilation of Minute/Year in bb15, was realized by Gabriela Gordillo and Sebastian Six, to be presented on the same evening. You can buy the tape at the event and also here:
Kata Kovács and Tom O’Doherty
Kata Kovács and Tom O’Doherty have worked as a collaborative duo since 2011. Their work combines elements of durational and time-based art, minimalist movement, and electroacoustic music and sound. They are interested in processes, sounds, and movements that come close to imperceptibility, and the ways in which this material can be transformed through repetition, patterning, layering, and archiving.
They have exhibited and presented work at Los Angeles County Museum of Art, California; Serralves Museum, Porto; National Museum of Contemporary Art (Chiado), Lisbon; Kunstquartier Bethanien, Berlin; Kunstkraftwerk, Leipzig; and Digital in Berlin’s Kiezsalon series, Berlin, among others. They have been recipients of the LACMA Art + Technology Lab Award, and of the Tanzstipendium award of the Berlin Senatsverwaltung für Kultur und Europa. They live and work in Berlin, Germany.
http://www.minuteyear.com/
Daphne Xanthopoulou (GR)
Daphne X is a Greek sound artist, based between Barcelona and Linz. Equally infatuated with mundane and virtual objects, she uses collected, amplified, and synthesized sounds, and voice, to explore and expose chimeric and unconventional forms and textures.Her music has been broadcasted on BBC3 Radio, Noods, and Tuskio.se, and written about by publications such as A Closer Listen and the Quietus.
She’s currently hosting a collaborative show on Athens‘ Movement radio called Sonic Utopias, participates in the Linz-based label and residency program Wirtshaus Secrets, co-runs the curating platform Cachichi, and studies in the Interface Cultures MA, Linz.
Her work discusses the relationships between human and non-human agencies, emerging technologies and spirituality, mundane life, and fiction. Through a variety of formats, she explores economies of collective composition, environmental listening, and communal healing.
https://linktr.ee/wawrzyn_wawrzyn
Błażej Kotowski (PL)
Błażej Kotowski is a sound artist, an independent curator, a researcher, and a programmer, originally from Poland, but currently based in Linz, Austria. A significant part of his creative output is solely devoted to producing music. Through different monikers, he explores its various aesthetic forms. Apart from that, he enjoys creating interactive physical artifacts that relate to sonic phenomena. As a sound/music researcher he has recently finished his master studies in Sound and Music Computing at MTG, Barcelona. In that field, he is mostly interested in the intersection of music and AI and all the outcomes that arise from the synthesis of these fields. He has released his music in various formats in Audile Snow (PL), Vaknar (DE), Trust Collective (US) and Audio. Visuals. Atmosphere. (BE). His works were written about, among others, in Toneglow, Igloomag and in Noise Receptor Journal.
https://blazejkotowski.com
Opening Hours
May 18th-20th, 3 – 6pm
Performance
May 19th and 20th, at 6pm
Access to space will be regulated following current measurements, visitors are asked to wear a FFP2 Mask when visiting the show. For attending the performance the new 3G rule applies. Please bring a valid rest result or proof that you are already vaccinated or recovered.
Airbag/14Holes is a hybrid sound sculpture somewhere between a bagpipe, an organ, and a children’s toy. To create sound, it uses abandoned recorder flutes that, following forced musical exploration during adolescence, were never played again.
Through a collecting campaign, a nomadic group of recorders are conscripted into the Linz Recorder Flute Asylum. Airbag/14Holes will provide air to this group of flutes. A heavy, continuous interaction between the flutes produces the emergent sound, like a dysfunctional organ finally finding its voice after a long period of silence.
In his residency at bb15, Lukas De Clerck will use Airbag/14Holes as his instrument by manipulating the air flows, to be performed during the closing exhibition.
www.lukasdeclerck.com
The project is part of the Oscillations: Exercises in Resilience project.
Co-funded by the Creative Europe Programme of the European Union.
bb15 had planned to host a Wavering Worlds concert featuring the artists Caroline Profanter (IT) and Man Rei (EST). Since travelling is still not allowed and most people are now overwhelmed by the many cultural events taking place online, we initiated an alternative project to bring analogue music into your homes: a limited edition of cassettes.
Under the Title „Wavering Worlds#16 – 2 live sessions from a distance“ Caroline Profanter and Man Rei both recorded live sets in their private spaces.
Caroline Profanter works with field recordings, amplified objects and feedback-systems, with the help of computers and analogue devices. She creates imaginary soundscapes and sonic narratives, on the perceptional threshold of familiarity, playing sounds that are constantly being transformed into something else. With a special interest in background noises and interferences, the sounds are simply produced by our environment: electricity and other waves that surround us.
www.cprofanter.klingt.org
https://soundcloud.com/carly-profanata
Man Rei is a project of cinematic songs where the film might be a soundtrack for dreams. The lyrics, almost devoid of narrative, are accompanied by mangled voices and hazy guitar loops, reflecting on themselves to the point of dissolution.
https://soundcloud.com/man_rei
https://man-rei.bandcamp.com
https://man-rei.tumblr.com
Here you can buy the Tape and listen to excerpts:
/ / /
- Julia Gutweniger / Katharina Zimmerhackl
- 21.02.2020 – 28.02.2020
Opening February 21st, 2020, 7 pm Performance by Katharina Zimmerhackl at 7:30 pm
Opening hours
February 22nd – 28th, 3 – 6 pm
Saturday and Sunday closed Also open by appointment.
Reduced, condensed, minimal languages are at the core of Julia Gutweniger and Katharina Zimmerhackl’s practices, both as a theme and as compositional preferences. Language is a bodily experience, approached as a sculptural material that is shaped by the body, but which also shapes the body: the mouth, the tongue, our gestures, etc.
During her residency at bb15, Katharina Zimmerhackl is developing a new work dealing with early childhood speech and how spoken words are produced bodily through obstacles like the lips, in order to be materialised into sound. Her installation links aspects of eroticism, psychoanalysis and feminism, looking at the mouth as an interstice between the material and the non-material. For Julia Gutweniger, reduction in the pictorial language creates a distance from which to observe. The Linz-based artist proposes playful and ironic gestures which can be seen as fragments of conversations or encrypted instructions. Her practice, at the crossroad of painting and drawing, brings together different registers, from the physical place of the canvas with its shapes and textures, to a reduced representative iconography.
http://www.katharinazimmerhackl.de/
https://www.juliagutweniger.com/
Sound performance
November 26th 2019, 7:00pm sharp
The series „Weavering Worlds“ provides a platform for local and international artists and musicians who oscillate between various musical and artistic genres. Within the framework disparate forms of multi-media concerts and performances are presented.
