Haunted – Persistence of the Past

topic

Haunted – Persistence of the Past

AIL Topic starting Fall 2023

TOPIC CONTENT:

Re-enchantment

Re-enchantment: Spiritus

Performance View: Re-enchantment

What haunts us?

Sonic Specters with Richard Skelton, Jung An Tagen and Firmament

Sonic Specters. Between Nostalgia and Anticipation

Performance View: Sonic Specters

Performance View: Phantom Voltage

Sonic Specters with Katatonic Silentio and dieb13

Sonic Specters with Perila and Afrodeo

The program of this AIL Topic addresses the eerie and analyse what haunts us in the here and now.

Which past haunts us? What futures can we imagine? What can we call upon in order to understand the present and that which is imminent? Can we predict the future? And can artificial intelligence do future?

Based on Jacques Derrida’s Hauntology, the specter represents the continuing effects of past and distant forces. We will look at phenomena that do not physically exist but still have an effect on the present. Digital technologies, for instance, are capable of creating multiple virtualities in space and time, thus collapsing spatial and temporal dimensions. In her materialist theory, feminist physicist Karen Barad also references Derrida. Based on the principle of quantum mechanics, she states that phenomena are connected in spooky and complex ways and exert influence beyond the subatomic level. Objects are therefore not static things but dynamic processes which change as they interact and intra-act with other objects. Sociologist Avery Gordon also makes haunting one of her research methods. She tracks down ghost stories to uncover blank spots in the current social situation – such as discriminatory exclusions – and to comprehend the conditions that underlie the creation of memory. Her aim is to establish a counter-memory, one that might help build a fairer future.

The first instalment of Haunted – Persistence of the Past, the sound performance series Sonic Specters. Between Nostalgia and Anticipation in collaboration with struma+iodine, took place in October 2023. The invited performers used eerie and futuristic sounds to search for traces of times past and times to come. The sound series Sonic Specters is concerned neither with resurrecting real events from the past nor with celebrating nostalgia, but sets out in search of lost futures (Mark Fisher) to elude eternally backward-looking feedback loops.

The second instalment will be the two-part performance of Re-enchantment in April 2024.

Find all info below.

Sidenote: What is an AIL Topic? In addition to presentations of university-wide artistic research projects, external collaborations and various kinds of events, AIL sets its own thematic priorities. Starting point for this was the cooperation project Decolonizing Technology, led by Clemens Apprich (Department of Media Theory) and Elisabeth Falkensteiner (AIL) in the fall of 2022. In October 2023, the following AIL Topic Haunted – Persistence of the Past has started with the sound performance series Sonic Specters and continues in Spring 2024 with the performance series of Re-enchantment.

news

Re-enchantment

Next chapter and two-part performance of the Topic Haunted – Persistence of the Past, starting April 2024

Performances by Magdalena Forster and Milena Georgieva, Lisen Pousette and Olivia Rivière

About Haunted

The performance series ‘Re-enchantment’ signifies a re-enchantment of the world, a search for the forces within the body, for synergies between forms of life, for trance and intoxication as an alternative to the materialistic and algorithmically influenced present.

Following Silvia Federici Re-enchantment represents also a search for communal forms of property and social forms of organization that emancipate themselves from exploitative ideologies and technologies. Conversely, Max Weber used the term ‘disenchantment’ to describe a state of historical loss stemming from reductive and exploitative ideologies and technologies, and collapsing into a peculiarly modern form of intellectualized despair.

The performances by Magdalena Forster and Milena Georgieva and by Lisen Pousette and Olivia Rivière bring to life the narrative of the historical loss of this ‘disenchantment of the world’ as described by Max Weber: as a kind of archaic revival that undermines positivist knowledge systems, instead following networked and spiritual understandings of the world. They shake up the ruthless forgetting and sing (re-chant) about what is supposedly lost or hidden. The voice – as part of the body – becomes an instrument of resistance; their dissonances challenge rationality; their vibrations invite you to perceive the present not in an alienated way, but collectively.

