Portfolio ekw14,90 (selected works)

20170116 [email protected] http://ekw1490.mur.at

Vita Moke Klengel born 1971 in Graz (A) lives and works in Graz (A) Mag. art. Christoph Rath born 1979 in Graz (A) 2004-2008 Theater am Neumarkt, Zurich (CH), company member 2001-2004 Landestheater Linz (A), company member 1997 - 2001 Institute of Performing Art / Drama at the University of Music and Performing Arts Graz (A) lives and works in Zurich (CH) Mag.a art. Marlies Stöger born 1978 in Graz (A) 2001 - 2007 Institute of Fine Arts and Cultural Studies at the University of Art and Design Linz (A) 1996 - 2001 Philosophy, Pedagogics and Media Studies at the Karl-Franzens University Graz (A) lives and works in Linz (A) Mag. art. André Tschinder born 1977 in Schwetzingen (D) 2003 - 2008 Institute of Fine Arts and Cultural Studies at the University of Art and Design Linz (A) 1995 - 2003 European Ethnology and Media Studies at the Karl-Franzens University Graz (A) lives and works in Linz (A)

http://ekw1490.mur.at [email protected]

About The artist group ekw14,90, founded in 2000 by André Tschinder, Christoph Rath, Marlies Stöger and Moke Klengel in Graz (Austria), started appearing in public via the medium radio. Starting with experimental radio broadcasts, ekw14,90 soon expanded their field of activities towards other forms of art. Performative projects as well as installations form the basis of ekw14,90‘s works, but the group does not limit its production to a certain form of expression or a singular topic, they use different materials and media for their - often site specific - artworks. Subtle use of associations, play of words and radical reduction but at the same time absurd exaggeration mark the artistic work of the group. They aim to question traditional modes of perception and intend to displace paradigms of meaning. In general projects by ekw14,90 react on the space their projects are situated in and try to integrate the audience and/or the user into the conceptual functionality of their work.

Selected solo exhibitions / projects 2017 „SUBSUMME – Ein Lesedrama“, Theater im Bahnhof, Graz (A) 2017 „SUBSUMME – Ein Lesedrama“, Nachtvolk 18 - Rote Bar, Volkstheater, Wien (A) 2016 „We will proceed like this: ...“, SIZE MATTERS . Space for Art & Film, Wien (A) 2016 „eh ben“, Künstlerhaus, Graz (A) 2015 „SUBSUMME“, Theater Winkelwiese, Zürich (CH) 2012 „Romy, pass auf, Du kennst die Pferde nicht!“, Les Complices*, Zürich (CH) 2011 „Feelings (nothing more)“, Grand Petit Galerie, Linz (A) 2010 „Die Emanzipation der zweiten Reihe“, bb15 Raum für Gegenwartskunst, Linz (A) 2009 „Kleinste gemeinsame Teiler“, Festival of Regions, Linz (A) 2008 „Ersatzherbstlager“, steirischer herbst, Graz (A) 2005 „PANDATA | LENTOS“ with Doris Prlić, Museum of Modern Art Lentos, Linz (A) 2004 „Glück und Unglück 2“, Rhizom / steirisc[:her:]bst, Graz (A) 2002 „Reisebegleitung zum Mursprung“, localtask / graz2003, Graz (A) 2002 „Dienstleistung und Hilfestellung“, Rhizom, Graz (A) Selected group exhibitions / projects 2016 „Der vierte Raum“, DIE SAMMLUNG - Klassiker, Entdeckungen und neue Positionen, LENTOS Kunstmuseum, Linz (A) 2015 „Le tapis glisse“, Atelierhaus Salzamt Linz (A) 2015 „MOSTLY LOUD, BUT ALSO QUIET NOISE, TOO“, tortuga, esc medien kunst labor, Graz (A) 2015 „PRIVATE STUDIO“, SIZE MATTERS . Space for Art & Film, Wien (A) 2015 „In Translation“, AiR, w-o-l-k-e, Brüssel (BE) 2015 „kristallin # 6“, Atelierhaus Salzamt Linz (A) 2014 „What‘s Cooking?“, Museum Bärengasse, Zürch (CH) 2014 „Outer Space“, Extrapool, Nijmegen (NL) 2014 „Parallaxe 3“, nomadenetappe, Linz (A) 2014 „Intervencións sonoras e artísticas“, Fundación Eugenio Granell, Santiago de Compostela (ES) 2014 „EXPEDICIÓN PERMANENTE“, MARCO - Museo de Arte Contemporánea de Vigo, Vigo (ES) 2014 „SVA - Social Venture Analyses 4“, Luxus-Prekariat EL EDEN, Rhizom, Graz (A) 2014 „Transposition. Change“, NÖ Dokumentationszentrum für moderne Kunst, St. Pölten (A) 2013 „Das Exponential“, Ausarten EV, Wien (A) 2013 „Finding a New Order - pt 4“, with Doris Prlić, Goleb, Amsterdam (NL) 2013 „Finding a New Order - pt 3“, with Doris Prlić, bb15 Raum für Gegenwartskunst, Linz (A) 2013 „À la pointe du jour“, Luna Park Project, MPVite/Blockhaus DY 10, Nantes (F) 2013 „Finding a New Order - pt 1“, with Doris Prlić, Zolder Museum, Amsterdam (NL) 2013 „Maßnahmen zur Rettung der Welt“, Rotor - center for contemporary art, Graz (A) 2013 „MEHRKANAL VER.14“, ZMW, Linz (A) 2013 „de/tour“, Corner College, Zürich (CH) 2012 „Use Your Illusion“, bb15 Raum für Gegenwartskunst, Linz (A) 2012 „VOLLMILCH - Der Bart als Zeichen“, Lentos Kunstmuseum, Linz (A) 2012 „REPEAT, PLEASE...“, SKÁLAR - Centre for Sound Art and Experimental Music, Seydisfjördur (ISL) 2012 „Soweit das Auge weiß“, Glockengasse No 9, Wien (A) 2012 „Fifteen ways to leave your lover“, Theaterhaus Gessnerallee, Zurich (CH) 2011 „Mit Seife und Gabeln | Eine Ausstellung zum Glück II“, Substitut, Berlin (D) 2011 „Das hab‘ ich so nie gesagt | I never said it like that“ Bristol Diving School, Bristol (GB) 2011 „Mit Seife und Gabeln | Eine Ausstellung zum Glück“, Kunstraum Kreuzlingen (CH) 2011 „Seltsame Übernachtungen“, Salzburger Kunstverein, Salzburg (A) 2010 „Warmanziehen“, Theater im Bahnhof, Graz (A) 2010 „Performancelaboratorium 2“, bb15 Raum für Gegenwartskunst, Linz (A) 2009 „Material: Sprache“, University of Art Linz (A) 2008 „Aus Gnade und Verzweiflung“, Charim Galerie, Vienna (A) 2008 „Ich habe nicht genug, ihr matten Augen“, Universal Cube, Leipzig (D) 2008 „To Hear Is To See - Hören ist Sehen - Oir es Ver“, Triangle.Project.Space, San Antonio (USA) 2007 „Input Output Putput“, Kunstraum Goethestraße xtd., Linz (A) 2007 „fragmented reassembled - Video in urban Space“, Passage, Linz (A) 2007 „competition exhibition: Advancement Award for Contemporary Fine Arts“, Neue Galerie, Graz (A) 2006 „Independent - Unplugged“, Viertelfestival NÖ, Mödring (A) 2006 “flexart - flexible @ art“, University of Art Linz (A) 2005 „city TV - A.R.T. of reality“, Rhizom: steirisc[:her:]bst, Graz (A) 2005 „ctrl_alt_del“, Sound Art Project / NOMAD, 9th Istanbul Biennial (TUR) 2005 „Kling Klang Karacho“, ESC im Labor, Graz (A)

