The House Of Drift
Extensive installation project commissioned by sound:frame festival 2013 including cooperation with costume designers, architects, dancers and a photographer 3 channel Video Installation (3 x 6min, synced loops), FullHD Exhibition at MAK Vienna 05.04 - 21.04.2013 Credits Direction, Concept & AV Installation: Depart (Leonhard Lass, Gregor Ladenhauf) Project Management & Production Laura Welzenbach, sound:frame Fashion/Costume Department Lisi Lang (Lead), Anita Steinwidder, Martin Baumann, Mäx Mareš, Su Noya, Tea Jgenti, Armin Schmelz, Katharina Haring, Moana Stemberger, Julia Hausberger, Julia Högler, Mara Verlić Film & Photoshooting Andreas Waldschütz (Lead), Volkmar Geiblinger (Camera & Light), Merlin König (Assistant & Light), Thomas Mairitsch (Helper), Lisi Lang (Costume), Su Noya (Costume Assistant), Steffi Lamm (Hair & Makeup), Adia Trischler (Styling), Lauren Cooke (Styling Assistant), Robert Hack (Documentation), Michael Merzlikar (Documentation) Performer Sebastijan Geč (Lead), Asher O’Gorman, Milan Loviška, Otto Krause, Raphael Nicholas, Mana Malek, Malika Fankha, Katrin Blantar, Laura Welzenbach, Gregor Ladenhauf, Silvio Canazei Exhibition Architecture Gerald Moser, Christina Simmel Video Tech & Installation Bildwerk (Benjamin & Leonard Pokropek) Additional Credits Polypod (VFX Consulting, Tracking and Rendering Facilities) Melanie Cichos, Laura Welzenbach, Franziska Niemand (Paper Folding)
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Δ Aurigæ (Delta Aurigae) is an installation which deals with the periodic coalescence of opposite aggregate states, based on and structured by the rhythm of a double star system like the constellation Auriga. A world populated by meanders and monoliths, meteors and menhirs that draws inspiration from ancient astrology which was using rock formations and natural objects to decipher the universe and measure it’s cycles. Delta Aurigae is a hybrid between installation and performance, a stage with a life of its own. In idle mode it shows a slow and majestic flow like a glacier, where fringes blur and relations vanish. A monolith itself, Delta Aurigae is a 4.5m high triangle with a real-time projection. Made with VVVV & Reaktor.
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Hibernation in Doubt
A Hibernation in Doubt is a 20 min poetry performance for a speaker, a piano and audioreactive visuals Made with processing and the exquisite Geomerative Library A well preserved winter in fooled bloom A restless forest - internal like an organ (And played alike) Ending, like always, with the sun. commissioned by literatur lab @ departure - keywords: poetry, performance, live, audiovisual, generative, processing
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Doldrums is a reinterpretation of John Cage's 4:33 with a Death Metal band. Announced and presented as a metal concert, the fictional band "Doldrums" was playing nothing on a fully setup rock stage. The audience - who was not aware of this beforehand - was blindfolded and lead through the building, while being read fragments from John Cage's Silence. When they finally could take off their masks, they found themselves in front of the band, but would only hear the hum of the amplifiers and the noises of the lightshow plus the arbirtrary sound of the surrounding. After the silence a fragile 8m high sculpture above the stage would collapse and mark the end of the performance. - keywords: performance, reverb.on, john cage, black metal in the doldrums
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Unheim is a performance installation in complete darkness. An audience group of four people, equipped with wireless headphones is lead through an unknown space by guides with nightvision goggles. In Unheim we stage a constructed loss of control as the central factor of fears, and lead them astray into the mythological abyss. We have chosen the experience-centered format of the parcours and of the wicked game to enable the most direct reflections and impressions. - keywords: performance, darkness, installation, nightvision, audio
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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 was playing 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. On their 30 minute walk through the mountain to and from the underground lake the visitors would pass video installations based as well on the prime number structures of the musical chord. 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, […]
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45min performance for one performer, two loudspeakers, two microphones, on-body-projection and delicate sound balancing, original composition by Alvin Lucier (1970)
In the second incantation of the Reverb.On Series in 2008, DEPART and Richard Eigner devoted themselves to the piece „I Am Sitting In A Room“ by Alvin Lucier. This idiosyncratic electroacoustic composition summons a physical component of compact spaces, their inherent resonance.
A short text, which is selfreferential and recursive both on the room situation and itself, is spoken into a microphone, recorded and fed back into the room very closemouthed in a kind of acoustical mantra until the rooms own resonant frequency is overdubbing the initial signal beyond recognition.
