ballpark figurines shattered to pieces (of art) in the ambush of foresight hereof scrutinised wording gloss heroes sigh seeding in content contempt the early prey feathered alike
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Ahoy! My private pirate’s trashed treasures Enthralled by hulls broken like an expectation My pivot pilot’s muted mutiny Reasoning in rhymes
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V_port / Museumsquartier Q21, 28.03 – 18.04.2010 Vernissage: Sa 27.3.2010, 16h Altar Ego’s main focus is the projection as a mechanism of the psyche. Inspired by a recording that documents a choleric outburst of the tennis player John McEnroe, Depart mounted portraits of themselves on a mock triptych. The Freudian categories id, ego and super-ego form a psychoanalytical triad, a field of tension in which the futile efforts of Sisyphus meet the tragic vanity of Narcissus. The suppressed inner motive becomes the linchpin that distorts perception and its selfreflection. Thanks Andreas Waldschütz & Thomas Rath (photography and video support), Patrick Glatthaar (hair), Steffi Lamm (makeup), Happy Lab V_port www.soundframe.at
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the rest is darkness unheim crew: Gregor Ladenhauf, Leonhard Lass Markus Grüner, production & support Peter Zeitlhofer, flying entity Alexander Brandmair, Benjamin Altmann, stage and guide Michael Gruber, stage and rope Veronika Kapser, guide Hermann Stemberger, technician Robert Klein, rigging
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Depart verunanstaltet UNHEIM. Ein Raum für sich selbst und das. (performative Audioinstallation) Eine Produktion der ARGEkultur zum Themenschwerpunkt „Angst macht dumm!“ Do. 19 und FR. 20 November 2009 Geöffnet von 17:00 bis 22:00 Uhr. Achtung: Begrenzte TeilnehmerInnenzahl, Anmeldung unter 0662-848784. oder www.argekultur.at + es ist wichtig, dass wir vor null am ende sind. der schatten gehorcht nicht dem werfenden objekt. Nichts gehorcht, alles horcht. im inneren obskurer kammern ist wirklichkeit ein verkehrtes abbild, achtlos strömend durch eine öffnung wir, im unbunten treiben in der enge. wir entkommen selten.
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This is a first test of 3d-printing algorithmic shapes made with processing, flocking around a bird. I used the fluidforms library for STL output and meshlab for tidiness. Printed at the wonderful HappyLab in Vienna. @flickr
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Chasten dragons and Dragoon chance Immobilise phantoms with a hug Like beauty’s lies in the beholder’s eyes Premembered clippings of notion pictures Clinging to the never mind Little red barrette We wonder How the memory of now Will turn out.
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On the back of Chukwa, Bright like a mountain dew-tune and crystalline airs. We seek shell and shelter in subsurface saltlake sittings, The one-drone rondo-0-o. We rest against the interwalls of zero cavity‘s brainbows, Celebrating Achilles’ de-feet. Stir montane waters in the syncoronation of prime times, Immersed rim ram short circuit oscillations, In echological mining claims, Drilling me softly with a chord. What happens quiet shelldome if ever. …turtles all the way down Chukwa I (The Mountain) on Vimeo Chukwa III (The Final Encounter) on Vimeo (photo by Cornelia Auinger) Chukwa’s Orchestra: Anlanger Petra Bacher Clemens Brachtel Benedikt Bruckmayr Didi Eigner Richard Estrela Paul Farangis Firozian Fraunberger Stefan Grandits Sebastian Grüner Markus Hochleitner Gudrun Hovdkinn Elise Johnson Oliver Kargl Sebastian Karlstetter Simon Kickinger Max Kindlinger Florian Kinschel Anna Klinger Hanna Ladenhauf Gregor Lass Elisabeth Lass Leonhard Lercher Daniel Mayr Timna Mone Miriam Movahedi Paul Nassall Angela Pfaffenberger Florian Preuschel Julian Pusa Saila Radauer Clemens Rauch Roman Rösch Paul Rosner Willibald Saudek David Sauer Birgit Schabmayr Bernhard Schauberger Anna Schlegel Martin Senz Gerhard Steiner Johann Strobl Doris Tischler Sarah Wedel Marco Zauner Paul Zeitlhofer Peter Zopf Robert Krisch Gabriele (Projectmanagement) Wassibauer Rüdiger (Schmiede Support) Lali the turtle Thank you very much.