For Magdalena Forster and Milena Georgieva, the alga Porphyra, which the two artists produce themselves, serves as a metaphor for a sentient organ that explores the environment and creates connections between diverse life forms. In Spiritus, Lisen Pousette and Olivia Rivière explore ideas of ‘resonance’, where resonance is understood both as an acoustic phenomenon and as something that describes a relationship. Their practices of resonance have their origins in the voice; as they explore dissonant sound frequencies with their bodies, evoking a variety of textures and forms, spaces of intimacy and emotional connection emerge.

Dates:

10 Apr, 20:00
Magdalena Forster and Milena Georgieva: Porphyra

17 Apr, 20:00
Lisen Pousette and Olivia Rivière: Spiritus

(Free entry)

Curation: Lewon Heublein

Concept: Elisabeth Falkensteiner (AIL)

Photo: A. Lamprecht

performance

17 Apr 2024, 20:00

Re-enchantment: Spiritus

by Lisen Pousette and Olivia Rivière

About the re-enchantment of the world, a search for the forces within the body, for synergies between forms of life, for trance and intoxication as an alternative to the materialistic and algorithmically influenced present

About the Topic Haunted – Persistence of the Past

Spiritus is a work engaging with ideas of ‘resonance’, where resonance is understood as an acoustic phenomenon as well as something describing a relationship. In the performance, the choreographers and dancers Olivia Rivière and Lisen Pousette enter un-set performative situations with body and voice that oscillates, stay responsive and spin off of eachother.

Their practices of resonance originate from whatever voices; the small cries, wet, dry, high pitched forms of ‘screams’ and melodies. While exploring the specific timbre and force, the sounds invoke a variety of textures and gestalts. Spiritus is a play with this as the work taps into the word’s meanings and derivations: breathing, mood, geist as well as alcohol and intoxication.

In Spiritus, states of listening, observing and responding are practiced through their sensing selves. They therefore invite the audience to listen to the subtle nuances in their song, the small exchanges, those that we rarely notice, even though they are so crucial in the approach of a discernible change.

Lisen Pousette (SE) and Olivia Rivière (SE/DK) share a background in classical choir singing and choreography and have made work since 2017 departing from extended vocal techniques. While exploring the materiality of the female-identified voice and its reach, they enter ambiguous states that can tip over into the absurd as much as the vulnerable. Together they have created the duet Ever losing (2019) and the group piece DUNKEL (2022 which have been presented at venues such as Norberg festival, MDT, CinemaQueer and Inkonst (SE) Dansehallerne (DK), Østre (NO), Les Urbaines (CH) and Ufer_Studios (DE). Spiritus had its premiere in January at Weld (SE).

By and with: Olivia Rivière and Lisen Pousette
Music and sound design: Kristian Alexander
Light scenography: Anna Moderato
Dramaturgy: Ida Larsen
Costume: Olivia Rivière and Lisen Pousette
Lights: Olivia Rivière and Lisen Pousette in conversation with Erik Molberg Hansen
Technician: Mali Dönmez
Photo: Kristian Alexander

Re-enchantment is part of the Topic Haunted. Persistence of the Past

Curation: Lewon Heublein

Concept: Elisabeth Falkensteiner (AIL)

With support by:

Holstebro Dansekompagni, Danish Institute Athens, Ufer_Studios, Swedish Arts Grants Committees international program for dance, SITE, William Demant Fonden

Co-production: Weld and Dansehallerne

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Performance View: Re-enchantment

Porphyra by Magdalena Forster and Milena Georgieva

Part of the Topic Haunted – Persistence of the Past

Part II

The purple seaweed Porphyra moves smoothly and gently in water. This algae is widespread and is used by the artists as a working material while at the same time setting the pace for the performance. Bioplastic, in the form of a soft, flexible substance, was created from a mixture of algae and glycerin. Wrinkled and porous lobes form a flat cast, reminiscent of human skin, a sentient organ that enables us to experience the world, to feel ourselves and others and connect.The artists sing into their own skins and use themselves as resonators. They become instruments, sometimes playing themselves, sometimes others. Fusion and fission alternate. (Text: Luka Jana Berchtold)

Magdalena Forster is a performance artist, choreographer and trained healthcare nurse. Her works flirt with the potential of the unfinished and the indefinite, recoding a sense of anchoring and belonging. She turns to personal documentations, kinetic archives and memories. Her performances were supported and presented by Tanzquartier Vienna, Kunstraum Niederösterreich, BRUX Theater Innsbruck, Kunsthaus Zürich, Kunstraum Remise, Sonic Territories Festival Vienna and others. Magdalena Forster was recipient of scholarship programs from ATLAS Program at ImpulsTanz Festival and project funding from the City of Vienna, Innsbruck and Tyrol.