Theater 2013 „MEMETUUM PLEX“, von Christoph Rath / KMU Produktionen mit ekw14,90, Kunstraum Walcheturm, Zürich (CH) 2008 „Der gefesselte Prometheus“, Christoph Rath mit ekw14,90, Theater am Neumarkt, Zürich (CH) 2005 „Kaiju - Hysterion vs. Overkill“, Christoph Rath mit ekw14,90, Theater am Neumarkt, Zürich (CH) Filmfestivals 2009 Crossing Europe Filmfestival Linz (A) 2008 Int‘l Fest of Cinema & Technology: Museum of Contemporary Art, Washington (USA) 2006 sidewalkCINEMA - Straßenfilmfestival, Wien (A) 2006 Crossing Europe Filmfestival Linz (A) 2005 Wolke 7 Kurzfilmfestival, Wien (A) 2004 Querfilmein - Kurzfilmfestival, Tirol (A) 2004 Crossing Europe Filmfestival Linz (A) Selected sound projects 2015 MIDIMarschMusik-Kapelle (MMM-K), „Kunst trifft Wissenschaft“, Arbeiterkammer Linz (A) 2014 MMM-K, Festival SINSAL 12, Illa de san Simón (ES) 2013 MMM-K, Festakt „40 Jahre Kunstuni Linz und 20 Jahre IFK“, Kunstuniversität Linz, Linz (A) 2013 MMM-K, Eröffnung „Bonbons“, Steinbrener/Dempf, Kunst im öffentlichen Raum NÖ, Mistelbach (A) 2012 MMM-K, Inauguration des Rektorats, Akademie der Bildenden Künste, Wien (A) 2010 MMM-K, Performance Nite, VIENNAFAIR, Wien (A) 2009 MMM-K, Brauhaus, Architekturforum, Linz (A) 2009 MMM-K, Ars Electronica Nightline, Stadtwerkstatt, Linz (A) 2009 MMM-K, BELLEVUE. Das gelbe Haus, Linz (A) 2009 MMM-K, Sound Characters, Kunstpavillon Innsbruck, Tirol (A) 2008 MMM-K, poolbar Festival, Feldkirch (A) 2008 MMM-K, DIE GARTEN TULLN, Tulln (A) 2007 MMM-K, Ars Electronica Festival, Linz (A) 2007 MMM-K, Mestni Musej/Stadtmuseum, Ljubljana (SL) 2006 MMM-K, Ars Electronica Festival, Linz (A) 2006 MMM-K, independent unplugged, Viertelfestival NÖ, Mödring (A) 2006 MMM-K, Kunsthaus Horn, Horn (A) 2005 Christoph Marek mit ekw14,90 aka Marek i Vacek, „Basics Festival“, ARGEkultur, Salzburg (A) 2005 Christoph Marek mit ekw14,90 aka Marek i Vacek, „Die Szene sind wir“, Forum Stadtpark, Graz (A) 2004 „Zeitplaner Broelemann“, Adnan Balćinovič mit ekw14,90 aka Katharina Blei, PPC, Graz (A) 2004 „kamereentollen“, Adnan Balćinovič mit ekw14,90 aka Katharina Blei, „04 HOTEL PUPIK 04“ - A.i.R., Scheifling (A) 2004 „Ohne Titel“, Adnan Balćinovič mit ekw14,90 aka Katharina Blei, „beats & bytes III“, Ars Electronica Festival, Linz (A) 2004 „Präsentation“, Adnan Balćinovič mit ekw14,90 aka Katharina Blei, Rhiz, Wien (A) 2003 „Ratten, Ratten, überall Ratten“, Adnan Balćinovič mit ekw14,90 aka Katharina Blei, access all areas / graz 2003, Graz (A) Selected publications 2017 „SUBSUMME - Ein Lesedrama“, book, 252 pages, publisher: André Tschinder/ekw14,90 2016 „Raum D - N°9“, fanzine - ekw14,90, publisher: Künstlerhaus - Halle für Kunst & Medien 2015 „Transformator #4“, EP, Erstes Wiener Heimorgelorchester, OHM Records 2013 „Finding a New Order“, publisher: Doris Prlić ,Marlies Stöger 2013 „de/tour“, publisher: Silvia Mussmann, Michael Meier, Christoph Franz

2012 „Heinz Hartwig - Offene Vorstellung(en)“, book with DVD ,96 pages, publisher: Werner Fenz, Evelyn Kraus, Herbert Leykam

2011 „Wir waren nicht darauf vorbereitet ...“, 44 pages, publisher: Marlies Stöger/ekw14,90 2011 „Das hab‘ ich so nie gesagt - I never said it like said“, catalogue, 36 pages, publisher: Katharina Loidl 2010 „EHL - Ersatzherbstlager“, exhibition catalogue, 112 pages, publisher: Marlies Stöger/ekw14,90 2006 „Marek i Vacek“ with Christoph Marek, CD 2004 „Glück und Unglück II“, exhibition catalogue, 38 pages, publisher: André Tschinder/ekw14,90 2004 „Versandhauskatalogprogrammmusik“, double CD, Niesom/trost Awards