“The Archive of Loops” is an expanding archive of sound improvisations, which the artist regularly performs and records in her studio. Making use of looper and effect pedals she generates layers of voice, guitar, percussions and found instruments, playing with notions of order, disorder, time (i)reversibility and memory accumulation. Each session is recorded encapsulating room and accidental sounds and is archived unedited. The archive is the source material for compositions that play along with the artist’s films and installations and crystallise in yearly releases. At bb15 she will perform an open recording session of the archive.
http://www.teresacos.com/
WW#15 is presented as part of the cooperation between bb15 and the gfk – Gesellschaft für Kulturpolitik OÖ (Upper Austrian Society for Cultural Politics) on the topic of disruption (Störung).
suported by
Sound performance
November 8th 2019, 7:30pm
The series „Weavering Worlds“ provides a platform for local and international artists and musicians who oscillate between various musical and artistic genres. Within the framework disparate forms of multi-media concerts and performances are presented.
Ulla Rauter’s self-made instruments often work as an extension of her body, turning it into a musical interface. In her current performance she uses an artificial voice like a musical live instrument while her natural voice becomes an artifact by the use of fingertip sensors. www.ullarauter.com
Benjamin Tomasi works with different acoustic sources, combining analogue sound objects and digital sound spheres in a multi-channel setup regarding the spatial conditions of the bb15. www.benjamintomasi.com
In their performance Benjamin Tomasi and Ulla Rauter combine artificial voices with physical sounds.
WW#14 is presented as part of the cooperation between bb15 and the gfk – Gesellschaft für Kulturpolitik OÖ (Upper Austrian Society for Cultural Politics) on the topic of disruption (Störung).
Supported by:
Concerts
August 13th 2019, 7:30pm
The series provides a platform for local and international artists/ musicians, who oscillate between various musical and artistic genres. Within the framework of „Wavering Worlds“, multiple forms of multi- media performances and concerts are presented.
KvT are a duo that shape ephemeral soundscapes from the overlapping of simple elements — voice, resonance, repetition, movement, memory. They work with processes, sounds, and movements that are close to imperceptibility, and their transformation through layering, patterning, and repetition. This stripped-down palette has led to a singular focus on the worlds of sound that can be layered and stitched together from voices, loop pedals, layered resonance, and emergent drone.
http://kvt.red
Julian Day is an artist, composer and writer/broadcaster. Day’s work frames sound as a social and civic practice. This plays out in performance, installation and video. Key projects include Super Critical Mass and An Infinity Room.
http://www.julianday.com
Workshop
March 9th, 11:00 – 17:00
Presentation/Concert
March 9th, 19:30
In this workshop easily accessible organisational means, documentation strategies and basic structures of music are presented, through which a quick access to finished pieces can be achieved. On the basis of experiments with electronic devices, instruments, open software, etc. we will discuss, learn and apply the principles of „rapid song prototyping“.
Jens Vetter is an artist, musician, performer and developer for post-digital sound objects and instruments. He is currently working as a research assistent and PhD candidate at Tangible Music Lab, Linz.
Bring with you (optional)
– Musical tools, e.g. Laptop with SuperCollider or PD
– analog synthesizers, instruments, effects, circuits, mic, etc.
Exhibition Opening and Performance
October 2nd, 19:30
Opening Hours
October 3rd – 5rd, 15:00 – 19:00
Artist Talk at Kunstuniversität Linz
Domgasse 1, 4. Stock, Raum DO 0425
October 4th, 17:00
With Relegation_flexus the Luxembourg artist Catherine Lorent translates complex Baroque strategies into a total work of art, creating an audio-visual environment for the bb15. This work is an adapted version of a series, which she developed for the Luxembourg pavilion of the 55th Biennale in Venice 2013.
„It is literally an immersion into what I would call a constellation, an atmospheric space. In any case, Relegation simultaneously engages the eye and the ear; there is no gap between the two. Nothing is detached or deferred. Everything is open and instantaneous. What I try to create is an immediate emotion.” (Catherine Lorent)
curated by Daniela Wageneder-Stelzhammer
Sponsored by
Exhibition Opening and Performance
June 26th, 19:30
Opening Hours
June 27th – July 3rd, 15:00 – 18:00
Saturday / Sunday closed
Steve Bates is an artist and musician living in Montréal. His work listens to boundaries and borders, points of contact and conflict. Thresholds are explored, stretched and, at times, completely broken. Information and signal feed back onto themselves creating new situations and events. The sonic is the starting point for his projects which are evocations of communication networks and systems, or expressions of spatial and temporal experience. He frequently uses sound material that is site specific in an attempt to uncover place and how the sonic effects our experience of site. His work has been exhibited in Canada, Chile, Europe and Senegal. He works in the field, on the air, in museological/gallery and performance contexts. These shifting territories reflect the content of his practice.
Black Seas is an ongoing project influenced by historical and contemporary experiences of auditory hallucination. This growing body of work includes performance, installation, video, transmission, objects and materials. It consults documents from literature, cognitive science, early experimental psychiatry, philosophy and religious studies, telecommunications and sound studies, 18th century psychic journals, horror films, and shared stories and oral histories. It is a project about listening to noise through desire, agency and otherness.
For the exhibition at bb15, Bates will install an assemblage of some of the work produced to date. With Black Seas I became fascinated with how a sound could exist and simultaneously not exist. Of a radical interiority and how it meets an exterior. Of all the hearers, is a project about a weird listening. A listening, as Mark Fisher described it when theorizing the weird and the eerie via H.P. Lovecraft, where two worlds are brought together; the external and the internal. A weird listening is one that “lies beyond standard perception, cognition, and experience.”
http://www.stevebates.info/
https://vimeo.com/225275550
Kristen Roos is a Vancouver based artist whose practice includes site-specific installations, performance, and sound design for dance. Kristen holds a BFA from Concordia University and an MFA from the University of Victoria. His writing on sound and radio art appears in the Radius GRIDS booklet published by Half Letter Press (Chicago), the Errant Bodies publication Radio Territories (Berlin) and the New Star Books publication Islands of Resistance: Pirate Radio in Canada (Vancouver).
Anti-Wave examines the silent electromagnetic transmissions that are ubiquitous today. These inaudible frequencies are received with devices that recognize them not as information, but as something similar to the unwanted sounds that were heard in early radio reception. A hidden infrastructure is revealed by translating these frequencies into audible sounds – a process that dissects the wireless devices that embody our lives and examines the relationships between people and the objects that inhabit their daily rituals. The installation allows new daily rituals to be created, through the use of textiles which block the frequencies emitted by wireless devices, drawing attention to possible health effects and emf hypersensitivity.
http://www.kristenroos.com/
Event:
Dienstag, 19.6.2018
Einlass: 19:30
Liveübertragung: 20:15
*SUBSUMME*, ursprünglich ein Telefonvermittlungshörstück, dann ein online Spiel, später auch ein Buch mit begleitenden Lesungen…Jetzt, als letztes Aufbäumen, als Tüpfelchen auf dem Verwertungs-i, in die Postinternet-Form eines live let’s play aus Zürich gegossen.