Milena Georgieva is a composer, transdisciplinary artist and performer, born in Sofia and based in Vienna. In her work she focuses on speculative world-making and on weaving intricate networks of meanings, which sprout out of research in sound, landscape theory, queer-feminism, education, practice sharing, body + identity politics. She investigates space as a construct – physical, virtual, public and intimate – from a critical and personal perspective, to synthesize an inter-self-&-site-specific narrative. In her compositions and live performances she seeks a fluid, unbound sense of sound and listening. She transgresses orthodox genre boundaries to activate complex and multidimensional bodies of sound.
Shows at Freies Theater Innsbruck, Tanzquartier Vienna, Kunsthaus Zürich, Technical Museum Vienna, Kunsthalle Vienna, Donaufestival, Wiener Festwochen, ImpulsTanz, Elevate Festival, Unsafe + Sounds, Goethe-Institut Bulgaria, Sofia City Art Gallery, among others. Grants by the City of Vienna (2022-2024) and the State of Austria (2023). Residencies by ImpulsTanz – Turbo (2023), Kulturtankstelle Linz (2017). Nomination for BAZA contemporary art prize (2019).

Curation: Lewon Heublein

Concept: Elisabeth Falkensteiner (AIL)

Photos: Marcella Ruiz Cruz

text

What haunts us?

A collection of thoughts and ideas revolving around the latest AIL Topic ‘Haunted. Persistence of the Past’: On hauntings of the future, virtualitites of the past, the seething presence of the seemingly non-existent, and predictions and prophecies.

Text from Elisabeth Falkensteiner

Enter the Ghost, Exit the Ghost,
Re-enter the Ghost.
(Hamlet in Derrida, 2004)

Predictions and Prophecies

The future belongs to ghosts. (Jacques Derrida)

Visions of tomorrow are trending. In the face of burning political and especially ecological crises, thinking about the future has never been more relevant. The direction and research interests of Angewandte Interdisciplinary Lab have repeatedly highlighted issues concerning the future. And recently, the relatively new interdisciplinary field of futurology has been introduced at the university level. Scientifically, it deals with potential or probable future developments as well as with design options and their preconditions in the past and present. But what does it mean to think about the future, and how can we think about something that is yet to come? What can help us imagine what is imminent? Which means or methods are available to us, and what are the underlying belief systems or categories?

Prognostics is one of the methodologies of futurology. New technologies, such as artificial intelligence, are capable of creating our own (self-fulfilling) prophecies. The computational or analytical process behind this technology is based on potentiality. That is, a possibility that can become reality, or a future being symptomatically haunted by traces of the past. Time is a fundamental component of the feedback loops of a recursive, self-referential and repetitive algorithm, which itself recalls and draws on data. In this sense, recursion is a computational process capable of initiating the unfolding of temporalities and being potentially infinite. Since the future is imminent in the present, it is virtually already here, but it is also the constructed necessity of an algorithmic prediction of the future. Accordingly, the data-generated multiple futures represent a rupture of linear temporality. In other words, time passes differently: It is bent or dispersed.

Hauntology & Historicity

What haunts the digital cul-de-sacs of the twenty-first century is not so much the past as all the lost futures that the twentieth century taught us to anticipate. (Mark Fisher)

The specter, as a symbol of the continuing effects of the past on the present and future, is the starting point for Jacques Derrida's theory of hauntology. The term itself plays on the words haunting and ontology, implying that phenomena are always characterized by different forms of absence. Hauntology can be regarded as a theory which assumes that distant forces are at work: phenomena that do not physically exist but nevertheless have an effect on the present. The figure of the specter marks a correlation or connection to something that is no longer there but still effective in virtual terms; and, at the same time, it is a link to what is yet to come and nevertheless something that already exists in the virtual.