2015 Linz EXPOrt mit Elisa Andessner: „In Translation“, Linz - Brüssel 2013 Atelierstipendium der Stadt Linz / Atelierhaus Salzamt 2013 Linz EXPOrt mit Doris Prlić: „Finding a New Order“, Linz - Amsterdam 2011 Kunstförderungsstipendium der Stadt Linz / Bildende Kunst 2010 Startstipendium des BM:UKK / Bildende Kunst 2009 Würdigungspreis des Bundesministers für Wissenschaft und Forschung 2008 Kunstwettbewerb IG BILDENDE KUNST und poolbar Festival, Feldkirch (MIDIMarschMusik-Kapelle) 2005 Publikumspreis Wolke 7 - Kurzfilmfestival, Wien 2004 Hauptpreis Querfilmein - Kurzfilmfestival, Tirol

Selected Works

eh ben

Installation , 2016

„Subjonktif“, „eh ben“; Künstlerhaus, Halle für Kunst & Medien (A), 2016

Anyone who stops planning the prison break, who gives up on daring to get out, who ceases to detest the misery of being imprisoned within himself, will die imprisoned inside himself. Giorgio Ceserano 1

[...] In eh ben ekw14,90 tells of a fictitious artistic avantgarde that opposes drastic reality as a whole—starting with a group that calls itself the Zu-Realisten (a pun that combines the concepts of being “too realist” and moving “toward realism”). This group vehemently demands a withdrawal from reality. Yet, not only do they simply withdraw, but, precisely because they promote the notion of permanent withdrawal, they also seem to consider themselves a new and vital force in social activism. In their strongly escapist tendency, the Zu-Realisten develop a two-pronged artistic strategy that sheds clear light on their attitude, while also publicizing it. Through their visual productions, the Zu-Realisten oppose the painfully perceived, high-resolution images produced by the reality of omnipresent visual technologies. Perhaps it would help here to recapitulate a couple of the well-known models of realism. In the midnineteenth century Realism arose in opposition to Romanticism; the philologist Roman Jakosbsen defined Realism as “an art movement whose goal was to reproduce reality as accurately as possible by striving to achieve a maximum of plausibility.” We’ll probably be the first generation to engage in armed conflict with youth, because they are so reactionary. It’s 1968 in reverse. Ana Nym, on Twitter (7 retweets; I like 22)

Just after the mid-twentieth century the term Capitalist Realism functioned, in turn, to brand the artistic positions and activities of Konrad Lueg, Sigmar PoIke, Gerhard Richter, Manfred Kuttner, and the like, while also reflecting upon and counteracting the post-war economic boom and the separation between East and West Germany that existed at the time. In the most recent past a movement called Speculative Realism became an indispensible source, as well as a philosophical fashion in much of academic theory and in parts of the contemporary art world. Hence, Speculative Realism replaced what had been up to then the conceptual networks of common poststructuralist and other critical agendas, and it no longer hesitated to engage in elaborate investigations of the circumstances under which object and subject stood in correlation to the experience of art.

„Vergangenheit/Past“, „eh ben“; Künstlerhaus, Halle für Kunst & Medien (A), 2016

„IMPERATIV“, „eh ben“; Künstlerhaus, Halle für Kunst & Medien (A), 2016

This led to new and welcome space for discourse, in which fundamental questions such as: ‘How do I know that something exists?’ and ‘Is this knowledge important to the existence of whatever exists or doesn’t exist, or whose existence is insignificant?’ (3) could once again be posed and dealt with. Interestingly enough, ekw14,90’s eh ben doesn’t at all attempt to test which updated form of Realism and which reservoir of artistic means could be combined to counteract the powerful order of the present and the naturalization of these conditions. Rather, the exhibition presents the elements that the Zu-Realisten have decided constitute reality, and how they behave toward it. In addition the Zu-Realisten have also set up their concept so that it is consciously non-political. Rooting their motivations for action in abstract, sublime notions of art obviously conceals the inconvertibility of the goals, as well as disappointment and the potential for self-dissolution. In this exhibition, the Zu-Realisten’s story is also told twice: first, through a group of works from 2012, which presents works that the Zu-Realisten might have made. The works themselves, as well as the ZuRealisten’s movement are introduced and explained in an accompanying audio guide. The text is consistently told in the subjunctive. Secondly, the Zu-Realisten’s narrative is presented once again, but this time, in an altered tone of voice, in the form of a film similar to the films of Jean-Luc Godard. In this tricky setting, ekw14,90’s double narrative shows not only the processes that historicize any artistic undertaking, but also refer to the utilization of various media and their equally diverse, subtle, auratic effects. To what extent ekw14,90’s own experiences play a role in the yearnings of the fictitious Zu-Realisten and their methods of artistic action is certainly of less importance than the fact that today the idea of a historical fiction is perhaps, in general, one of the few remaining forms that Realism can still accept. Christian Egger

1) Hans Christian Dany, Schneller als die Sonne – aus dem rasenden Stillstand in eine unbekannte Zukunft – Nautilus Flugschrift, Hamburg: Edition Nautilus, 2015, p. 78. 2) See Roman Jakobson, “Über den Realismus in der Kunst” [1921], in: Alternative – Zeitschrift für Literatur und Diskussion, vol. 12, no. 65 (1969), pp. 75ff. 3) Diedrich Diederichsen, “Vom Nutzen und Nachteil spekulativen Arbeitens,” in: Texte Zur Kunst: Spekulation, no. 93, Berlin: 2014, pp. 145ff.

Der vierte Raum The fourth Room

Installation 2016

„Der vierte Raum“, Lentos Kunstmuseum, Linz (A), 2016

THE COLLECTION Classic Works, Discoveries and New Positions New Hanging from 5 February 2016

The permanent collection is the centre piece of every museum. 2016 will see a completely new presentation of the LENTOS collection. New objects will find their way from the depot to the exhibition halls, classic works are put into an unexpected, challenging new context: a thrilling tour d’horizon across art history, featuring well-known masterpieces, new artistic statements and thrilling encounters. The LENTOS is committed to an active dialogue with artists. In a tried and proven manner the selection of artworks for the different rooms is left to people not on the museum’s staff. Three rooms of the Permanent Collection are curated by artists, who combine at least one of their own works in their respective rooms with their personal selection from the LENTOS’s holdings. The new presentation of the Collection includes an on-line media artwork. Featuring Özlem Altin, Verena Dengler, Hans Kupelwieser and ekw14,90 Curators: Elisabeth Nowak-Thaller, Brigitte Reutner, Stella Rollig, Magnus Hofmüller

