IMAfiction is the Institute’s portrait series dedicated to female media artists with a focus on sonic art. So far portraits of Liesl Ujvary, Rebekah Wilson aka Netotschka Nezvanova, Heidi Grundmann, Eliane Radigue, Andrea Sodomka, Maryanne Amacher, Anne La Berge, and Electric Indigo have been released.
© Reinhart Mayr
07 07 2017 – 10 07 2017 Presentation of portrait #08 Electric Indigo | #06 Maryanne Amacher | #04 Eliane Radigue in cooperation with the Heroines of Sound Festival, Radialsystem, Berlin
07 07 2017 18:00 Panel 1
Women in the electronic music scene: commitment, networking, the public
10 11 2017 Presentation of portrait #04 Eliane Radigue | #07 Anne La Berge | Splendor, Amsterdam | in cooperation with Splendor, Amsterdam
26 11 2017 16:00
Beatriz Ferreyra 80 | Concert and premiere of portrait #09 Beatriz Ferreyra in cooperation with Wien Modern and ACP (The Acousmatic Project), Kuppelsaal der TU Wien
A cooperation with LIMA (Amsterdam) www.li-ma.nl und der Medienwerkstatt Wien www.medienwerkstatt-wien.at
Network Meeting 07 02 2017 | LIMA Amsterdam
Symposium Future Proof ?! 08/09 02 2017 | Stedelijk Museum Shiedam
Symposium Entfalten 18 12 2017 | Medienwerkstatt Wien 11:00 – 19:00
Exhibition Entfaltet 12 01 2018 – 29 01 2018 | Medienwerkstatt Wien | curators: Gerda Lampalzer und Elisabeth Schimana
Re-interpretation as a radical stragety to preserve and mediate timebased media art.
The project was initiated by LIMA and further developed during several interdisciplinary network meetings in 2016. The fundamental question is how do we catapult ephemeral analogue/digital art into the next millennium?
Media are in danger of extinction. Data can no longer be sorted out and our culture is drowning in digital Nirvana. In addition to the permanent migration of data and the preservation and maintenance of obsolescent hardware, one highly promising strategy is reinterpretation, or simply interpretation, which has been a common practice in music for ages.
What does this mean in the museum context, in matters pertaining to preservation? And in the case of reinterpretation when do we speak of a new work? These and other questions will be pursued in future interdisciplinary network meetings and implemented and analyzed in practice by commissioning artists to interpret media artworks.
Mediation by reinterpretation
21 03 2017 – 31 03 2017 | Salon Izidor Kršnjavi (School of Applied Arts and Design) | Zagreb | PROGRAM
in cooperation with UBU (Organizam)
27 07 2017 20:30 | Strandbad Drosendorf | in cooperation with filmclub Drosendorf | moderation: Cordula Bösze | curators: Elisabeth Schimana and Peter Szely | PROGRAM
11 10 2017 – 13 10 2017 | Freiraum St. Pölten, FH St. Pölten | in cooperation with Freiraum and FH St. Pölten, UBU and Sintoment Zagreb | curator: Elisabeth Schimana | PROGRAM
Lichttonscheiben (Sonic Luz)
Light speaks, light makes music
With these words Emerich Spielmann presented the Superpiano on a program broadcast on the Vienna radio station RAVAG in 1929. In 1931 Leon Theremin developed the first optical sound rhythm machine (Rhythmicon) and in the early 30s the Russian composer Arseny Avraamov as well as the German filmmaker Oskar Fischinger began drawing sound waves on film.
In the late 50s Daphne Oram created Oramics, meanwhile in N.Y. at the same time the Austrian composer Max Brand developed an optical synthesizer, which was based on the same principle as Daphne Oram’s Oramic system.
In a series of exhibitions, workshops, talks, and concerts artists and researchers are invited to illuminate the principles of optical sound and to transfer them into the 21st century.