MI, 20.9.2017

20:00 | Stefan Fraunberger



Stefan Fraunberger is a composer-performer-artist transforming things since 1980. His music engages in electro / acoustic dialogue with uncanny states and instruments such as dulcimers or decaying baroque church organs, reshaping the liminal conditions of culture and perception while inhabiting „sonic ambiguities and touching the void." (The Wire)

Fraunberger has performed at festivals throughout the world and released on various labels. He is focusing on the recontextualisation of sonic dialects and the shaping of fluid sculptures. His compositions and performances work their way through “nature's very own modular patch” resulting otherworldly tongues and possibilities.

Based in Vienna, Fraunberger has lived and worked in Aleppo, Sana'a, London, Tehran, Sibiu, Benares, Brussels and Istanbul. His work is deeply informed by the study of different languages, traditions, and understandings of modernity. Working in the fields of performative sound art, vocal and instrumental composition he also does sound installations and translates / interprets non-idiomatic sufi poetry as well as creating sound tracks for movies and contemporary dance.

Fraunberger’s latest project, “barzakh”, takes its name from the word used to describe gray zones and liminal states, meaning “anything but yes and no.” The piece uses an amplified electromagnetic santur (dulcimer), field recordings and interval crisis. Fraunberger is currently working on the upcoming release Quellgeister #3 for deserted church-organs and on other projects “concerning derangement, vortex and pre-modern-futures.” He is a 2017 shape platform artist, did the soundtrack for southafrican movie-production „Woodwind“, performed solo and composed comissioned pieces at CTM Festival, Berghain; Berlin / Donaufestival, Krems / Outernational Days, Bucharest / Tadaex Festival / Radical Tehran, Teheran / Musikprotokoll, Graz / The Fordge, London / UH-Fest, Budapest / Les Brigittines, Bruxelles...




 21:00 | Pia Palme



Foto: Maria Frodl

Studie zu Vertical Ears. Charting the white spaces of listening.

Eine sehr persönliche Performance über das Hören als politische Handlung, die in die Tiefe geht. Ich beobachte den künstlerischen Prozess im Alltag, spiele mein Instrument und erzähle darüber. Parallel dazu entwickle ich Gedanken über meine individuelle Wahrnehmung des Hörens - das alles aus der Position einer Lauscherin und Komponistin heraus, die ihre Arbeit als eine feministische Praxis versteht. Mit Texten (englisch und deutsch), Video, Kontrabassblockflöte und Elektronik.