Half a René

Raumintervention, 2015

„Half a René“, Atelierhaus Salzamt, Linz (A), 2016

Casting a Shadow

Installation 2014 Vitrine 4 prints, A4 61 photographs, 130 x 90 mm 45 file cards, 250 x 120 mm

„EXPEDICIÓN PERMANENTE“; MARCO - Museo de Arte Contemporánea de Vigo, Vigo (ES), 2014

The film noir city is a cosmos, where the strangeness is the cornerstone of its architecture. Every crisis happens due to the alienation of its protagonists and is individual and psychological. Fateful crimes, mishaps and misfortunes, which the author ascribes to his characters, arise from it. Such characters of a film noir are often complex and almost always broken. source: www.der-film-noir.de

The real person C., cousin of a member of ekw14,90, lived in Vigo for four years because of professional reasons. Shortly after moving away to Paris, she compiles a list for ekw14,90 containing names of places which were important for her life in the city. Taking the list, the artist group moved through this city that is completely unknown to them. The personal spaces become the scenery of a fictional narration: The story of a young woman who walks through the city like a stranger.

„EXPEDICIÓN PERMANENTE“; MARCO - Museo de Arte Contemporánea de Vigo, Vigo (ES), 2014

Poster

Poster edition 2014 Print, 420 x 594 mm

* „sentimentality + economy = work morale“

Pression Atmosphérique

Videoinstallation, 2013 HD Video, 16:9, colour, sound, 7:15 Min.

„Pression Atmsophérique“, Videostills, 2013

In this video the layers of narration, description, illustration and background music overlap several times, condensing and breaking simultaneously. Speaker: Juliette Eröd

Finding a New Order

Publication, web-page, presentation, exhibition, 2013

„Finding a New Order“; Präsentation Teil 1, Zolder Museum, Amsterdam (NL), 2013

No matter which political direction they are attributed to, European feature pages and contemporary philosophers seem to agree: Our current system has failed - be it political, financial or regarding the whole society. We need new ideas, new formations, a way out of the chaos. Should we better enable democracy for everybody or give more power to a sovereign? Should current financial and political systems be abolished, or do we simply need to punish those who find loopholes in the market? Censorship, rigid structures and mechanisation - if one searches for an enemy, it is never hard to find such a one. But where to find a solution? Are our surroundings too smooth or too striated, too disciplined or yet out of control? Artists, however, have been busy with these issues all along. Nevertheless, the art world is trapped in exploiting mechanisms and rigidity just as well. Hierarchical systems, gate keepers and top dogs maintain structures directing who displays and who doesn‘t. Yet, wherever hierarchies exist, those who criticise them are not far. For Finding a New Order we asked different artists and writers to reflect on existing structures or search for new ones. 13 artists followed our invitation and produced artworks or texts for this project. The contributions are published on this website, in a magazine and will finally be presented at an exhibition. The artworks are not restricted to large socio-political topics, perhaps small alterations can change the big picture even better after all. The realization of the project itself is an attempt to find a new order for displaying art and breaking up the above mentioned rules of the art system. Likewise we also turned around the succession in which the different media appear: first the publication, afterwards the website, and only last the exhibition. In this way the publication does not serve as mere documentation but functions as central starting point which finally leads to the three-dimensional display in an exhibition space. All contributions presented on this web-page were either produced or adapted especially for Finding a New Order. We are deeply thankful to all artists who participated in this project!

with:

ekw14,90 (A/CH) / Karin Fisslthaler (A) / Iva Supić Janković (CRO) / Andreas Kurz (D) / Daniel Ladnar/random people (D) / Lucas Norer (A) / Renato Osoy (GT) / Doris Prlić (A) / H.K. Rannversson (IS) / Isfrid Angard Siljehaug (NO) /

http://www.feedbackanddisaster.net/FNO/

Systemkreis System circuit

Object, 2013 Paper, Ø 300 mm

„Finding a New Order“, bb15 Raum für Gegenwartskunst Linz (A), 2013

Murphy‘s Script

Collage & soundtrack, 2011/2013 Text-collages, 12-piece series, 210 x 297 mm, framed Text-collages, 93-piece series, 210 x 297 mm, book Soundtrack (loop)

„Finding a New Order“, bb15 Raum für Gegenwartskunst Linz (A), 2013

A detailed study of US-natural disaster movies leads to one screenplay forged out of transcriptions of 15 movies of that species. The goal is to create a singular text that confirms on the basis of its compatibility or interchangeability the elementary parts of the genre.

„TRANSPOSITION.CHANGE“, NÖ Dokumentationszentrum für moderne Kunst, St.Pölten (A), 2014

„Finding a New Order“, bb15 Raum für Gegenwartskunst Linz (A), 2013

A projection of sunlight on the ceiling, caused by the reflection of a protection netagainst pigeons on the window

Photograph, 2013 Photograph, colour, print, 841 x 458 mm

„A projection of sunlight on the ceiling, caused by the reflection of a protection net against pigeons on the window“, photograph, 841 x 458 mm, 2013

Romy, pass auf, Du kennst die Pferde nicht! Es ist schon alles gesagt und noch viel mehr gedacht. Romy, be careful, you do not know the horses! It‘s all been said and even more thought.

Installation, 2012 „Romy, pass auf, Du kennst die Pferde nicht!“, 2012 Pen on paper, 210 x 297 mm, partly blackened „Es ist schon alles gesagt und noch viel mehr gedacht“, 2012 Foil, black 360 x 360 mm, text, black on label, white, 50 x 10 mm „Gruppendynamische Prozesse, stark verkürzt“, 2012 3 pieces of paper , pencil on paper, 210 x 60 mm; 6 pieces of tape, variable size Videoloop, silent, 3:30 min. „Wer immer strebend sich bemüht“, 2012 2 prints, 420 x 594 mm; reference: „Das habe ich so nie gesagt“, catalogue, 2011 „Nicht nur Papier - ich sage es gleich“, 2012 Golden foil, 450 mm; various. material, vaious size; audioloop, 5 min., Speaker: Samuel Streiff „Währenddessen am äußersten Rand der Heliosphäre...“, 2012 Audioloop, 18 min.

„Romy, pass auf, Du kennst die Pferde nicht!“; Les Complices*, Zürich (CH), 2012

For one week ekw14,90 works in the process. The plan culminates in an installation/presentation that circles around the topic of investigative analyses of the space itself (Les Complices*, Zürich) and its contents, as well as it deals with the possible scope of interpretation and ideas.