Für Interessierte, die es nicht schaffen ins bb15 zu kommen, gibt es das live let’s play auch ortsungebunden auf Youtube: https://tinyurl.com/ekw1490youtube
Das Buch *SUBSUMME – ein Lesedrama* kann man am Abend des Events auch kaufen.
Workshop on the 3rd of June from 2 to 6:30pm with a public presentation at 6pm.
For more than ten years Janneke van der Putten’s own voice has been an essential medium for her interactions with landscape, space and contexts, in connection with e.g. natural phenomena, mythologies, cycles and time. In addition to her studies of textile design and Artistic Research Janneke van der Putten learned the North Indian singing „Dhrupad“ with Amelia Cuni and Marianne Svašek in Berlin and Rotterdam. The learned technique has been essential for her understanding of the voice as a physical experience and less as a medium for speech or even singing. – „How can I travel with my voice, my jaw, tongue, spittle, and breath?“
This workshop explores the voice in relation to a spatial experience. Through a Deep Listening session and blind-folded sound walk we will explore our senses and become more aware of our own body, movements and sounds. We will continue with a simple body warm up followed up by a basic vocal exercise. The workshop will consist of group interventions and performances, exploring the acoustics and characteristics of the space, using amongst other our own voices. We will reflect in drawing and conversation.
Janneke van der Putten (Amsterdam, 1985) is a visual artist and vocalist based in Rotterdam. Her practice involves experiences of listening, performances, sound and video, documentations in image/text/textile, workshops, music projects, and creating platforms for cultural exchange. Her voice is her main tool, guiding her through physical and sonic explorations in different landscapes. Engaging with specific sites and local contexts, and through her personal experiences, she investigates (human) responses to her surroundings, and their relation to natural phenomena and transitions, such as the sunrise.
She graduated with a BDes from TXT (Textile), Gerrit Rietveld Academy (Amsterdam, 2003 – 2009) and completed her MMus in Artistic Research, Royal Academy of Art & Royal Conservatoire (The Hague, 2011 – 2013). Van der Putten trained in classical North-Indian Dhrupad singing with Amelia Cuni and Marianne Svašek (Berlin & Rotterdam, 2009 – 2014) and is autodidact in various extended vocal techniques. She is co-curator of the Aloardi Exchange Programme, inviting Peruvian artists to present their work in the Schengen Area (2016 – 2017). The project ‘Invisible Architecture’ with Christian Galarreta, for which they published a vinyl in 2014, has been presented at amongst others exhibition Make the Audition: Meetings Between Art and Sound in Peru, Museo de Arte Contemporáneo (Lima, 2016) and nxnwfestival (Cologne, 2015). She was artist-in-residence at the Centre international d’art et du paysage (Île de Vassivière, 2014), and exhibited with solo shows All Begins With A at TENT (Rotterdam, 2015), Directed to the Sun in Quartier am Hafen (Cologne, 2017) and Quitsa at CINNNAMON (Rotterdam, 2017). Upcoming will be a fellowship at Akademie Schloss Solitude (Stuttgart, 2019).
Janneke van der Putten’s travel to Austria is supported by CBK Rotterdam (Centre for Visual Arts Rotterdam).
Sound Performance
June 5th, 7:30 pm 2018
Wavering Worlds
The series provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of „Wavering Worlds“, multiple forms of multi-media performances and concerts are presented.
Janneke van der Putten creates performances where she uses her voice as a physical and sonic material. Singing with different extended techniques, her performances are inspired by rich sound textures. Listening to their minimal changes and variations and responding to the acoustics of the space, Van der Putten works with the (un)controllable possibilities of her instrument. Often the performances are done without electronic amplification in a resonant place.
http://jannekevanderputten.nl/
Un/natural Fields is a new project in which Michael McDermott and William „Bilwa“ Costa juxtapose two solo projects, the organic imagined landscapes of the McDermott’s Echozoo works in progress and Costa’s unnatural field recordings. Together they create an imaginary listening experience akin to magical realism.
https://soundcloud.com/bilwa/sets/un-natural-fields
mikronesia.com
williambilwacosta.com
Van der Putten’s travel to Austria is made possible with the support of CBK Rotterdam (Centre for Visual Arts Rotterdam)
Sound Performance
April 23rd, 19:30
In everyday life, social media platforms have become a fundamental means of communication. Within Facebook, Twitter and Whatsapp for example, dialogues primarily take place as texts, where the emotional context usually associated with the intonation of spoken words is missing. Project Key Code is a multidisciplinary collaboration that questions the way information is conveyed over digital platforms. In this research, by rethinking the design and use of the computer keyboard, Cyborg Art Collective aims at providing an extra musical layer to digital dialogues. The performers type messages expressing their emotions, using a hybrid between musical composition and conversation.
The Cyborg Art Collective is a multidisciplinary group with dynamic cooperative characteristics and do not operate from a fixed location. In their projects, they question conventional technologies and everyday life through philosophical and scientific approach.
http://CyArCo.com
Wavering Worlds
The series provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of „Wavering Worlds“, multiple forms of multi-media performances and concerts are presented.
‘It started from being a night owl.’
Sleep is, naturally, incompatible with what the world of uninterrupted operation demands and promotes as an ideal norm. It is overlooked and everyday, to such a degree that it could be presented as banal and sinful. Yet this biological banality common to all living animals has an intrinsic potential. It defies being logically understood and utilized. It is a quiet, unnoticed form of resistance that happens individually but is shared in its universality. It remains as a sign of shared time, participating in the world by its mere being there. A sleeping body, a sleeping being, is vulnerable and intimate. And very present.
What does a sleeping being become against the backdrop of a world that is lit 24 hours? What does this state of repose mean when there is no time to pause? How can one exist as a sleeping thing? Can one dream of hibernation and its potentialities? What does it mean to have an asynchronous biological clock? What lullaby could one sing?
Based on her publication As long as there is time to sleep (2016),
Yoojin Lee composed a body of works that takes its chapters as points of
entry into the fluctuating textures of sleep:
0.. Lie down: a prelude
1.. Introduction
2.. Artificial stars
3.. SLEEPY’S
4.. I like to stay horizontal
5.. Who falls asleep?
6.. To sleep in a world without lullaby
Intermission..
7.. While there’s still time
8.. Dormant buds on twigs
9.. Ostriches are diurnal but may be active on moonlit nights
Yoojin Lee is interested in ways of being set against the ways of being we are given. She likes to sleep a lot and take long walks in the nighttime. She graduated from Gerrit Rietveld Academie, Amsterdam, in 2016 and is currently based in London.
http://www.nijooy.com/
As a part and an extension of the show, radio broadcasts will take place on Ja Ja Ja Nee Nee Nee (Amsterdam), Radio Fro (Linz) and Rounded Radio (London).
