_ house of resonance

(June 2024)

The ‘HOUSE OF RESONANCE’ was one of 19 individual performances during the three-week exhibition HOUSE OF CONSTRUCTS by the artist duo ALDO GIANNOTTI and KARIN PAUER at the Vienna Kunstforum. In keeping with the processual character of the entire exhibition, PERCUSSION was deconstructed, recombined and redefined as an instrument. This was achieved with the help of seven individual percussionists, each of whom assembled the parts to form a new whole.
The concept and implementation were developed by me (in cooperation with Aldo and Karin) and the drummers

participants: Lukas Aichinger, Matti Felber, Max Plattner, Lan Sticker, Jan Wielander and Sebastian Baumgartner.

_ Galerie HATSOV

(2002/04/17)

An exercise in reversing meaning and purpose: for one evening, the HATSOV Gallery took up residence in a vacant building in Vienna's city centre with an exhibition of works by a fictional group of Beuys students from his Düsseldorf period: ‘Beuys' Adepts’. All biographies and works were fictitious and adapted from both the biography of morgen es wird schoen and Joseph Beuys. The audience became part of the performance, willy-nilly, and took what was presented quite seriously – until the truth was revealed at the end.

_ denkmal // monuments

a science and media satire

(2007/17/27)

The public performance memorial uses the means of absurd exaggeration to dedicate itself to the status of science in society. How far does it follow and condone her reasoning?
As early as 2007, we (as performance duo Amber&Gold) put ourselves in front of some selected Viennese composers monuments and its contemplators and recorded the "vibrations"  of the plastiques with elaborate microphones (which are of course imperceptible to untrained ears). The aim was to test our "scientific" hypothesis as to whether there were "correlations" between these and the sounds of the composers'  works. The surrounding passers-by and tourists followed the experimental setup with interest and they all complied with our request for absolute silence  (only the tourist guides didn't, as we disturbed their work – especially at Johann Strauss's).

In 2017, I continued the series of tests alone to determine any changes. And in 2027, I'll visit the Messrs. Gluck, Haydn, Mozart et al. again. How will people react to that?
And why aren't there any monuments to female musicians and composers?!?

_ efemer

(2008)

The idea of improvising long-term performances arose from "in den Freie Raum" (see above) and other improv concerts. An existing piece of music is used as a temporal basis, extended to a certain time (to get the matrix), and we develop a musical life of its own live in this microcosmos. In the second step, we compress the entire soundscape of the matrix and impro music back to the original length.

efemer was the first performance of this kind and premiered in 2008 at the Danube Festival Krems. The four of us played in a transparent igloo in the idyllic city park for 24 hours to the distorted sounds of take me out (Franz Ferdinand, 2004), which was digitally stretched to exactly this time and served us as the background matrix. Everything was recorded together on sound and image and then compressed back to the original length of the song. Here the result:

_ into the free space

(2006/08)

A big screen with the live broadcast, for both the audience and we as participating musicians to watch. When it starts, we accompany the match through all its pauses, unpredictable developments and breaks with improvised music. The audience indeed plays an important role in this, because its enthusiasm has a significant influence on the musicians in their playing. And if you had this setup live next to the pitch, an additional feedback loop would be created between the soccer players and the music.