According to Mark Fisher, the past remains an effective virtuality while the possibility of the future is already present in the virtual sphere. In this sense, we escape a deterministic or automated future, rendering it speculative. Technologies are capable of creating multiple virtualities in space and time. Technologies consequently collapse spatial and temporal dimensions. Haunted by the future, this future thus becomes a virtuality that pervades the present, shapes future expectations and drives cultural production.

Spook & Specters

Invisible things (are) not necesserily ‘not-there’. (Toni Morrison)

Feminist physicist Karen Barad also references Derrida in here materialist theory. Based on the principle of quantum mechanics, she states that phenomena are connected in spooky and complex ways and have an effect beyond the subatomic level. Objects are therefore not static things but dynamic processes which change as they interact and intra-act with other objects. Karen Barad calls this hauntological materialism. In different ways, our entangled inner actions therefore emulate the relationships between subatomic particles. We encounter our past lives and historical figures as ghosts that exert a haunting influence on the present. We encounter these ghosts from our past in 'a time out of joint’, as Derrida suggests by quoting Hamlet in 'Spectres of Marx’.

In ‘Ghostly Matters’, sociologist Avery Gordon also makes haunting one of her research methods. According to Gordon, in order to explore social life, one* is forced to engage with all aspects of haunting. She challenges contemporary scientific methods that examine the relationship between knowledge, experience and power, and suggests an alternative approach: Haunting can describe the seething presence of what does not seem to be there. Gordon tracks down ghost stories to repair the damage caused by representational flaws in the current social situation – such as discriminatory exclusions – and to comprehend the conditions that underlie the creation of memory. Her aim is to establish a counter-memory, one that might help build a fairer future.

sound performance

16 Jan 2024, 19:00

Sonic Specters with Richard Skelton, Jung An Tagen and Firmament

Between Nostalgia and Anticipation

The sound performance series Sonic Specters is the first part of the program centering on AIL’s new topic: Haunted – Persistence of the Past. In cooperation with Struma+Iodine.

Firmament is the midst of the waters that divides the waters above from the waters below. It is the past of the traveler that he did not know he had: the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places.

Richard Skelton is an English musician. Over the past seventeen years and over 50 albums & EPs, he has developed a signature sound, often comprised of strings, piano and other acoustic instrumentation. Since 2013 he has increasingly buried these organic sources in layers of detritus and static. The process, as he articulates it, is to use signal-degradation as a means of reflecting the processes of decay and transformation in the natural world. His music has been placed alongside giants of experimental music, such as Brian Eno, Harold Budd, Stars Of The Lid, William Basinski. A DIY advocate, most of his music has been self-released, either via Sustain-Release (2005-2011) or Corbel Stone Press (2009+).

Renown for his expressive and innovative use of acoustic instruments, his much-imitated treatment of strings — at once visceral and haunting — began in 2007 on the album ‘Box of Birch’, and was later developed on his trio of ground-breaking recordings, ‘Marking Time’ (2008), ‘Landings’ (2009) and ‘Verse of Birds’ (2011). His work has been lauded by Gramophone, Mojo, Q, Record Collector and The Quietus, among others, and in 2011 he was featured on the cover of The Wire magazine. In 2013 he was shortlisted for a Paul Hamlyn Foundation Award, and in 2014 he was a finalist for the Arts Foundation Award for Experimental Music.

Jung An Tagen invites us to reflect on the diffuse but persistent term ‘experimental’ not as deviation from aesthetic orthodoxy, but as the design and implementation of compositional systems that offer unpredictable results; ‘electronic’ as an annulment of the previous instrumental tradition, and as a simultaneous reversion towards aesthetic openness; as the fragmentation of a theoretical or mythical musical syntax by obsessive repetition, sequential motivic mutations, aleatoric arrays, pareidolic illusions and moiré effects; ‘electronic’ as the ultimate split, dehumanisation, mechanic strangeness.

Backed up by 2 decades of discographic activity under diverse pseudonyms and multiple collaborations on labels such as Editions Mego and Diagonal, Stefan Juster performs tirelessly at Festivals like Unsound or Sonic Acts, researching the boundaries of techno and dissociative computer music. Testing strategies of physical disorientation and forceful sonic phenomena, encouraging minds and bodies to calculate and intuit their own place in spacetime. It’s addictive music. Music in constant explosion.