Susannah Stark focuses on the mystical qualities of the voice and its placement in urban spaces, to question how images are used in a technology-driven, digital and capitalist culture. She has an interest in the mouth as modulator which shapes and organises culture, both as a bodily organ and a machine. With many works questioning how voices function and are conventionally used within the context of public space, she re-inhabits popular narrative and song to challenge material hierarchies. Often involving collaboration and inspired by writings on the ancient greek Cynics – she merges the economic, cultural, spiritual and personal into a narration of the contradictions of contemporary living, using digital media, sound, and song.
http://susannahstark.com/
Workshop
8th to 9th December 2017 13:00 – 19:00
Presentation / Concert
12th December 2017, 19:30
Marloes van Son builds systems, installations and instruments. The
electromechanical objects that she develops explore natural phenomena
and everyday appliances. By repurposing ordinary objects she aims to
create unusual, yet familiar experiences. Her recent work focuses on
sound compositions, alternative scores and instrument building.
www.marloesvanson.nl
There will be a workshop for 10-12 participants with Marloes van Son on 8th and 9th of December 2017.
Participants can explore experimental sound devices by building their own versions. The results will be presented as a collaborative performance on 12th December 2017, 19:30.
Soundperformance
October 6th, 19:30
The series provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of „Wavering Worlds“, multiple forms of multi-media performances and concerts are presented.
T/A-Z is a temporary playground for experiments with
sound, focusing on continuous ecosystems, speech, impulse and
feedback. Working in different areas of sound research, Paul Gründorfer,
Stefan Nussbaumer and Michael Fischer will play in various
constellations, using audio and visual feedback as a kind of extended
concept for live improvisation.
Paul Gründorfer: Electronics
Stefan Nussbaumer: Electronics, Videosynth
Michael Fischer: Feedback Saxophone
Paul Gründorfer works in the area of conceptual and procedural art, location-specific intervention, sound or language sculpture, and topics that deal with functional methods and the capture of spatial conditions. At the same time, process-related experimental setups are designed and variable or unstable systems are tested for their perceptibility and reception. His work focuses on processes that arise through the adaptation of found material to play with sound as a ‚found-object‘. Recent studies examine different connections between transmitter-receiver networks and at the same time deal abstractly with aspects of communication.
www.tricx.net
Stefan Nussbaumer works at the interface between visual art and sound art. Originally from the visual arts (completed painting studies at the Wiener Hochschule für angewandte Kunst), he began in the early 2000s with algorithmic sound production, both for installative, artistic projects, as well as free improvisation in interplay with others Musicians and musicians. In his current work Stefan Nussbaumer follows the synaesthetic perception between sound and image. In this process, visual information (colors) are converted into control commands for the algorithmic sound generation by means of a self-developed smartphone application called „VideOSC“. The resulting expression may be understood both as musical work and as an „extended pictorial space“.
http://pustota.basislager.org/
Michael Fischer, musician-composer in improvised / experimental music and noise; works with saxophone, violin, soundscapes and instant composition conducting on the linguistic immobility of sounds, and since 1999 on the electroacoustic phenomenon feedback, elaboration of the feedback saxophone. Foundation of the Vienna Improvisers Orchestra 2004 with focus on experimental lyricism. Numerous projects with artists of the international improvisation scene and in cross-border contexts in Europe, Lebanon, USA and Japan. Guest lectures at the Peabody Inst.-The Johns Hopkins University of Maryland, Inst. For Linguistics Univ. for applied arts Vienna, University of Architecture Vaduz, Goethe Institute Palermo, Bruckner University Linz, etc.
http://m.fischer.wuk.at
Sound Performance
July 18th, 19:30
Tin cans, whistles, locomotive suspension springs, porcelain bowls, compressor top bells, ping pong balls, agave dry leaves, sponges, steel wires, branches, paper foils, plastic bags, silver papers, pink gloves, piano, balloons, buckets, feathers, water, scraps, peebles, flower pots, guitar, metal tubes, paulownia tree seeds, pearls, bamboo sticks, logs, bones, stones, filter queens…
Pierre Berthet & Rie Nakajima have been creating various ways to vibrate things so that their acoustic shadows dance around: invisible air volumes that reshape constantly, move in the space, enter in the most secret places and inside ourselves. A way to get closer to things inherent in spirits is to listen to them. Eventually encouraging them to produce sounds and resonate by various means: to hit, caress, shake, beat, scrape, scratch, claw, boil, clap, rattle, rock, throw, move, magnetize, clamp, cook, pinch, galvanize, motorize, bow, blow, pluck, heath up, let flow, freeze, drop, drip, connect, roll, mix, extend, sing…
Rie Nakajima is a Japanese artist working with installations and performances that produce sound. Her works are most often composed in direct response to unique architectural spaces using a combination of kinetic devices and found objects. She has exhibited and performed widely both in the UK and overseas and has produced ‘Sculpture’ with David Toop since 2013. With Keiko Yamamoto she has a music project ‚O YAMA O‘ which explores music with no genre. She also has a collaborative project ‘Dead Plants/Living Objects’ with Pierre Berthet.
http://www.rienakajima.com/
Pierre Berthet studied percussion at Brussels Conservatory and spent a lot of times in a bell tower, learning carillon and listening to the sounds. Studying with Garrett List (improvisation), Frederic Rzewski (composition) and Henri Pousseur (music theory) at Liège Conservatory in the nineties encouraged him to continue various things he did since his early childhood like throwing objects on the ground, shake them, hit them, caress them to hear what sounds come out ot them. Sounds of water drops falling on various materials always interested him a lot. Slowly slowly he started to prolounge various objects and instruments with long steel wires connected to can resonators suspended in the space, probably influenced by the works of people like Alvin Lucier, Terry Fox, Paul Panhuysen… Learned a lot also by playing several years with Arnold Dreyblatt’s Orchestra of Exited Strings and also by dueting with Frederic Le Junter. Since the nineties he realize and exhibits indoor and outdoor sound and visual installations. Adapted to the place where they are exhibited, they are also materials for live performance.
http://pierre.berthet.be
Realised with the support of:
Exhibition Opening and Soundwalk
April 4th, 19:00
Opening Hours
April 5th – 7th, 15:00 – 18:00
This work will be presented in two parts, a soundwalk and installation. The soundwalk will explore the diverse soundscapes of Linz through walking and listening. Participants are invited to join on an intuitive walk through the city whist attending to the everyday sounds that occur around us. The journey will conclude with a performance within the installation space at the bb15 gallery. The installation will be composed of an ecology of bells and speakers playing field recordings, sense data and analogue sound synthesis.
Tim Shaw is concerned with listening, specifically how complex listening environments can be constructed using a diverse range of techniques and technologies. Employing extended field recording techniques, DIY electronics, self-constructed software, networked systems and acoustic spaces his practice supports heterogeneous approaches to listening, making work that attends to the diverse forms listening can take through digital media. From presenting soundwalks through ‘naturally occurring’ environments to creating highly technical listening experiences, his artistic practice spans environmental sound art, digital media and performance making. He is interested in extended thinking around what the digital is and how this relates to all forms of artistic practice.
https://tim-shaw.net/
Concert Tim Shaw & Heinz Riegler
March 28th, 19:00
As part of his 2-week residency at bb15, Tim Shaw invites Austrian artist and musician Heinz Riegler to perform alongside him for an impromptu response to the sounds of Linz. Drawing upon local field recordings, sound synthesis and acoustically stimulated found objects Shaw and Riegler will form a highly spatialised soundscape within the gallery space.