„Romy, pass auf, Du kennst die Pferde nicht!“; Les Complices*, Zürich (CH), 2012

Herzliche Grüße an alle

Installation, 2012 „Herzliche Grüße an alle“, audiotrack, 18 min., loop „Statement“, print, 210 × 297 mm, framed „VY 73“, changing object, metal, dimensions variable

„Repeat, Please...“; SKÁLAR - Centre for Sound Art and Experimental Music, Seydisfjördur (ISL), 2012

In 1977 NASA launched two unmanned space missions, Voyager 1 and 2, in order to study the outer Solar System and Interstellar Medium. Each of the two spacecrafts carries a phonograph record - “The Voyager Golden Record“ - which contains sounds (spoken greetings, music, natural sounds) and images (diagrams of human anatomy, photographs of landscapes, people, houses etc.), selected to portray the diversity of life and culture on Earth. In 2012, 35 years after leaving Earth, Voyager 1 and 2 are entering the “Helios-Heath“ - the outermost layer of the heliosphere and it will be 40.000 years before the spacecrafts make a close approach to any other planetary system. ekw14,90 now takes a closer look at the cargo of the two Voyager probes by revising the records‘ acoustic parts, rearranging them and adding a narrator‘s voice reciting its play-lists. “Herzliche Grüße an alle“ is meant to be an interpretation of this - even in those days - contentious, tendentious representation of Earth of that time. In the meantime the original Golden Records keep floating in space - time capsules from the 70‘s, still aiming to represent planet Earth and its inhabitants for the rest of their estimated shelf life of 500 million years.

Material: Excerpts from „The Voyager Golden Record“, NASA Speaker: Simone Boria

„Maßnahmen zur Rettung der Welt“; Rotor - Zentrum für zeitgenössische Kunst, Graz (A), 2013

„Intervencións sonoras e artísticas“; Fundación Eugenio Granell, Santiago de Compostela (ES), 2014

Subjonctif

Installation, 2012 „Audioguide“; Text/Tonspur, 12 Min. „Das Individuum im Bild“; Acryl auf Fotografie, 300 x 400 mm „Zeitmesser“; Objekt, manipulierte Uhr „Filmische Studie“; Videoloop, HD Video, 16:9, Farbe, Stumm, 2:16 Min. „Farb-Arche“; Grafik, Buntstift, Ölkreide, Tusche, Kugelschreiber auf Papier, 148 x 210 mm „Manifest“; Objekt, Papier, Klebstoff, 297 x 210 mm „Zeichen“; Objekt, Anstecker, Ø 38 mm

„Soweit das Auge weiß“; Glockengasse No 9, Wien (A), 2012

With Subjonctif ekw14,90 sketches a fictional avant garde. An audio guide plays the central role in the staging of the work: this device, originally designed for exhibition mediation, turns into an essential part of the art piece because the art work and its immanent narration can only be grasped as a whole through this particular extension. Through the audible layer, which provides the narrative structure, the singular elements of the work are contextualized. They now stand as examples for potential aesthetic expressions and content of a hypothetical movement designed by ekw14,90. […] Which strategies would these groups use in order to react on the hardship and injustice of the present? How can the proverbial misery be faced? The presented movement would neither be ecological nor political, its members would not be dropouts or activists. The abundance of facts in our reality would rather make them use methods of refusal, abstraction, blurring and imprecision. Because of their desire to gain a distance from our reality one would call them Zu-Realists […] Auszug Audioguide

The choice of methods (group, manifesto, exemplary works...) flirts with the traditional avant garde. Manifestos by artists are mostly connected to defining claims to power. Directed public staging and self-staging, a simplified, dichotomous view of the world and the separation between inside and outside are established methods in this context. Thereby they make use of the image of the artist as a genius who is empathetic enough to predict future events in order to transform them – understandable for everyone – into works of art. By acting as narrators, ekw14,90 seemingly distance themselves from authorship, they thereby mislead the audience. Yet, it is not a real rejection of this role as ekw14,90 at the same time provides the draft for this narration. Text: Daniela Wageneder-Stelzhammer und ekw14,90

„Das Individuum im Bild“, 2012

„Manifest“, 2012

„Farb-Arche“, 2012 „Soweit das Auge weiß“, Glockengasse No 9 ,Wien (A), 2012

Eskapismus, Lokomotion Escapism, Locomotion

Performative installation, 2012

Photographs, series, colour, variable

„Eskapismus Lokomotion“; Theaterhaus Gessnerallee, Zürich (CH), 2012

Considering the growing frustration and the current situation of the planet, the search for alternatives or a solution of the problems becomes evident. Given the complexity of the desperate situation, there has been only one way out.

At the attic of the Gessnerallee, ekw14,90 creates a scenario which allows the audience to take the role of the curious onlooker: behind the warning tape, the investigators are busy collecting pieces of evidence. The only indicators of what might have happened are a poorly covered hole in the roof, soot on the floor and a crude message, written on a piece of cardboard („This planet is terrible! We chop off!“).

Feelings (nothing more)

Multimedia installation, 2008/2011 14 photographs, on forex panels ,102 x 152 mm each 4 photographs, on forex panels, 127 x 181 mm each 6 photographs, on forex panels, 203 x 305 mm each Videoloop 91 min.

Grand Petit Galerie, Linz (A), 2011

Feelings (nothing more) freezes oversized feelings in full-scale. Drawing a metaphor for changing feelings, ekw14,90 disembowels beloved soft toys from childhood days and fills them up with expanding foam. While this process goes on, the cuddly animals grow out of their original size into an extraordinary new form, only to stiffen in this new shape. Photos showing the transformed soft toys were presented in a special kind of 3D salon hang in the shop windows of Roter Krebs. A video displays the process of expansion and flowing over in slow motion.

Catalogue „EHL - Ersatzherbstlager“ (2010), publisher: ekw14,90

ohne Titel without title

Installation, 2011 Text, 8“ digital pictureframe

„Das hab‘ ich so nie gesagt | I never said it like that“; Bristol Diving School, Bristol (UK), 2011

ekw14,90 presents a paradox of information society, witnessing the potentiality of the grotesque lying within the careless use of language and semantic imprecision. Language deprives from its right or wrong use and creates confusion through the medium which carries the speech: what one can read here is right, but on a different level of meaning it proofs to be complete nonsense. Text becomes the comic distortion of its own content.

Catalogue „Das hab‘ ich so nie gesagt / I nerver said it like that“ (2011), publisher: Katharina Loidl

„Das hab‘ ich so nie gesagt | I never said it like that“; Bristol Diving School, Bristol (UK), 2011

Behold!

