Mi, 12. Okto­ber 2011, 20:00
quitch, Unte­re Donau­län­de 10, Linz

Rasen­trim­mer, Leim­holz, Akku­schrau­ber, Ein­hand­mi­scher, Bohr­ham­mer, Schutz­la­sur, Eck­rohr­zan­ge, Löt­kol­ben. Fein säu­ber­lich geord­net. Es ist Bau­markt-Zeit. Die Viel­falt an Din­gen, die hier zu fin­den ist, strahlt eine beson­de­re, pro­duk­ti­ve Ästhe­tik aus. Ein Bau­markt ver­lei­tet dazu, tätig zu wer­den, zu bas­teln, Expe­ri­men­te zu star­ten. Das Lin­zer Kunst­kol­lek­tiv qujOchÖ lädt daher sechs audio­vi­su­el­le Künstler_innen ein, sich die Maschi­nen, Gerä­te, Werk­zeu­ge und Mate­ria­li­en eines Bau­mark­tes anzu­eig­nen und damit Sounds zu gene­rie­ren. Also Klän­ge von, aus und für den Bau­markt, frei von der sonst übli­chen, belang­lo­sen Muzak-Hin­ter­grund­be­schal­lung.

Im Rah­men einer ein­ma­li­gen Per­for­mance wer­den die Künstler_innen mit­tels per­for­ma­ti­ver Ein­grif­fe die All­tags­be­deu­tung von Gegen­stän­den einer fun­da­men­ta­len Ver­schie­bung unter­zie­hen. Die Gegen­stän­de des Bau­mark­tes wer­den auf ihr Umnut­zungs­po­ten­zi­al und ihre form­ge­ben­den Eigen­schaf­ten über­prüft. Das Bau­markt­in­ven­tar wird zu klang­er­zeu­gen­den Gegen­stän­den, zu Instru­men­ten, zu qua­si-skulp­tu­ra­len Objekt erho­ben und essen­zi­el­ler Bestand­teil einer musi­ka­li­schen Per­for­mance in einer nach­ge­bau­ten, sti­li­sier­ten Bau­markt­ab­tei­lung. Ganz im Sin­ne von John Cage, der “[…] das sonst Unhör­ba­re hör­bar machen, […] ein­fach das Hören erleich­tern” woll­te oder um mit Deleu­ze und Guatta­ri zu spre­chen: “Das Unhör­ba­re […] wird [hör­bar] und das Unwahr­nehm­ba­re […] erscheint [als sol­ches]: nicht mehr der Sing­vo­gel, son­dern das Klang-Mole­kül.” Über die ein­ma­li­ge Per­for­mance hin­aus wer­den die Audio-Mit­schnit­te als Muzak-Ersatz in loka­le Bau­märk­te ein­ge­schleust und als sub­ti­le Ein­bet­tung des Außer­ge­wöhn­li­chen in das Gewöhn­li­che erhal­ten blei­ben.

Teil­neh­men­de Künstler_innen:

Franz Pomassl (AUT)

Franz Pomassl is an elec­tro­nic sound and record­ing artist and DJ resi­ding in Vien­na, Aus­tria. He is co-foun­der of the Aus­tri­an Laton expe­ri­men­tal tech­no label. Pomassl has col­la­bo­ra­ted with a num­ber of important artists across disci­pli­nes, inclu­ding Carl Micha­el von Hausswolff, J. G. Thirl­well and Kod­wo Eshun. He impro­vi­ses using all man­ner of home­built ana­log elec­tro­nic equip­ment, often inser­ting or con­nec­ting patch cables with parts of his body to intro­du­ce a deli­be­ra­te and vio­lent cha­rac­ter of noi­se into dance­floor rhythms. In addi­ti­on to being nota­ble for absurd, vio­lent, dada­ist per­for­man­ces, he also crea­tes custom instru­men­ta­ti­on to exami­ne the edges of human-per­cep­ti­ble audio and uses the­se tools to “ela­bo­ra­te and pro­cess radi­cal moments”, such as air­craft black­box data collec­ted from crash sites.