Heinz Riegler is an Austrian born artist working
between Australia and Europe. First emerging as a songwriter and
performer in the late 1980s, Riegler has since expanded his output
across video, installation and visual art.
http://www.heinzriegler.com/
Tim Shaw has worked internationally as an artist, performer, sound designer and researcher. His practice is situated within media art and draws upon soundscape and electroacoustic composition, performance making and DIY technology.He currently works as a lecturer in Digital Media at Culture Lab, Newcastle. Collaboration plays a central role in his approach, he has been lucky enough to make artistic work with Chris Watson, John Bowers and Sébastien Piquemal. Shaw has recently presented work at ARC, Switzerland (2016), Stereolux, France (2016), APO33, France (2016), Eastern Bloc, Canada (2016) and The Wired Lab, Australia (2016).
https://tim-shaw.net/
The series provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of „Wavering Worlds“, multiple forms of multi-media performances and concerts are presented.
Concert
March 14th, 19:00
petr vrba: trumpet, clarinet, electronics
veronika mayer: electronics
Veronika Mayer and Petr Vrba are both part of a very active scene of experimental and free improvised music. A spontaneous open air jam session gave birth to their experiments with air, beat frequencies and the subtle meandering of combination tones and smooth changes in intonation. During the last years their collaboration included changes of instruments, experiments with improvisational forms and concepts as well as detailed joint planned compositions.
In its music the duo junk & the beast creates a stirring atmosphere with the mixture of acoustic instruments and electronic sound generators, a balanced and fine-tuned organisation of sound with the creation and fusion of timbres and noise. Concentrated on the essence, they reach a radical clarity in transitions of dense to porous episodes and tension to release.
www.vrrrba.cz
www.veronikamayer.com
- Atsushi Tadokoro (JP), Gabriela Gordillo (MX), Sebastian Six (AT), Renick Bell(US/JP), Yen Tzu Chang (TW)
- 07.03.2017 19:00
Concerts
March 7th, 19:00
Pureed Noise Soup is a hybrid sound event, that involves a series of concerts, a workshop and an interactive installation, that puts together artists with different views of sound, which sources are data sets, live-coding, analog and digital sounds, or electronic circuits. Observing the variety of this sound performances as if they were different tastes of ingredients, we want to present it as a process to make a pureed soup: all artists will provide different materials, that in the end, will be a unique sonic food for the audience.
Observing the sound performance as a tasting experience, an on-site installation, allows the audience to taste the ingredients themselves, and make their own mixes through interaction, as a first encounter with the sounds of each performer.
The series provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of „Wavering Worlds“, multiple forms of multi-media performances and concerts are presented.
Concerts
February 14th, 19:00
Patrick K.-H. (RU)
(aka Anton Iakhontov) sound
artist / video artist / composer, for the time works with sound
installations, live and written acousmatic, graphical collage and
animation. Researches interactive / cross-disciplinary forms,
permutating the media, aiming on achieving unexpected mutants. Member
of Theremin Center for Electroacoustic Music at Moscow Conservatory,
Moscow Cyber Orchestra and many other international collaborations.
Author of music / video to drama / contemporary dance / post-dramatic
theatre plays and performances as well as his own works in Russia,
Austria and Germany. Art-director of Media Studio in Alexandrinsky
Theatre, St. Petersburg. Founder and co-curator of the Floating Sound Gallery for
spatial sound (St.Petersburg), organiser and curator of festivals and
educational programs. Currently lives and works in Vienna /
St.Petersburg.http://drawnsound.org/
Hernán Kerlleñevich (AR)
Hernán Kerlleñevich
is a sound artist, composer, performer, professor and researcher living
and working in Buenos Aires, Argentina. His artistic work includes
interactive sound installations, audiovisual performances, electronic
and instrumental music compositions and interdisciplinary projects
merging art and science. He is member of the MARDER art collective.
Concert
September 6th, 19:30h
The series provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of Wavering Worlds, multiple forms of multi-media performances and concerts are presented.
Christian Konrad Schröder – ƒ = 2.ls.π / n
Boring numbers from a hole in the computer spread out to fill the gaps in-between the loudspeakers with numerological mysticism, arbitrary mantras and glissandos from hell. The infinite regress is ever-expanding and forms digital spaces filled with drones of spoken numbers and intervalic proportions of fake stringed instruments ascending linearly towards collapse and decay – CPU overload and the starting point for improvisation.
Concert
Tuesday, May 3rd, 7:30 pm
The series provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of Wavering Worlds, multiple forms of multi-media performances and concerts are presented.
Andreas Trobollowitsch – Ventorgano
Andreas Trobollowitsch is a Vienna-based composer, performer, sound- and installation artist. In his works, he uses mainly prepared musical instruments, modified fans, tapes and field recordings.
The Ventorgano is an electroacoustic synthesizer, consisting of guitar strings, resonating bodies and prepared fans that allows its player to control micro- rhythmical elements and subtle changes in the overtone spectrum.
Concert
Tuesday, December 15th, 7:30 pm
Stefan Fraunberger: Hackbrett / Elektronik / Relationen
Wavering Worlds provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of Wavering Worlds, multiple forms of multi-media performances and concerts are presented.
Stefan Fraunberger is an earth / vienna based sound-performer, sonic-linguist and author of different content focusing on transformation indwelling the drama of states as movement, silence and possibility. Genuine interest in sculpting the body of air, the composition of tongues, abstract architecture, electricity, strings and the asymmetric laws of presence and perception.
Fraunberger studied experimental electronic music, philosophy, different languages and islamic sciences, did electronic and acoustic performances in clubs and churches, circles around the fluctuating cultural veil as well as he enjoys touring with the band shrack!. Lecturing, translating and writing on liminality, sonic-hermeneutics and relational entities as language, culture, intervals and the other. (Lived and worked in Vienna, Transylvania, London, Verwang, Tehran, Sana’a, Benares and Allepo)
Links
http://stefan.fraunberger.at/
https://soundcloud.com/
Phill Niblock is an intermedia artist using music, film, photography,
video and computers. He makes thick, loud drones of music, filled with
microtones of instrumental timbres which generate many other tones in
the performance space. Simultaneously, he presents films/videos which
look at the movement of people working, or computer driven black and
white abstract images floating through time. He was born in Indiana in
1933. Since the mid-60’s he has been making music and intermedia
performances which have been shown at numerous venues around the world
among which: The Museum of Modern Art; The Wadsworth Atheneum; the
Kitchen; the Paris Autumn Festival; Palais des Beaux Arts, Brussels;
Institute of Contemporary Art, London; Akademie der Kunste, Berlin; ZKM;
Carpenter Center for the Visual Arts at Harvard; World Music Institute
at Merkin Hall NYC.