More about the series Sonic Specters

Concept: Shilla Strelka, Elisabeth Falkensteiner

Photo JaT: Milica Balubdzic

news

Sonic Specters. Between Nostalgia and Anticipation

New Series of Sound Performances, starting October 2023

Dates:

4 Oct, KMRU, Misonica, Inou Ki Endo
8 Nov, Perila, Afrodeo
15 Dec, Katatonic Silentio, dieb13
16 Jan, Richard Skelton and Jung an Tagen

Eerie atmospheres and flickering sound traces created by past audio sources and the coming times – for each event of the new series Sonic Specters. Between Nostalgia and Anticipation two musicians track down what has ceased to exist and what is yet to come.

Oscillating between melancholic nostalgia and euphoric anticipation, linear concepts of time and space will be called into question. Does the past haunt the present and the future?

Cultural philosopher Mark Fisher elaborated on Jacques Derrida's concept of hauntology, and paid particular attention to the question of time. In his theory, phenomena and forces act from a distance while the absence of existence is immanent to being: it is a legacy, a trace of what has been and what will be. The past remains an effective virtuality while the possibility of the future is already present in the virtual sphere. In this sense, we reject a deterministic and automated future, rendering it speculative. Technologies are capable of creating multiple virtualities in time and space. Technologies consequently collapse temporal and spatial dimensions. The future becomes a powerful and haunting experience: a virtuality that pervades the present, shapes expectations and drives cultural production.

Sonic Specters is concerned neither with resurrecting real events from the past nor with celebrating reactionary and romantic notions of nostalgia. Rather, its focus lies on lost futures, those that never materialized and remain specters.

In searching for those specters, we tap into areas of unfulfilled potential and circumvent repetitive behavior patterns.

Program 2023:

4 Oct 2023, 19:00 with KMRU and Inou Ki Endo & Misonica (DJ-set)

8 Nov, 19:00 with Perila and Afrodeo

15 Dec, 19:00 with Katatonic Silentio and dieb13

The sound performance series Sonic Specters is the first part of the program centering on AIL’s new topic: Haunted – Persistence of the Past.

Graphic Image: Lion Sauterleute

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Performance View: Sonic Specters

Live Performance with KMRU and Inou Ki Endo & Misonica (DJ-Set), October 2023

Eerie atmospheres and flickering sound traces created by past audio sources and the coming times

Between Nostalgia and Anticipation

For Joseph Kamaru (KMRU) a Nairobi-born Berlin-based sound artist, sound is a sensorial medium through which social, material and conceptual interpretations are manifested in his works. KMRU carries with him a repository of listening experiences from Nairobi and beyond expanding his sonic practices, bringing an awareness of surroundings through creative compositions, installations and performances. He has earned international acclaim from his performances and releases, at the Barbican, Berlin Atonal, Présences électronique, and releases on Editions Mego, Subtext, Seil Records. KMRU has carved out a serious and definitive space on the list of essential authors in ambient experimental music – one of the most prolific and innovative artists in his field.

DJ-set by the curators Shilla Strelka and Elisabeth Falkensteiner aka Inou Ki Endo and Misonica

Inou Ki Endo's preference lies in infernal and cerebral sounds, obscure dilettantes and professional borderliners beyond the musical mainstream. Shilla Strelka is the artistic director of Unsafe+Sounds Festival, hosts concerts in Vienna under the name Struma+Iodine, and is active as a music journalist. As Inou Ki Endo, she is filtering communal sounds and rhythms from the past and the present, drawing from techno, industrial, ambient and noise.

Misonica as a Dj is a strong selector across times and spaces, fusing hidden gems from all over the world and obscure vocal tracks into a coherent, punchy mix between Industrial and EBM, Tribal and Cosmic or experimental sounds.

In her recently presented live sets, she works with field recordings, ambient noises and her voices. They engage with a larger narrative, and guide us into imaginary realms, opening auratic spaces that we can walk in.

The sound performance series Sonic Specters is the first part of the program centering on AIL‘s new topic: Haunted – Persistence of the Past.

Sonic Specters is a cooperation with Struma+Iodine, curated by Shilla Strelka and Elisabeth Falkensteiner

All photos: Marcella Ruiz Cruz

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Performance View: Phantom Voltage

with Peter Kutin, Florian Kindlinger, Christina Kubisch / Part of Wien Modern, November 2023

Multimedia composition for electromagnetic fields, various kinetic sound and light objects and cello (2023 WP) ~60´.