Richard Eigner and Gregor Ladenhauf were responsible for the acoustic implementation of this concept that was first realised in 1969 by American composer Alvin Lucier (*1931).
Together with his DEPARTner Leonhard Lass, who is responsible for the visual translation of the piece, performer Gregor Ladenhauf adds to the piece as voice and screen at the same time. A speaker transforming into a projection screen of his own voice, gradually disappearing like this voice during the course of the composition.
„I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed.
What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have. ” (Lucier 1970)
"Using the ideas of Alvin Lucier’s piece “I Am Sitting In A Room”, Richard Eigner & DEPART unlocked the secret sounds of Schmiede Hallein’s fabulous spaces."
"Every room has its own melody, hiding there until it is made audible."
sound installation and soundboard control: Richard Eigner
video projection, programming, setdesign: Leonhard Lass
sound installation and performance: Gregor Ladenhauf
keywords: performance, reverb.on, alvin lucier, schmiede, body projection, processing
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on & on & on, till the beak of yawn
play a loophole into your headpeace
performance for two piano players, projected video and stream of consciousness writing.
original composition (1893) by Erik Satie. duration ca. 1200 min.
our resume: Vexations is a challenge, a practical joke and a timemachine.
“Je m’appelle Erik Satie comme tout le monde.”
we perform satie.
we do it for us.
we do it for you.
we do it because it is not important to be done.
we do it because we would like to do it.
we are two people playing piano and one computing and showing the difference.
we will play it note for note.
you will hear it note for note.
afterwards nothing will be the same.
Short piano piece to be repeated 840 times. Performed at Schmiede Hallein 2007, first incantation of the Reverb.On Series featuring Dorian Concept.
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My Myo Mayhem
platonian cave canem kafkaesque coffin break kammerspiel performance installation piece for three performers, myoelectrical stimulation, a chicken called Tesla, video & sound. duration of one cycle ca. 15 minutes imperial chickensouperpowers for the white room-o-botter groups of 10 people are lead into an anteroom where they are ordered to sit and wait. a strange person behind a counter is giving out questionaries and calling people to the desk in random order. this character is mutating over the duration of the whole piece from casual guy to kafkaesque clerk to lunatic to chicken. every 5 minutes one person is admitted to an adjoining room where an attendant is showing them about. a puppet emperor and his rural adventures are presented on screens while a glimpse into an overhead orifice provides an inverse cage perspective on the confetti chicken. the gloomy atmosphere of the first two rooms is followed by an eery transition to the center stage. There, the “emperor” is performing his private little hatching dance, controlled and hardsynced to the installation soundtrack by a mystical myoelectrical device dangling around his neck. after this shocking galvanic experience, the lounge room is a chill out, big brother-like situation with a cctv tablecloth, […]
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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 of attention itself. Then it starts being a kind of kinetic sculpture of its own, providing DEPART's beloved "impressures", moments of pure experience, where an absurd constellation of actions and objects suddenly is not regarded as artificial anymore but experienced like a mountain, a lake, or a leaf. Totally self-evident and understood. To achieve this kind of complexity, DEPART were refining and distilling very thoroughly, even pedantic, to make sure there is still enough funk left in this painstakingly constructed language puzzle.
Unfortunately or thankfully, this piece is virtually impossible to translate into other languages.
Commissioned by ARGEkultur Salzburg, Land & Stadt Salzburg.
Shown December 15th and 16th, 2005 at ARGEkultur, Salzburg, Austria
Performers: Georg Hobmeier, Gregor Ladenhauf
Video: Leonhard Lass
Sound: Gregor Ladenhauf
<a href="http://www.argekultur.at/programm/presse/reviews/051215trt_review.aspx">press review</a>
Parts of this piece are also in effect in disguise as an installation called "GESPRAUM", shown at paraflows07 exhibition, Vienna, Austria
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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 to the system in order to reestablish a more unpredictable outcome. This piece was first commissioned by the TransMedia-Akademie Hellerau and further developed with funding at the Dance Unlimited Master Program of the Theaterschool Amsterdam.
Idea, Production: Georg Hobmeier
Pure Data, Reaktor, Max/MSP: DEPART
(Amsterdam Version) Nina Fajdiga, Vlasta Veselko, Jadi Carboni/Urshka Vohar
(Dresden Version) Anja Epperlein, Mandy Partsch
Support: Dance Unlimited, AFK, Alex Schaub
Thanks to Thomas Dumke, Bram Vreeswijk for their inspirational contribution
Shows 2004-2007 at:
Festspielhaus Hellerau, Dresden, Germany
ICA, London, Great Britain
Melkweg, Amsterdam, Netherlands
ARGEkultur, Salzburg, Austria
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