Since 1985, he has been the director of the Experimental Intermedia Foundation in New York (http://www.experimentalintermedia.org)
where he has been an artist/member since 1968. He is the producer of
Music and Intermedia presentations at EI since 1973 (about 1000
performances) and the curator of EI’s XI Records label. In 1993 he was
part of the formation of an Experimental Intermedia organization in
Gent, Belgium EI v.z.w. Gent which supports an artist-in-residence
house and installations there. Phill Niblock’s music is available on
the XI, Moikai, Mode and Touch labels. A DVD of films and music is
available on the Extreme label.
www.phillniblock.com/
https://en.wikipedia.org/wiki/Phill_Niblock
Everything originates from the object and returns back there like everything eminates from the seduction and not from desire. (Jean Baudrillard, Fatal Strategies, p 138)
The Installation “Three points where two lines meet” by Marita Bullmann describes a reality that no longer seems to be real. It refers to the real as a detail that has always been part of a staged scenario which is aligned towards our visual and haptical seduction in a purposive world.
The material, the function and the association jointly generate strange duplication, differences and shifts which are located around the simplicity of an object as an interpretation surface. On the basis of the subtle and sometimes humorous gamble with the objects in the (image) space the installation develops a world of sensual and physical enchantment.
The result is a dialogue between subject and object, which alternates between the possible forms of real and artificial, literally and symbolically, original and imitation.
/////////////////////
„Alles geht vom Objekt aus und kehrt dort hin zurück, so wie alles von der Verführung ausgeht und nicht vom Begehren.“ (Jean Baudrillard, Die fatalen Strategien, S. 138)
Die Installation Three points where two lines meet von Marita Bullmann beschreibt eine Realität, die sie selber nicht mehr zu sein scheint. Sie bezeichnet das Reale als schon immer da gewesener Teil eines inszenierten Szenarios, das auf unsere visuelle und haptische Verführung in einer zweckrationalen Welt ausgerichtet ist.
Das auftretende Wechselspiel von Objekt, Material, Funktion und Assoziation erzeugt somit befremdliche Verdoppelungen, Differenzen und Verschiebungen, die sich um das simple Objekt als Interpretationsfläche lagert. Aufgrund des absichtlichen und raffinierten oder gar ironischen Spiels mit den Objekten im (Bild)-Raum erfährt die Welt eine sinnliche und körperliche Verzauberung. Es entsteht ein Dialog zwischen Subjekt und Objekt, der zwischen den Möglichkeitsformen von real und künstlich, wörtlich und symbolisch, original und imitiert changiert.
http://maritabullmann.de/
Concert
Tuesday, April 7th, 7:30 pm
Wavering Worlds provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of Wavering Worlds, multiple forms of multi-media performances and concerts are presented.
This trio’s music is characterized by a calm, restrained attitude. Nothing has to be proved and nothing is stressed as being more interesting than it already is. Precise listening and the exploration of sound through quietness are the guiding principles of each thought and action.
Klaus Filip – Laptop
Radu Malfatti – Bass Harmonica
Derek Shirley – Bass
http://klingt.org/filipino/cv.html
http://radumalfatti.eu
http://soundimplant.com/derekshirley/
The series provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of „Wavering Worlds“, multiple forms of multi-media performances and concerts are presented.
Manuel Knapp
Visual artist, experimental and noise composer from Austria. Active since the 90ties floating on and between different medias without compromises. Touring actively as noise musician and collaborating with for example: Zbigniew Karkowski, Christian F. Schiller, Robert Lisek, Astro, Hiroshi Hasegawa, Keiko Higuchi, Tim Blechmann, Tabata Mitsuru, Government Alpha, Kelly Churko, Cal Lyall, Reiko A. etc. Manuel Knapp studied painting at the academy of fine arts in Vienna, and computermusic and electroacoustic medias at the university of music and performing arts in Vienna. Numerous exhibitions, concerts, screenings internationally.
http://vimeo.com/46022666
http://knapp.klingt.org/
Jerobeam Fenderson and Hansi3D Jerobeam Fenderson and Hansi3D demo their amazing Oscilloscope-Music experiments, blurring the boundaries between music and visuals. Either can be used to generate and affect the other, composing audio and video into an inseparable whole. The inherent interplay between the two domains opens new possibilities for experimentation. In line with the Demoscene they will present a series of short samples.
www.jerobeamfenderson.net
https://www.youtube.com/user/hansiraber/
http://rgzxyb.tumblr.com
- 16.12.2014 19:30
The ‚Interface Culture Musikkapelle‘ is an unusual electronic music ensemble where each performer has to build an unique and novel musical interface for musical expression. Without the need of a conductor, smaller groups of musicians propose musical improvisations involving any kind of musical aesthetic.
I. „Praising prosthesis“
Mihaela Kavdansa, Carina Lindmeier, Moritz Morast, Federico Tasso, Jens Vetter
„The human being have become a god of prosthesis, very powerful, when he puts on all his prosthetic limbs. But still in a struggle with their use, because they are not part of his body.“ Sigmund Freud
The skin, the sword, the hula hoop, the clapping, the stomping, the voice take part in the ritual. The BODYGROUP keeps alive musical instruments with their movements.
II. “Retroments”
Yen Tzu Chang, Arno Deutschbauer, I-Chih Fang, Oliver Lehner, Marta Pérez Campos, Florian Reiche
Retroments is understanding ‚retro‘ as the digital re-building of vintage objects and old instruments. The involved interfaces, used in a traditional way, also can control and play an arrangement of sound structures and melodies created within their altered digital nature.
III. “Scan-In / Ob-ject”
Carlos Ortí, Nathan Guo, Warren Perkovic
Scanning means detecting. It is a discovery happening at the very surface interface of some objects involved. A concert’s audience scan is the principle of our improvisation, so they will be responsible of the time structure of the piece.
IV. “Arthropoda”
Viktor Delev, David Gann, Jürgen Ropp, Deniz Saglam,
An improvisation inspired by the arthropod world. Real insect larvae are used to create organic drones, accompanied by instruments resembling insects and their exoskeletons.
Organized/Curated by Enrique Tomás
With the support of Interface Cultures and Kunstuniversität Linz
CONSENSUS explores the idea of sonic unity.
When identical objects or people sound together they reinforce and compromise each other, amplifying similarity while emphasising difference. Two performers attempting to copy each other spark a negative feedback loop. As a blindfolded amateur choir sings the same note together for one hour the pitch bends, swoops and disintegrates. Without a clear reference point the differences between bodies – their proximity, communicative precision and physical limits – become apparent.
Australian artist Julian Day has spent the past five years investigating this concept through a body of installations and performances. His ongoing collaborative sound project Super Critical Mass, for instance, brings together temporary communities of participants who disperse identical sounds (50 bells, 80 voices, 100 flutes) within parks, galleries, laneways and malls, following simple memorized instructions that articulate the sonic, social and spatial aspects of each situation.