Q&A with the artists Christina Kubisch, Florian Kindlinger and Peter Kutin and Bernhard Günther (Artistic Director)

Like an invisible architecture, the electromagnetic fields of electrical cables, radio signals, batteries, sensors, communication networks and other technical infrastructures penetrate and structure our everyday lives. Phantom Voltage gives this ephemeral spirit a sound body and visibility through installations, specially created instruments, and performative elements. Induction sensors translate electromagnetic fields into sound, light and noise, which enter into dialogue with one another. The cello acts as an analogue counterpoint to the electro-acoustic phantom sounds. In an experimental arrangement of corresponding objects, the performers create a sound landscape that is open to the audience.

‘I understood the silence of the ether. I never understood people‘s words.’
(Friedrich Hölderlin [1770–1843], Since I was a boy)

After Desert Bloom (2016, Karl Szcuka Prize as part of the Donaueschinger Musiktage) and Spectral City (including 2019 at the HeK Basel & at the ReiheM in Cologne), Florian Kindlinger, Christina Kubisch and Peter Kutin are now working together for the third time. For Phantom Voltage, the three artists have partly developed existing sound objects and installations, partly created new devices and woven them into an expansive composition that encompasses the audience.

A limited edition of sounding latex objects created especially for Phantom Voltage by the visual artist Liesl Raff (in co-operation with Peter Kutin) will also be on display.

Peter Kutin | Light feedback systems, kinetic objects, dramaturgy
Florian Kindlinger | Sound direction, live electronics, dramaturgy
Christina Kubisch | Electromagnetic induction objects, live performance
Mathias Lenz | Mechatronics, live performance
Liesl Raff | latex objects
Maiken Beer | Violoncello
Anna Resch | Production, dramaturgy
Sebastian Jobst | Production, dramaturgy

Production Konnektom | Co-production Wien Modern

With the kind support of the City of Vienna, BMKÖS and SKE of Austro Mechana

Cooperation Angewandte Interdisciplinary Lab of the University of Applied Arts Vienna

All photos: Markus Sepperer

sound performance

15 Dec 2023, 19:00

Sonic Specters with Katatonic Silentio and dieb13

Between Nostalgia and Anticipation

The sound performance series Sonic Specters is the first part of the program centering on AIL’s new topic: Haunted – Persistence of the Past. In cooperation with Struma+Iodine.

Photo: Kevin Rashid Giaquinto

Katatonic Silentio

Mariachiara Troianiello, the Milan-based sound artist behind the moniker Katatonic Silentio, works at the crossroads of electronic music, performing arts and sound studies. Both as alive performer and an independent researcher, she seeks to bridge different spheres and approaches to sonic production.

Active as a DJ for more than 15 years, her sets adopt multiple forms, fluctuating between an analogue past and a technological, fast-paced future. At times, her sets focus on pure abstraction, consisting of ethereal soundscapes that seek to transcend the tangible through a mix of musique concrète, world, spoken word, ambient or dub. At others, they come across as concrete and club-oriented, crossing techno, broken beats or drum n bass.

Mariachiara views sound as a critical tool and has a genuine interest in exploring sonic possibilities and practices from both artistic and sociological perspectives. As an independent researcher, she is a member of the Scientific Advisory Board of USMARADIO: Interdepartmental Research Centre for Radiophonic Studies at the University of San Marino. In her undergraduate thesis in 2015, Mariachiara looked at the different notions of radio and broadcasting between underground and mainstream and the multiple performative possibilities of the medium itself – a topic she currently puts into practice through her project Expanded Radio Research Unit. As of now, she holds radio residencies on EOS and LYL.

Mariachiara also collaborates with Anonima/Luci, a light art collective with whom she develops installations that reconfigure architectural spaces by combining light and sound.

Together with choreographer and dancer Olimpia Fortuni, she performs ‘X’, an ongoing compositional study that draws on sound, movement and space.