Richard Eig­ner (AUT)

Richard Eig­ner is a com­po­ser, drum­mer, sound-artist and pro­du­cer from Linz, Aus­tria. His music crosses the bor­ders of mini­mal music, jazz and elec­tro­ni­ca with a focus on the sym­bio­tic use of acoustic ele­ments and elec­tro­ni­cal­ly pro­du­ced and pro­ces­sed sounds. His main pro­jec­ts are Denoi­sing and the elec­tro-acoustic pro­ject Ritor­nell that released its debut-album Gol­den Soli­tu­de on the renow­ned Ber­lin label “Karao­ke Kalk” in 2009. Per­for­man­ces and exhi­bits inclu­de the Sónar Fes­ti­val, Bar­ce­lo­na; TodaysArt Fes­ti­val, Den Haag; Lent­os Art Muse­um Linz; RBMA, Mel­bourne; Copen­ha­gen Jazz Fes­ti­val; Tun­ed City Fes­ti­val, Ber­lin; Ars Elec­tro­ni­ca Fes­ti­val, Linz.

Spo­ray (USA)

Eva Agui­la and Brock Fans­ler is an expe­ri­men­tal noi­se artist duo, cur­r­ent­ly resi­ding in Port­land, OR. Their sound-accom­pa­nied ges­tu­red per­for­mance is both the source and the dri­ving force behind her con­cep­tu­al sound-making. Throb­bing and grin­ding gear dis­tor­ti­ons and ange­lic digi­tal bursts slow­ly can­cel each other out crea­ting addi­ti­ves that are neit­her impa­ti­ent nor dead. Com­po­sed using magne­tic tape mani­pu­la­ted through film-edi­t­ing machi­nes, the move­ment requi­red to crea­te the­se sounds is of cen­tral impor­t­an­ce.


MSHR is a sen­so­ry pro­ject by Birch Coo­per and Bren­na Mur­phy based in Port­land Ore­gon, USA. They impro­vi­se with home made elec­tro­nic instru­ments, sculp­tu­re and move­ment to faci­li­ta­te zones in which por­tals emer­ge. Mur­phy and Coo­per are also foun­ding mem­bers of the art collec­tive Ore­gon Pain­ting Socie­ty, which has crea­ted nume­rous inter­ac­tive instal­la­ti­ons and per­for­man­ces inclu­ding exhi­bi­ti­ons at the Tate Modern and the Port­land Bien­ni­al. In her solo work, Mur­phy uses video, com­pu­ter gene­ra­ted image­ry and sound col­la­ge to craft cyber tapestries embed­ded in web-inter­faces. Coo­per syn­the­si­zes expe­ri­men­tal music using bio-elec­tro­nic tech­no­lo­gy of his own design and chan­nels bur­ning spi­rit-world oce­ans with Port­land bands The Slaves and The Greys. MSHR sta­res into accor­di­an mir­rors using tri­cl­op­si­an sleep masks as X-ray gog­gles to reach back into the roots of human con­scious­ness and for­ward to wha­te­ver dreams may come bet­ween our tor­ched out orga­nic forms and the cyber over-mind.

Ilpo Väisä­nen (FIN)

Tog­e­ther with Mika Vai­nio, Ilpo Väisä­nen was part of the fin­nish duo Pan Sonic, one of the most ground-brea­king and inno­vat­ing pro­jec­ts in con­tem­pora­ry elec­tro­nic music. In a musi­cal form in which sequen­cing and record­ing music using com­pu­ters is stan­dard, the group was known for record­ing ever­ything live, strai­ght to DAT (Digi­tal Audio Tape) using home-made and modi­fied syn­the­si­zers and effect units. In Decem­ber 2009 their split was announ­ced. Mika and Ilpo will con­ti­nue with their own solo pro­jec­ts. Ilpos for­mer releases on his own label “Kang­a­roo”, a sub-label of Ras­ter-Noton, have shown clear his per­so­nal affi­ni­ty to dub-music. Actual­ly he is also play­ing some kind of free­form noi­se with a ten­dan­cy to dro­ne with Dirk Dressel­haus (Schnei­der TM) in the duo “Angel”.

Bil­ly Roisz (AUT)

Bil­ly Roisz is one of the best-known figu­res on the Aus­tri­an expe­ri­men­tal sce­ne. Her abi­li­ty to trans­la­te expe­ri­men­tal music into visu­al memo­ry images is par­ti­cu­lar­ly note­wor­thy, reve­aling bor­ro­wings from mini­mal art and con­cep­tu­al art. She spe­cia­li­zes in feed­back video and video/sound inter­ac­tion by using moni­tors, came­ras, video mixing­desks, a self­built video­synth, com­pu­ter and turn­ta­bles for video and sound gene­ra­ting. She has per­for­med with Mar­tin Sie­wert, Alvin Lucier, Mar­tin Brandl­mayr, Oto­mo Yoshi­hi­de, eRi­km, Jan Mach­acek and many more.

(Fotos: qujOchÖ)

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(Video/Schnitt: Tai­fe Akca/qujOchÖ)

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