Installation, 2011 1 print, colour, , 100 cm x 67 cm 1 print, black and white, 100 cm x 67 cm

„Das hab‘ ich so nie gesagt | I never said it like that“; Bristol Diving School, Bristol (UK), 2011

Brief as the lightning in the collied night, That, in a spleen, unfolds both heaven and earth, And ere a man hath power to say ‚Behold!‘ The jaws of darkness do devour it up: So quick bright things come to confusion. William Shakespeare, „A Midsummer Night‘s Dream“

Not the brilliant idea, the brainstorm, but the phase after the shortlived, illuminated insight is central to this work. ekw14,90 tells about the drama of being unable to articulate matters in the same way that they were originally intended to be said or perceived. A fleeting moment, the bigger picture briefly appears, but before it is grasped, the spur of the moment, once again, becomes shrouded in darkness. In literature and art history the kiss of the muse Aiode is often associated with intellectual and creative imagination. ekw14,90 references the transitory parallels between Aiode and her sisters, the Muses of Dexterity and Recollection. For a moment everything lies clearly before us, in the next, everything seems as if behind a veil. The component of time of this phenomenon is emphasized by the - even of space - seperated presentation of situation (picture) and momentary perception or rather idea (text). To get the whole idea of this work you have to look at both of its parts and join them together, remember them.

Catalogue „Das hab‘ ich so nie gesagt / I nerver said it like that“ (2011), publisher: Katharina Loidl

We didn‘t see it coming but we found a way

Installation, 2011 40 drawings, 210 x 297 mm Sound (Loop)

„Mit Seife und Gabeln II - Eine Ausstellung zum Glück“; Substitut Berlin, Berlin (D), 2011

„Wow. Got a great view of the Earth from here. Too bad we‘ll never set foot on her again.“ „Armageddon“, USA 1998

No matter how many destructive natural forces endanger humanity – at least in the movies in the end there is always a way to prevent the catastrophe. The space installation “We didn‘t see it coming but we found a way” presents 40 sketches displaying crucial and saving moments of salvation from Hollywood disaster movies from the last fifteen years. The sketches have been drawn by ekw14,90, the sound part of the installation consists of the musical equivalent of the heroic actions. The 40 hand drawn scenarios of world-saving situations have been published in a limited edition of artist books.

Catalogue „Mit Seife und Gabeln - Ermittlungen zum Glück“ (2011), publisher: data / Auftrag für parasitäre Gastarbeit „Wir waren nicht darauf vorbereitet und haben es nicht kommen sehen, aber wir fanden einen Weg“ (2011), publisher: ekw14,90

„Mit Seife und Gabeln I | Eine Ausstellung zum Glück“; Kunstraum Kreuzlingen (CH), 2011

Quixote Repro

Object / performance, 2010 Sponge rubber on carton, Ø 64 cm x 100 cm Dispersion paint, black Live video transmission on monitor, speaker

„Performancelaboratorium 2“; bb15, Linz (A), 2010

Am I present? Am I absent? ekw14,90 runs against the wall. The naked wall. Absence, emptiness, one should – no, has to – fight against it. Today a symbolic example will be set. ekw14,90 will act in the same way the noblest of all knights did before, the self proclaimed, knight of the sad figure. The emptiness as our Don Quixote-like giant has to be defeated. We don‘t wait for our nomination to be a member of the cast of knights, fighting for beauty and truth, no: Me, the present-absent, I swear here in person on the grace of chivalry. We stamp the windmill on the wall! (...) HEP-HEP-HEP!

Transcription of live video conference

„Performancelaboratorium 2“; bb15 Raum für Gegenwartskunst, Linz (A), 2010

ekw14,90 runs against the naked wall. A physical image of a mental wind mill remains as relict of the incident.

Du darfst den Schal nicht nur so umhängen (Franz-Josef-Land) You must not put the scarf on only pretending (Franz Josef Land)

Audioinstallation, 2010 Audio, 180 min.

Photographs of recording session: „Du sollst den Schal...“, 2011

„warmanziehn“; Theater im Bahnhof, Graz (A), 2011

ekw14,90 is rehearsing next door. Inside the Mezzanin Theatre in Graz, which is situated right next to the Theater im Bahnhof, the artist group ekw14,90 claims to rehears the piece “Franz-Josef-Land”. Thanks to deficiencies in the construction (unused pipes which are not soundproof) the audience of „warmanziehen“ at the Theater im Bahnhof has the opportunity to listen to the acoustic part of the rehearsal. Everything the audience can hear through the pipes, makes them believe that someone works on a theatre production next-door. The closer the recipient gets, the more he/she becomes ear witness of this rehearsal - from the warm-up to the detailed work on monologues or the training of specific scenes, the audience next door hears everything. Through this listening experience alone it is possible to get a good picture of the theatre production in process. Possible gaps of comprehension open up space for interpretation, speculation fills the omissions of the rehearsal, in this way every single listener can form his or her own image of the production of this potential theatre piece.

Kleinste gemeinsame Teiler - Die Urplotformel Lowest Common Factor - The Prototype Plot Formular

Audio installation, 2009 Audio, 50 min. 25 drawings and texts on transparency

„Kleinste gemeinsame Teiler“ photographs, 2009

solarCity – a model town whose story has yet to be written. However, apart from documented history, which fictitious stories can conceivably be brought into a connection with solarCity? Aristotle‘s poetic already posed the question how many possible stories there are to be told and what essentially keeps them together. In “Kleinste gemeinsame Teiler” (“Lowest Common Factor”) the theoretical basis, structure, stimulation and optimization of story telling are being displayed focussing on the architectural model of SolarCity. Taking into account established concepts by well known theoreticians of narration, ekw14,90 develops a new, overall model for the basis of all narration: the „Urplotformel“ (Prototype Plot Formula). The architectural urban planning model at the Pichling Citizen‘s Centre is the stage for a 50-minute audio treatise on the quintessence of all stories. Slides on the transparent cover of the model display different sketches and exemplary stories, taken from various genres of story telling. These slides help to visualize the theory and make the things heard in the radio play visible. A lecture-farce.

Catalogue „NORMALZUSTAND / NORMALITY“ (2009), publisher: Festival of Regions

Ersatzherbstlager

Solo exhibition / bureaucratic staging / performance, 2008

Herbst substitute store

The “Ersatzherbstlager” (“herbst substitute store”) at steirischer herbst – referred to as EHL below – caters for an art demand that is incidental at the individual level but assessable as a whole thanks to a host of adequate substitute units. It includes all programme items announced by steirischer herbst in the genres of visual art, theatre, dance, performance, music, literature, film and theory. That‘s the contract so far.

