All performances, installations and scenic works you also can find here as PDF.

_ house of resonance

June 2024

This performance "HOUSE OF RESONANCE" was shown as one of the 19 different individual shows of the three-week exhibition HOUSE OF CONSTRUCTS by the artist duo ALDO GIANNOTTI and KARIN PAUER at the Vienna Kunstforum. In the processual character of the entire exhibition, the DRUM SET as an instrument was deconstructed, recombined and redefined as such. And this with the help of seven individual drummers, each of whom put the parts together to form a new whole.
The concept and realization are by me (in cooperation with Aldo and Karin) and the drummers
Lukas Aichinger, Matti Felber, Max Plattner, Lan Sticker, Jan Wielander and Sebastian Baumgartner

_ denkmal // monuments

a science and media satire

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?!?

_ Galerie HATSOV (2017)

An exercise in reversing purpose and meaning: The album release party of morgen es wird schoen in May 2017 was encoded as a synopsis of works by (fictitious!) Beuys students and employees from his time in Düsseldorf: "Beuys' Adepts".
All biographies and works were completely fake and adapted to both the biography of morgen es wird schoen and Joseph Beuys.

_ take me by the dishwasher (Ragnar Kjartansson, Bawag Contemporary 2011)

Participation as guitar player at the longtime performance (even in the first row on the ad poster)

This exhibition opened paved the way to another participation, that led then to my first audio book about Bertha von Suttner.

The early performances have all been conceived and performed in a duet together with Philipp Hofstätter as AMBER&GOLD. The most important ones are listed here, the collection of all works is in this retrospective.

_ efemer

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

(first performed in 2006 for the World Cup)

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.