Glyph & Δ Aurigæ @ Schmiede
We are currently working on Glyph to be presented together with Δ Aurigæ at Schmiede Hallein 21.09.2011, 21h supported by Subnet AiR, Schmiede Hallein, Andreas Waldschütz, Holzcraft, Polypod
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A Hibernation in Doubt @ literatur lab
A well preserved winter in fooled bloom A restless forest – internal like an organ (And played alike) Ending, like always, with the sun. depart perfoms a poem literatur lab Thu 7.4.2011, 19.30h Brick-5, Fünfhausgasse 5, 1150 Wien free entrance literatur lab @ departure sound:frame come all
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Δ Aurigæ @ sound:frame
Δ Aurigæ – A performance constellation produced by sound:frame AV & depart. Fri 25.03.2011, 20:45 & 23:00 Sa 26.03.2011, 21:00 & 22:00 @ sound:frame festival opening weekend Ottakringer Brauerei, Wien sound:frame schedule – o-O-orbiting the delta skelta In merry barycenter go-rounds. Let’s build a whole city of glass houses, only a stone’s throw away To regard the light night sky, dive drown Dissolving vis-à-vis-viva equators In our monolitheral observatory. We will, we will… + some work in progress stone samples, delta on the rocks that is: Thanks to: sound:frame, Michael Grossauer & polypod, woei, joreg & vvvv, leo & ben (Bildwerk), Pomme, Gerald Moser, Romana Kleewein sound:frame festival opening weekend
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In the woods, in winter.
We will be performing an AV poem at the sound:frame press conference. Salon5/Bricks, Fünfhausgasse 5, 1150 Vienna 13.01.2011, 19h a hibernation in doubt i sit here and ice eats me. … ——– made with processing and the exquisite geomerative lib. code upon request.
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Iminami at November Music, Den Bosch
Iminami AV Performance Installation by The Spy Collective (Henry Vega, Georg Hobmeier, Anat Spiegel, Leonhard Lass) Sun, 14. November 2010, Pand 18, Den Bosch November Music from 13h-15h every 20 minutes November Music & Tickets The Spy Collective
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Yesterday in Innsbruck
We were performing I am sitting in a room with Richard Eigner at Die Bäckerei, Innsbruck during Konkrete Utopien by the lovely people of ColumbosNext
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Doldrums
photos by ela grieshaber & andreas waldschütz concept, direction: depart (gregor ladenhauf, leonhard lass) producer: schmiede / rüdiger wassibauer production assistant & general handywork: daniela schindler stage & lighting: jakob guggenberger (pro show) make-up: steffi lamm hair: cori pondorfer photo & video documentation: andreas waldschütz & thomas rath band: tom brüssel, christian schratt, jake, alex, florian leeb thanks: andi hansel
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Doldrums @ Schmiede, 20.9.2010
Depart & Schmiede present Reverb.On IV DOLDRUMS 20.9.2010, Alte Saline, Hallein in the doldrums where there is no direction but no guidance where there is nowhere to go but no standstill where there is no time but not a single moment where there is nothing but no focus on any sense where there is noone but nobody, you and the others where there is no reason but no nonsense at all O snail Climb Mount Fuji, But slowly, slowly! Schmiede
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Unheim Postnatal
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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Unheim
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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Chukwa’s Approach
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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Chukwa’s Approach
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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I am sitting in a Room
(photos by cornelia auinger) “I Am Sitting In A Room”: respiratoratorium room ringing resonant ruckus performance for one performer, two loudspeakers, two microphones, on-body-projection and delicate sound balancing duration: ca. 45 min. original composition by Alvin Lucier (1970) who’s talking when and where, hip or square, what moves the air ? 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 […]
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I am sitting in a Room
Depart & Richard Eigner perform Alvin Lucier’s I am sitting in a room. Mo 22.09.2008, 21h @ Schmiede Hallein (Alte Saline, Pernerinsel Hallein) „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 will unlock the secret sounds of Schmiede Hallein’s fabulous spaces. ,,Every room has its own melody, hiding there until it is made audible.” Schmiede 2008 Richard Eigner
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Rain Are In Clouds
“Rain Are In Clouds”: wirr singing and dancing in the brain 10 track A/V album for sound and realtime 3D proce55ing tbr 2009 where we come from there is always music in the eye “while I think, you make my heart sync.” The videos on this album are a combination of eletronic sound and abstract 3D shapes generated in realtime via the software processing (www.processing.org). The musical data is processed and transformed into shapes and movements, providing the viewer with the artists vision of what sound could look like if it was not merely air that is moving around us. The basic idea for each of the provided videos was to create “narratives” that would, albeit rather constructed and abstract, create an organic feel and a little bit of a story. Parts of the sound or also the musical composition are taken into account as “actors” on the visual stage. Playing and interacting with each other, they not only accompany but impersonate the sounds. What makes DEPART special is the combination of a visual and a sound artist working together really closely. In this way, not only the visual artist is creating a world of graphics but both are trying […]
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Spy Collectives Iminami
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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Vexations
“Vexations”: 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. eriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatieeriksatie “Je m’appelle Erik Satie comme tout le monde.” we perform satie. wir verformen satie. we do it for us. wir tun es für uns. we do it for you. wir tun es für euch. we do it because it is not important to be done. wir tun es weil es nicht wichtig ist dass es getan wird. we do it because we would like to do it. wir tun es weil wir es gerne tun möchten. we are two people playing piano and one computing and showing the difference. wir sind zwei, die klavier spielen und einer, der die differenz berechnet und zeigt. we will play it note for note. wir werden es note für note spielen. you will hear it note for note. ihr werdet es note für note hören. afterwards nothing will be the same. danach wird das nichts sein wie es war. Short piano piece […]
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My Myo Mayhem
“My Myo Mayhem”: a 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 what happens: 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 […]
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Des Gesprächfightfadens
“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 (I-III)
“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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Being Odysseus
“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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