Following the leitmotif of steirischer herbst 2008,“Strategies for avoiding misfortune”, ekw14,90 developed the project “Ersatzherbstlager” (“herbst substitute store”). In order to prevent misfortune, the basic idea is to create a substitute art work for every artistic position, in case of its cancellation. These substitutes can be presented in a bureaucratic mise-en-scène or in a bureaucratic installation: the Ersatzherbstlager, short EHL. When steirischer herbst begins, the group ekw14,90, which was founded in Graz, is prepared for all unforeseen occurrences, cancellations, losses, damage, defects or hitches that might jeopardise the smooth running of the festival. For every artistic contribution on the programme there is a substitute event: associative transformations of the works originally scheduled.  Because it will only be used if a disaster was already unavoidable, the EHL will provide a regular insight into a repertoire that will hopefully not be needed, managing, cataloguing, updating and archiving its exhibits at the Joanneum throughout the festival period. The Ersatzherbslager is open to the public, four people (ekw14,90) who present the individual pieces to interested visitors, work on site. Recipients need to have a widened imagination in order to picture the archived piece of art on its intended location, furthermore its size, light, sound etc. might differ at the archive, the audience needs to rediscover a filed idea. Catalogue „EHL - Ersatzherbstlager“ (2010), publisher: ekw14,90

„Ersatzherbstlager“; steirischer herbst, Landesmuseum Joanneum, Graz (A), 2008

„Ersatzherbstlager“; steirischer herbst, Landesmuseum Joanneum, Graz (A), 2008

P.T.I.

Installation, 2008 P.T.I.-Software; PC; impact matrix printer; tractor feed paper

„Ersatzherbstlager“; steirischer herbst, Landesmuseum Joanneum, Graz (A), 2008

How can the size and complexity of the internet be grasped? Starting at an arbitrary point, the computer programme “P.T.I.” (Print The Internet) follows links from web page to web page to web page in order to gradually enter the internet. Each site is being saved, subsequently the textual information of the site is being printed with a needle printer on continuous paper. In this way the whole text of the internet accumulates in an ongoing process in cold print. Catalogue „EHL - Ersatzherbstlager“ (2010), publisher: ekw14,90

Bitte, Bitte

Video, 2008 Video 4:3, colour, sound, 4:00 min.

Please, Please

„Bitte, Bitte“,videostill, 2008

The choirboy Felix Klengel, standing in the middle of the cathedral of Graz, begins to sing the refrain of the 80ies austro-pop hit „Schwarze Madonna“ from the band CONTACT with a clear bright voice. Following the time-line of the original song via headphones, he sings into the silence of the huge church: „Schwarze Madonna, bitte, bitte hol‘ mich aus dem Koma und bring mich weit weg!“ „Black madonna, please get me out of this coma and bring me far away! A jumping jack into our encrusted, Austrian self-image filled with Catholicism, Racism and Apathy.

Catalogue „EHL - Ersatzherbstlager“ (2010), publisher: ekw14,90 „Exhibitions 2009 / 2011“ (2011), publisher: bb15 Raum für Gegenwartskunst

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Translating sociopolitical clichés into beards; stereotypes of different nationalities, countries and ethnicities in the form of a beard; ideological fashion-cuts as different stickers. A tiny history of labelling faces.

Ungeachtet der semiotischen Lockerungsübungen der Stil- und Modeindustrie fungiert der ideologische Blick auf den Bart bis heute auch als Einübung eines Stereotyps. Das Kollektiv ekw14,90 trägt diesem Umstand in seiner achtteiligen, überaffirmativ-ironischen Aufkleberserie Rechnung. Die bunten Sticker, die zur Entnahme und Verbreitung durch das Publikum vorgesehen sind, sind Icons mit comicartig reduziertem visuellem Informationsgehalt. Sie zeigen und benennen die kulturellen Zuschreibungen des Barts (der englische Schnauzbart), nationale Klischees (der russische Vollbart) und historische Namensfindungen für die Zeichenhaftigkeit von Klassenverhältnissen (der kaiserliche Backenbart) auf einer minimal in den Größenverhältnissen variierten männlichen Gesichtsvorlage. Text: Thomas Edlinger („Vollmilch - Der Bart als Zeichen“, Lentos Kunstmuseum Linz)

Catalogue „EHL - Ersatzherbstlager“ (2010), publisher: ekw14,90 „Exhibitions 2009 / 2011“ (2011), publisher: bb15 Raum für Gegenwartskunst „Vollmilch - Der Bart als Zeichen“ (2012), publisher: Lentos Kunstmuseum Linz

Tanz für Zweitakter in 16 Akten

Video, 2008 Handyvideo 4:3, colour, sound, 2:50 min.

Dance for two-stroke engine in 16 acts

„Tanz für Zweitakter in 16 Akten “, videostills, 2008

Apparently aimless (without obvious reason) a jet-ski-ballet whizzes in front of the eyes of the observer. In a scenic sequence the sportsmen glide towards and beside each other, once in a while one of the participants risks a solo ride on through the waves of the Danube. The banal patterns of movement become choreographic ballet. The narrow-banded, sharp sound of the jet-ski‘s engine accompany the rough dance on floating water. Catalogue „EHL - Ersatzherbstlager“ (2010), publisher: ekw14,90 „Exhibitions 2009 / 2011“ (2011), publisher: bb15 Raum für Gegenwartskunst

MIDI Marsch Musik Kapelle

Performance, 2006 (ongoing)

MIDI Marching Music Band

VIENNAFAIR, Wien (A), 2010

Founded in 2006 in Linz, the MIDIMarschMusik-Kapelle interprets pieces of march music with a classical orchestral ensemble. The basis of the music is digital: laptops in connection with amplifiers, reflex horn loudspeakers and bass tubes are the instruments, the electronic marching band uses. Each instrument, from tuba to piccolo, is being represented by a computer, which – reduced to a single bar – makes available the whole spectrum of the specific instrument. Performances 2014 2013 2012 2010 2009 2008 2007 2006