Photo: Cristina Marx

dieb13

Turntablist, hacker, filmmaker, autodidact, composer, collageur, conscientious copyright objector, since the late 1980ies dieb13 has explored the possibilities of vinyls, casettes, vinyls, harddisks, ip-protocols etc. as material for collages and compositions. Using various playing techniques and his own lathe cutter, he has pushed the development of turntables as instruments aside ‘classical dj techniques’ and developed his very unique style.

Since the 1990s, he’s been active in vienna’s electronic-, improvised and noise music scene but also in fields like contemporary composed music, free jazz or pop. Solo appearances as dieb12, dieb13, dieb14, bot, echelon, Dieter Bohlen...

Permanent collaborations include: RISC, efzeg, eRikm/dieb13, dieb13 vs. takeshi fumimoto, swedish azz, phil minton/dieb13, fake the facs, where is the sun, nu ensemble, crsp

Founder of the klingt.orgestra

Performances in more than 30 countries on four continents at various international festivals and locations including: Phonotaktik Wien & New York, Wien Modern, Donaufestival Krems, sonicacts Amsterdam, beyond innocence Osaka, LMC festival London, Huddersfield contemporary music festival, Kilbi Düdingen, Maerzmusik Berlin, Kammermusiktage Witten, Musiktage Donaueschingen, Piksel Bergen, CMMAS Morelia, trans art Bozen, great performers an ideas Colorado Springs, Bienale São Paulo.

Distributed by 1.8sec, absurd, amoebic, antifrost, charhizma, col legno, corvo, doc, Durian, en/of, editions mego, erstwhile, filmarchiv austria, for4ears, gruenrekorder, god rec., grob, hathut, index, interstellar, junkjet, loewenhertz, mego, mikroton, moka bar, nottwo, orf, panrec, pilot.fm, rhiz, sixpack, staalplaat, substance, transacoustic research, the manual, trost, unframed recordings.

music for theater-, dance-, opera-, film- and videoproductions and installations. His collaborative Films with Billy Roisz were shown at Berlinale, Karlovary Film Festival, IFF Rotterdam, Hongkong Film Festival, Edinburgh Film Festival, SXSW Texas a.m.m.... (Co-)Organizer of several festivals and the monthly series "der blöde dritte mittwoch". He was teaching / held workshops at several universities, musical institutes and schools

dieb13 runs the internet platform klingt.org

'Dieter Kovačič aka dieb13 counts as a protagonist of turntablism, since his start in the 1990ies. Not only does he immerge deeply into the noisy, abstract sounds of vinyl, but also he fractures the sound and creates discrete, almost animistic soundscapes that float from one atmosphere to another with the help of gentle fades and overlappings. In 2000 Kovačič founded the platform klingt.org for experimental music in austria.’ (Shilla Strelka)

More about the series Sonic Specters

sound performance

08 Nov 2023, 19:00

Sonic Specters with Perila and Afrodeo

Between Nostalgia and Anticipation

The sound performance series Sonic Specters is the first part of the program centering on AIL’s new topic: Haunted – Persistence of the Past. In cooperation with Struma+Iodine, curated by Shilla Strelka and Elisabeth Falkensteiner

What do you mean when we say that substance matters?

Perila is a St. Petersburg-born, Berlin-based sound and visual artist, DJ and performer exploring sensitive borderlines and depths of subtle matter. Her sets are thick narratives drifting through rich sound palette imerging a listener into pretty personal trip. Constantly shifting moods and textures of mixes create comfort space for emotions to float, merge, evaporate and ride in a deep context.

Apart from sound practice and research Perila constructs intimate visual, textual, contextual, performative layers to affect a listener on many levels. Practice is aimed to challenge and overcome boundaries and share this expansion with the Other.

Stay in presence. Impermanence and balance.

Afrodeo is an Istanbul-born producer, rapper and radio personality based in Vienna. Influenced by Eisenstein’s montage theory, his sampladelic work generates poetic evocations of memory and fantasy through the combination of sounds from a vast sonic palette ranging between tape loops, field recordings, TV/film samples and ethereal singing. Besides releasing music, Afrodeo has been hosting a thematic radio show called Sovyet Montajı since 2016.

More about the series Sonic Specters

Next date of Sonic Specters:

15 Dec, 19:00
with Katatonic Silentio and dieb13

Image Parila: Marissa Patrice Leitman / Image Afrodeo: Viktoria Zeiler