Similarly, his installation Lovers features pairs of identical synthesizers pinned apart between wall and ceiling by long metal rods. The rods trigger identical notes on each instrument that sound perpetually throughout the space, creating complex energy fields that agitate territory. As with La Monte Young and Marian Zazeela’s Dream House, the perpetual sameness (a sonic ‘ganzfeld’ of unchanging information) leads to a dynamic yet ambient neutrality in which the listener is simultaneously activated (their body immersed in energy) and decentred (lacking depth of field).
His work with fellow artist Luke Jaaniste, Turning The Tables On, involves multiple turntables playing copies of the same record: Hooked On Classics, Tubular Bells, Oxygene, Chariots Of Fire. The styli are compromised by foreign objects such as coins placed on the vinyl so that the records stagger across time, creating a disorienting maze of self-similar information.
CONSENSUS presents new work within this arc, comprising sculpture, video and performance. It is the result of a current two-week residency at bb15.
www.supercriticalmass.com
www.aninfinityroom.com
www.julianday.com
The series provides a platform for local and international artists/musicians, who oscillate between various musical and artistic genres. Within the framework of „Wavering Worlds“, multiple forms of multi-media performances and concerts are presented.
Cameron Deas
Cameron Deas is an experimental musician based in London. Currently working with electronics, he uses an integrated array of synthesis techniques that are triggered by, and in turn manipulate, external acoustic sound sources, in and out of conjunction with pure electronic sounds. Working in an entirely live environment, Deas creates a kind of real-time musique concrete, resulting in an abstract yet organic contemporary electronic music. Also known for his work as a guitarist, Deas’s debut LP for this project, String Studies, is a suite that focuses on using the 12 string acoustic guitar as the sole sound source of this live musique concrete: a wooden frame to an electronic music. String Studies will be released this July on Alter.
“…the notes of his 12 string acoustic are raw material for violent sculpture, torn apart and flung about separately by the manipulations of his modular synth, bouncing around the space in a hyper-kinetic match of sound squash.” The Wire, April 2014
Andreas Kurz
Wheras beats took the centre
stage in the past works of Linz resident Andreas Kurz, his current stuff
is affected by a more abstract mood and field recordings. Arrangements
of small, delicate gestures merge to form larger reverberating
atmospheres that open out into a rewarding and intense listening
experience.
Philipp Zappel
The vehement Tondenker Philipp Zappel creates fog-shrouded soundscapes via analog sound synthesis.
Links
https://soundcloud.com/camdeas
http://andreaskurz.net/
Screening
Tuesday, May 27th, 7:30 pm
As an aside from making sculpture, Sam Bunn has been scripting an inversion of the first Terminator movie: a pessimistic near future sci-fi about a hapless fool who accidentally brings about the end of the world as we know it; which ends up being a good thing. The film is based in Linz and is titled ‘Grussgott’. The hero of the piece thinks this means ‘Great God’ and has named his all seeing, morally minded, body envying supercomputer accordingly.
Not sure what to do with a film script – certainly not finish writing it – this time at bb15 will be used to explore some of the features of the script and some of the surrounding trappings of writing a story, such as writing about what you know, discussing things you’re afraid of and wish could/should happen, various themes from the movie and dressing up. All hopefully without resorting to doing any acting.
Taking the form of a series of casual conversations mediated through film, or an exercise in film making with austere limits, people the artist knows are invited to drop in during the week of filming and present their mobile phone as a medium on which a piece of the film will be ‘written’. These individual works will be made direct onto the invited guests mobile phone, while they wait. At the screening, all the pieces of film made around the script will arrive in the pockets of all the participants.
Exhibition Opening
Wednesday April 16th, 7:30 pm
Through the ideas and works of composers such as Johann Sebastian Bach, ‚equal temperament‘ became the root of a culture that remained almost unchanged for the last 400 years. This specific tuning was closely connected to the development of the church organ. Diametrically opposed to the church organ, the development of the portable electronic organ during the 1980s marked a similarly significant point of progress in music production. Although their sound is functionally subordinate to the technical conditions of their time, these keyboards also represent a specific era of musical expression. Manufacturers such as Casio, Yamaha and Bontempi have become an indispensable piece of the collective memory of music culture.
Ivo Francx and Bartholomäus Traubeck combine these centuries apart developments in a new piece, which manifests itself as an installation that oscillates between Drone and Fugue.
No Patent Pending # 6
Friday, March 28th, 7:30 pm
iiiinsight
Wednesday, April 2nd, 7:30 pm
Instrument Inventors Initiative explores the relations between sound, image, space and the body, through self-made performative media. During a one week residency, the Dutch artist collective developed new projects related to the theme of non database technologies, embodied knowledge and returning to the senses. ‚No Patent Pending‘ featured a program of performances that combined intimate body interfaces, optical-sound performances, murmuring sounds from liquid projections and forays into the acoustics of the city.
www.iiinitiative.org
Exhibition Opening
Tuesday, June 4th, 7:30 pm
Opening hours
June 5th-11th, 3pm – 6pm
Sa/Su closed
Drum kits positioned in space and the individual components are interwoven into a branched object. The hierarchy of acoustic elements is rearranged and resonates both mechanically and through sound stimulator’s.
At the opening Kollektiv Rauschen plays on and with the object.
Link
http://www.kollektivrauschen.org/
bb15 proudly presents: Standuino Orchestra
Thursday, May 16th, 22:00
Standuino Orchestra open-invitation-improvised-music-group that consist basically of everyone who has his Standuino instrument. Any member of the orchestra can organize event and invite othe members to play. The repertoire of the orchestra consists mainly of compositions by Czech composer Karel Bastl (1873-1918). The main conductor Ondřej Merta with his assistant Václav Peloušek went to archives to search for innovative ways of playing improvised music from the edge of 19th and 20th century. They try to deliver authentic experience of such music for the audience. At present moment fresh contemporary composers are composing pieces for the orchestra ( Hans W. Koch, Lucie Vítková, Standa Filip and others ).
Eröffnung der Ausstellung
Dienstag, 7. Mai, 19:30
Öffnungszeiten
8. Mai – 14. Mai, 15:00 – 18:00
Sa/So. geschlossen
The collective Gruppe Uno Wien is a constantly expanding artist group
that has formed around the premises of AfG (Archiv für Gegenwart), an
independent art space in Vienna. Since 2011 they have been working
together and against each other, creating opposing movements that unite
again.
Consistently the existing producer-recipient-dichotomy is
ruptured and the apparent opposites, criticism and humour are merged.
Their works are drifting around and moving forward at the same time.
Meta becomes total.
Special guests: Michael Fischer und Mathias Garnitschnig
sadface ist eine raumbezogene Tanzperformance die sich an der Schnittstelle von Tanz und Installation bewegt. Im Stück gibt es drei Schwerpunkte, deren Beziehung zueinander sich langsam und konstant ändert. Dauer: 30 min.