Festival SINSAL 12, Illa de san Simón (ES) Festakt „40 Jahre Kunstuni Linz und 20 Jahre IFK“, Kunstuniversität Linz, Linz (A) Eröffnung „Bonbons“, Steinbrener/Dempf, Kunst im öffentlichen Raum NÖ, Mistelbach (A) Inauguration des Rektorats, Akademie der Bildenden Künste, Wien Performance Nite, VIENNAFAIR, Wien (A) Brauhaus, Architekturforum, Linz (A) Ars Electronica Nightline, Stadtwerkstatt, Linz (A) BELLEVUE. Das gelbe Haus, Linz (A) Sound Characters, Kunstpavillion Innsbruck, Tirol (A) poolbar Festival, Feldkirch (A) DIE GARTEN TULLN, Tulln (A) Ars Electronica Festival, Linz (A) Mestni Musej/Stadtmuseum, Ljubljana (SL) Ars Electronica Festival, Linz (A) independent unplugged, Viertelfestival NÖ, Mödring (A) Kunsthaus Horn, Horn (A)

Line-up: Jakob Dietrich, Karin Fisslthaler, Reinhard Gupfinger, Katharina Loidl, Clemens Mairhofer, Bernd Oppl, Kai Maier-Rothe, Sebastian Six, Stefan Stipek, Marlies Stöger, André Tschinder, Simon Wilhelm

PANDATA / LENTOS

Audioparcours, 2005 with Doris Prlić

Kunstmuseum Lentos, Linz (A), 2005

Over four episodes, this radio-play relates a story that is set within the Lentos Museum of Modern Art in Linz. Listeners are increasingly drawn into the machinations of the fictional PANDATA institute. On the invitation of the museum, the installation was first presented in three telephone boxes located in the public area of the museum and one inside the museum.

Catalogue „wir müssen weiter denken als unsere pistolen schiessen“ (2007), publisher: Andrea van der Straeten

Shakespeare in the Pillow

Audio installation, 2005 LP-cover, print, colour, 18 x 18 cm Turntable Audio 7:00 min.,

One can listen to a historic document of the first days of the gramophone record: different excerpts of some of the greatest classics written by William Shakespeare. The antique recording is of course crackling but nevertheless it passes on the magic of these passionately recited classics. In fact what you are listening to is just nonsense, meaningless syllables, pretending to be classic British theatre English, spoken into pillows. The record itself is fake too, there is a cd-player hidden under the plinth. Pure theatre!

Catalogue „wir müssen weiter denken als unsere pistolen schiessen“ (2007), publisher: Andrea van der Straeten „Förderungspreis des Landes Steiermark für zeitgenössische bildende Kunst“ (2006), publisher: Neue Galerie Graz

„Glück und Unglück 2“, Plakatsujet; steirischer herbst, Graz (A), 2004

Glück und Unglück 2

Exhibition, 2004

Luck and its exact opposite 2

„Glück und Unglück 2“; steirischer herbst, Graz (A), 2004

The question about luck and its exact opposite - analysed by looking into examples and discussed in debates. For the duration of an exhibition about luck and misfortune an empty premise, situated in the Jakoministraße in Graz (A), was reused as exhibition space. On the basis of concrete attribution and analysis of minor and mayor moments of fortune or misfortune as well as by evaluating a historic example of evolutionary misfortune and posthumous luck, ekw14,90 displayed different aspects of those significant terms. From the miniature sculpture “Malheur Madonna” to the installation “Peter Rapp Triptychon” (see figure), ekw14,90 produced all of the exhibits. Additionally the group initiated talked with theorists specialised in various fields (mathematics, linguistics, religion or philosophy), those discussions were displayed in the exhibition as well.

„durch die katastrophe beissen“ hörspiel, 2004 dieses stehgreifhörspiel, live entstanden im rahmen der sendung „ekw14,90“ auf radio helsinki (freies radio steiermark), bedient sich der klassischen elemente des uskatastrophenfilms und wird so zu einer ultimativen, völlig ausufernden katastrophe. Catalogue „Glück und Unglück 2“ (2004), publisher: ekw14,90

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„Glück und Unglück 2“; steirischer herbst, Graz (A), 2004

The question about luck and its exact opposite - analysed by looking into examples and discussed in debates.

Versandhauskatalogprogrammmusik

Double-CD, 2004

Mail-order-business-catalogue-programme-music

As part of an exhibition by ekw14,90 called “Dienstleistung und Hilfestellung” (“Service and Assistance”) the group offered different services to the visitors. One example of such a service provided the opportunity to order a specific product from the extensive offers of a mail-order-catalogue by „Otto Versand“. The orderings were sent to the client in form of short musical pieces inspired by the original products. In this way ekw14,90 produced 27 different musical associations which can be listened to on an especially compiled CD. Furthermore ekw14,90 asked several musicians to reinterpret these mail-order-catalogue products they had set to music. These remixes, together with the songs by ekw14,90, can be ordered via the distribution company Trost.

Das im besten Sinne interdisziplinäre Grazer (Radio-, Film-, Musik-) Ensemble ekw14,90 bot im Sommer 2002 Galeriebesuchern die Möglichkeit, aus einem ausgestellten Versandhauskatalog Artikel zu ordern – von der Stretchjeans über die Kurzstiefelette bis zur Autorennbahn Carrera »Go«. Geliefert wurden aber nicht die Waren, sondern Vertonungen der jeweiligen Produkte in freien Improvisationen des Ensembles, die auf dem Doppelalbum Versandhauskatalogprogrammmusik (niesom N008) zu hören sind. Eine zweite CD enthält Remixes der Stücke, aber es sind die Stücke auf CD 1, die das Highlight unter den neuen niesom-Releases bilden: Angesichts der weit hergeholten Ausgangssituation erstaunlich warme, vorwiegend mit akustischen Klangerzeugern (nicht nur Instrumenten) eingespielte musikalische Miniaturen, in denen selten eine Idee zu Tode ausgewalzt wird, während die Spontaneität des kreativen Prozesses, die Vertrautheit der Musizierenden, im Klangbild beinahe greifbar scheint. Magische Momente, in denen die Macht der (in diesem Fall: musikalischen) Kommunikation zwischen Menschen dem eindimensionalen Verhältnis von Mensch und Ware entgegengesetzt wird. Man denkt an ein Diktum Pierre Schaeffers: „Musik, das ist die Beziehung von Mensch zu Mensch, beschrieben in der Sprache der Dinge.“

www.gebrauchtemusik.de

GELD! Money!

Please be delighted with this money! Everyone can be a winner! Jump into the Money-Overall™ and show us, full of joy, money by the bundle! Let us shoot a picture of you and take a piece of weath home.

Participative installation, 2002 Money, overall, patterned backdrop, polaroid camera