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when night falls like a feather in a vacuum tube covert carrier crows embark on missions, collecting clues that stick together like birds of borrowed plumes, the secretions of agents. filling ravenous caverns
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Reverb.On 3: Chukwa’s Approach Thursday. 24.09.09, 17.00h / 17.30h / 18.00h, Salzwelten Salzburg/Hallein Depart and Stefan Fraunberger present a new Performance in the series REVERB.ON in cooperation with Schmiede and Salzwelten Salzburg: Chukwa’s Approach. Inspired by concepts of Minimal Music and especially by the work of La Monte Young (“The Tortoise, His Dreams And Journeys”) an orchestra of 53 people is going to play a single chord throughout the whole performance. Situated about 100 meters below ground on a lake within a salt-mine the musicians and the audience are invited to experience the vibrancy of a mountain. Due to limited space we ask you to register in advance (Gabriele Krisch, 0699 10716582, chukwa@depart.at) More Information: www.salzwelten.at | www.schmiede.ca This Performance is supported by Land Salzburg / Podium09. German: Das Künstlerduo Depart (Leonhard Lass, Gregor Ladenhauf) hat 2007 im Rahmen der Schmiede die Reihe Reverb.On ins Leben gerufen. Mit dieser Performance-/Konzertreihe widmet sich Depart zeitgenössischen und ungewöhnlichen Konzepten und Kompositionen. Diese werden in ihrer musikalischen Form nahe am Original präsentiert, aber um aktuelle visuelle und performative Aspekte ergänzt. Ganz bewusst liegt hier der Fokus auf Kompositionen die bereits den Charakter von „performed installations“ in sich tragen. 2009 haben sich Depart von […]
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Iminami (by the Spycollective) is a multiroom performance installation. Drained brains swash in narrative tsunamis exhaling from the metamyth of the White Woman. Audience-swarms with spread waterwings on the tideway from mother to smother get carried away by drowned voices. This is fishy, oh buoy. Supported by Steim (Amsterdam), SARC (belfast) and ARGE Nonntal (Salzburg) Iminami Trailer
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“Des Gesprächsfightfadens”: word of the wings stutters & flutters a language re-de-re-construction performance for two performers, video backdrop, disillustrative commentary and sound duration: ca. 45 min. DEPART’s germanguage desastroy, a veritabledance lingo-limbo. Dramatized worldplayhem. A staged piece with toadloads of glimmericks fallinglong upwards from heaven’t scene and hertz beforeplay. In DEPART’s “Des Gesprächsfightfadens” there is no dramatic plot per se as in conventional theater, but there are recurring themes and ideas, more like in a musical composition. This work relies heavily on DEPART’s belief in the controlled overflow of sensoric input. The audience is supplied with a sheer mass of wordplay in order to provoke a struggle for perception and conscious processing of input. The more you struggle to get everything, the less interesting the piece will be. But if you are able to relax and let your thoughts wander freely, as in a kind of mediational state of mind, you might be able to grab one meaning here, or one there but go along with the flow of the piece easily. The goal of this endeavour is to create a certain state of consciousness where the seemingly superfluous and absurd action supporting the piece becomes a sort of focus […]
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“We only do…”: freemote controlemodeled headphonetic puppeteering interactive-stage dance performance for three dancers, computer-generated choreography, motiontracking, sound & video duration: ca. 45 min. eyeconed woeshoeshine, choreogenetics and stagedicing, 3Dancers on their way to form This project saw an evolutionary development from early incarnations as a piece for two dancers with a rather mechanical and robot-like form to a very open and flowing structured piece in the final performance. Central to the piece is the idea of a kinetic system that is addressed by a generative process, which is making decisions according to a set of rules defined beforehand by the choreographer. The stage itself is a blank space monitored by a motiontracking system. The movement of the dancers is translated into sound and video via the motiontracking system EyeCon and tools like PureData, Reaktor and Max/MSP. The dancers would receive command structures like spatial coordinates and specific motion quality or modes of conduct via wireless headphones. Early stages of the piece were not completely determined but still very arbitrary in their decision-making, the later versions already had elaborate regulatory behaviour based on marcov-chain logical structures. When the system was thus established, there were also attempts to introduce some viral behaviour […]
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“PETARD”: our synapsisyntactical dewelloperawe live A/V performance for synced fragmented audio & video, mostly improvised live duration: variable DEPART used patched reaktors and gems to craft and drill shimmering synthaestheoretic momentals in reeltime and space out. Twitching sound fragments and video snippets like twisted twins, DEPART’s first realtime audiovisual performance was a demanding but mandatory experience. intriguing combinations of flip-floppy hazardous movements in frequency and perspective, audiences were shocked and awed by the sheer force of what Kandinsky only could paint about in still images: audiovisual sculptures, proliferated, processed and projected in realtime. PETARD was an alias used from 2003-2008. Various live performances including: Microsope Sessions , Dresden, Germany Basics Festival 2004, Salzburg, Austria Animac Festival 2004, Lleida, Spain Cimatics Festival 2004, Bruxelles, Belgium de-bug review evading
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“Being Odysseus” – sirens in software, cyclops in code Mellow-dram-o-rama for one performer and interactive motion-tracking stage with reactive audio/video, ca. 60 minutes Odysseus, archetypical browser of land and sea, the i-am-a-wanderer galore, on his deathbedrock, performing the proverbial journey through important memories of his life, captain mnemo’s technological multimediary. Circe, Polyphem, Hades and a peculiar german scholar join in on the cruise of bruises. A reinterpretation of events based on ideas of Homer and Dante. The interactive stage was built using EyeCon, a frame-grabbing motion-tracking software and DEPART’s weapons of choice at that time, NI Reaktor and PureData. The performer was able to roam freely, activating and influencing parts and aspects of the video and soundtrack. Specific zones of action were propelling the story and also changing the stage setup automatically. “Being Odysseus” was DEPART’s first endeavour into realtime motion-tracking, realized in collaboration with Senselabor. Commissioned by Trans-Media-Akademie Hellerau, shown at CynetArt Festival 2004, Dresden, Germany Performer: Georg Hobmeier Video: Leonhard Lass Sound: Gregor Ladenhauf
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