Performer: Jianan Qu
Kostüm: Mahtab Soleymani
Konzept Choreographie: Jianan Qu/Philippe Gerlach
Audio/Video Performance
Mittwoch 30. 03. 20:00
Stefanie Polek und Jens Alexander Ewald präsentieren ihre Bild-Text-Installation „PAL“
„PAL“ steht hier für „Parallel analytische Läsur“ und bezieht sich auf die Auseinandersetzung der Künstler mit den von ihnen bevorzugten Medien: digitales Bild und Text. Wiederholung, Dauer, Copy und Beliebigkeit sind zentrale Themen in der Bearbeitung eigenen und fremden Materials. Dabei geht es um die Dekonstruktion vorgegebener Ordnungen, die die Möglichkeiten einer Neukreation beinhaltet. Fraglich bleibt jedoch, ob das Spiel mit unendlich vielen Optionen eigene künstlerische Entwicklung vorantreibt oder eher behindert.
Stefanie Polek (geb. 1977, in Köthen, Sachsen-Anhalt lebt und arbeitet als Künstlerin in Kiel und Berlin)
Jens Alexander Ewald (geb. 1981, in Heidelberg, lebt in Kiel und unterrichtet an der Muthesius-Kunsthochschule in Kiel, http://ififelse.net)
Beide sind Mitorganisatoren der Prima Kunst Galerie in Kiel , www.primakunst.info
Das bb15 und das Ars Electronica Festival realisieren 2010 erstmalig das zweitägige Performancefestival „Soft Bodies“. Mit dem Anspruch, verschiedene Positionen und Herangehensweisen innerhalb der Performancekunst an einem Ort zu vereinen, wird eine facettenreiche Auswahl an performativen Möglichkeiten gezeigt.
Performancekunst ist direkt und wahrhaftig, der/die KünstlerIn ist durch seine/ ihre unmittelbare körperliche Handlung und Präsenz selbst Medium beziehungsweise Ausdrucksmittel.
Die teilnehmenden KünstlerInnen praktizieren ihre Ideen daher an sich selbst und gleichzeitig gemeinsam mit dem Publikum, arbeiten also am und mit dem lebenden Subjekt, was Raum für verschiedene Gesichtspunkte der Begegnung schafft.
Performancekunst ist prozesshaft und vergänglich – Momente der Transzendenz, des Experiments, der Erkenntnis oder des grandiosen Scheiterns sind möglich und erwünscht. Das bb15 wird in diesem Zusammenhang als Festivalzentrale fungieren und Ort des Austausches, der Diskussion und der Präsentation bereits stattgefundener Performances sein.
KuratorInnen
Mag. Elisa Andessner (AT), Dr. Didi Bruckmayer (AT)
Linien Musik ist eine Software die gezeichnete Linien in Töne umwandelt und somit eine Einheit von Klang und Bild herstellt. Die Visualität der Musikerzeugung als integrales Element der Musik wird mit Hilfe eines Videobilds zu Bewusstsein gebracht.
Es ist keinesfalls der erste Versuch, eine derartige Verbindung herzustellen. Das Bestreben, Musik aus Bildern zu erzeugen hat eine lange Tradition [1] und findet sich unter anderem auch in moderner Musiksoftware wieder. Zwischen Bild und Ton gibt es allerdings keinen kanonischen Zusammenhang. Um diese Lücke zu schließen gilt es abstrakte Beziehungen zwischen den Beiden zu finden, die für das menschliche Verständnis so offensichtlich erscheinen, dass der Eindruck erweckt wird, Bild und Ton wären untrennbar miteinander verknüpft, auch wenn dieses Zusammenspiel frei erfunden ist.
Ausgangspunkt für Linien Musik war ein Programmierbeispiel von Zachary Lieberman dessen Funktionsweise sich auf folgende Prinzipien reduzieren lässt:
- Eine gezeichnete Linie entspricht einer Abfolge von Tönen.
- Die Höhe der Töne steigt mit der Position im Bild nach obenhin an.
Aufbauend auf diesen Prinzipien kann man nun fragen, wie verschiedene solcher Linien gemeinsam klingen, was geschieht wenn man diese Linien bewegt, oder wenn sich gar eine Linie auf einer anderen Linie bewegt. Antworten auf diese Fragen versucht die Software Linien Musik zu geben.
Eröffnung der Ausstellung
am Mittwoch 08. Juli 2009 um 18:00
Dauer der Ausstellung
09. Juli- 12. Juli 2009
Di – So: 15:00 – 18:00
Im Rahmen eines artist in residence Aufenthaltes nimmt das belgische KünstlerInnenkollektiv „logement“ die vorangegangene Ausstellung als Ausgangspunkt für ihre Arbeiten. Durch Neu-Arrangierung, Um- und Überarbeitung entstehen raumbezogene installative Arbeiten, welche autonome künstlerische Statements darstellen und darüber hinaus neue Blickwinkel auf „stairway to content“ eröffnen. Im Sinne eines prozessorientierten Ansatzes realisiert „logement“ subtile Interventionen wie die Positionierung dreier Spiegel in den Schaufenstern, ein performativer Eingriff an den Wänden, eine geografische Verortung sowie diverse Manipulationen an vorgefunden Elementen.
Links
http://www.hanstheys.be/artists/tomas_boiy/
http://www.philipjanssens.org/
http://www.hanstheys.be/artists/tim_segers
http://logement.tk/
- Nikos Arvanitis, Jakob Dietrich, Kai Maier-Rothe
- 25.06.2009 - 03.07.2009
Eröffnung der Ausstellung
am Donnerstag 25. Juni um 18:00
Dauer der Ausstellung:
25. Juni- 03. Juli
Di – So: 15:00 – 19:00
Mo: geschlossen
Für diese Ausstellung präsentieren die 3 Künstler Nikos Arvanitis, Jakob Dietrich und Kai Maier-Rothe zum ersten mal eine gemeinsame Arbeit unter dem Titel „Stairway to Content (Sonatine Bureaueratique)“. Eine mehrteilige Installation bestehend aus acht Holzwänden, einer Holzstiege und Videoprojektionen. Nur ein alternativer Eingang über ein straßenseitiges Fenster ermöglicht den Zugang in das bb15. Im Rahmen der Eröffnungsperformance, zu den Klängen von Erik Saties Klavierstück „Sonatine Bureaucratique“, finden die letzten räumlichen Eingriffe statt und vervollständigen somit die Installation. Wie der Titel „Stairway to Content“ andeutet präsentieren die Künstler auf minimalistisch-dadaistische Weise den Prozess der künstlerischen Manifestation. Besucher werden in ein sowohl räumlich als auch zeitlich ineinander greifendes, in sich selbst verschachtelte Kunstwerk verstrickt.
Links
http://www.nikosarvanitis.com/
http://www.bunostik.org/arbeiten.html
