12.04.2017, DerBlödeZWEITEMittwoch#64 & STRUMA + IODINE
20h30 @rhiz

Paul Gründorfer: „animal-voice-orchestra“ [konzert] #onomatopoeia #network #archaic
Deborah Hazler: „the inefficient body“ [performance/lecture] #anticapitalist #resistance #laissez-faire
cilantro / Billy Roisz & Angélica Castelló: „borderland“  [konzert] #noize #rgb #petzold

Paul Gründorfer: „animal-voice-orchestra“ [concert]

Electronic circuits are interconnected to cause semi-natural entities, autonomous organisms, half-animals. The electronic machine functions as the mimesis of an organic world, voice and articulation is generated through loops in feedback networks. Continuous ecosystems, archaic animal-noise-transmission, onomatopoeia.

Paul Gründorfer is using process-related setups to explore sonic worlds and to realise site specific interventions. He is developing real time audio systems, that act autonomous or in reference to the spatial constellation. While considering the encounters between analog and digital, structured or improvised elements, he is focusing on the abstract occurrence of sound and its physical impact. His artistic activities examine the connections of acoustic and visual transmitter – receiver networks. The topic transmitter – receiver is assumed as a conceptual framework for process-related experiments with of sound, light and transmission of information, but also refers to the applied research methods themselves.


Deborah Hazler: „The Inefficient Body – Anti-Capitalist Strategy. The Practice“

Deborah Hazler introduces her invented resistance training for dancers to counteract the ease and efficiency of movement as well as the resulting productivity of the body. Explaining her thoughts around the restrictions of systems she shares more than necessary.

Concept, Performance: Deborah Hazler
Dramaturgical Advice: Milan Loviška

This lecture performance was developed as part of the Symposium The Inefficient Body – Anti-Capitalist Strategy, which was presented at WUK in November 2016.
A co-production of Angry Agnes Productions and WUK performing arts
Supported by the Kulturabteilung der Stadt Wien, Bundeskanzleramt Österreich, NAVE Chile

Deborah Hazler is a dancer and choreographer, living in Vienna, Austria. She received her M.F.A in Dance from Hollins University in Roanoke, VA in 2008 after attaining a B.A. (Hons) in Dance Theatre from the Laban Dance Centre in London in 2006. As a performer she has worked for Sarah Vanhee (Lecture for Everyone/ Vienna 2014), Anne Juren (Happy Ends, 2013), Oleg Soulimenko (A Visit To This Planet Part 2, 2012) and Bert Gstettner/ Tanz*Hotel, while continuously creating her own works. Her projects have been presented at brut Vienna (Keep Us Going/ 2015, Anthropology of Man/ 2013, offnature/ 2012), and at WUK Performing Arts (Noise For Nothing/ 2015, Cruel Expectations/ 2014).

In 2010 Deborah co-founded the non-profit organization RAW MATTERS together with Nanina Kotlowski. In 2011 she was one of the recipients of the danceWeb scholarship at Impulstanz. 2013 she received the Auslandsstipendium of the BKA to attend the Internationales Forum des Theatertreffens der Berliner Festspiele as well as 2016 for her further education and research in Chile (University Santiago/ NAVE) und Trinidad und Tobago (New Waves Dance Institute).

Video/trailer: https://vimeo.com/202354277
Photo credit: Dominik Schauer

cilantro: „borderland“  [concert] Angélica Castelló – paetzold, ukulele, tapes, electronics
Billy Roisz – electric bass, piezo, electronics

Das Duo cilantro präsentiert mit einem Live-Set ihre soeben auf dem russischen Label mikroton erschienene CD borderland.

A debut release by cilantro, an Austrian duo of Angélica Castelló and Billy Roisz, two active persons in experimental music in Austria.

cilantro presents a world full of enigmas, labyrinths, sometimes abrasive, sometimes ecstatic, a complex and delicate subjectivity. Recorded in a basement in Podersdorf am See, a resort Austrian area, it conjures dark resonances of the space waking up memories hidden inside. „Borderland“ deals with blurry edges of contradictory matters coming together and they put under scrutiny the activity in bordering areas between noise and silence, tenderness and rudeness, beat and drone, inner consciousness and outer awareness, control and freedom, forming the pieces by pulling the lever between structure and chaos, beauty and ugliness, demonstrating a thrilling display of human and technological interplay.


Deborah Hazler