The video installation Parkbank Transfair will run in Volders between September 26, 2020 and October 10, 2020. A bench on the meadow between the village’s central restaurant “Bräu” and the elementary school and another bench in front of the peripheral refugee home are connected via video. Using video live streaming, it is possible to take a seat next to each other on the two spatially separated benches.
The park bench, as a space and symbol for encounters but also for waiting, becomes a distorted virtual space that expresses the distant relationship in which refugee homes and their residents are to the respective locations.
The project is accompanied by performance theater workshops on the subject of waiting in schools and homes, carried out by Johanna Huter. Images of the wohle project will be shown in documentary form in October at the Volders primary school.
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Text as on object:
Have a seat! بفرمایید بنشینید اجلسوا من فضلكم
This bench is connected to another bench at the Kleinvolderberg refugee home via a live broadcast. Maybe someone will sit down with you! When do you have the opportunity to sit together on a bench so carefree and without a face mask in times of Corona? Here technology ensures that there is at least a fully-grown-elephant distance!
Distance - Refugee homes are often on the periphery of communities, away from the center. Refugees and their fates are also being pushed to the edge of our society and, if only as a problem, are at the center of social debates. For a good coexistence, however, it would be desirable if they would arrive in the middle of our society. This existing distance should be shown here and points of contact made possible.
Waiting - Another aspect for which the bank is emblematic is waiting. The lives of refugees are shaped by this condition in a way that is difficult for others to grasp. Waiting for notices, for a secure future, for a meaningful and “normal” life or waiting for one's own family who is still in their country of origin or on the run, determines everyday life in the refugee home. The uncertainties that pervade all areas of life and their own powerlessness in the face of opaque processes represent a considerable burden for those affected.
mit Beiträgen von
Carmen Fetz, Ulrich Kühn, Veronika Mayer, Christine Schörkhuber
Carmen Fetz
Beim Einwurf eines Gegenstandes in den Mülleimer wird ein Soundfile abspielt, das ein Nachhallen imitiert. Die sich je nach Standort des Mülleimers abwechselnden Töne erwecken den Eindruck als fiele das Weggeworfene in eine tiefe Schlucht. Sonic Trash fungiert somit als unerwarteter akustischer Eingriff in eine Alltagshandlung und möchte die PassantInnen zum Innehalten und nachdenken, was denn weiters mit dem weggeworfenen Gegenstand passiert, anregen. Tagtäglich produzieren wir Unmengen an Müll, was jedoch damit in weiterer Folge passiert, interessiert uns meist nicht mehr. Sonic Trash verwandelt die Maria-Theresien-Straße in einen poetischen Reflexionsraum mit ungeahnten Tiefen.
Außerdem bedanken sich die Mülleimer beim Ausleeren erleichtert beim Personal der Müllabfuhr.
When an object is thrown into the bronze trash can, a sound file is played that imitates the echo of the thrown object. This sound can be compared with the falling of the object into a shaft space. The reverberation suggests a space of great depth, the sound can be dull, bright, or other variations, different every time.
Sonic Trash functions as an unexpected acoustic intervention in an everyday action and wants to encourage passers-by to pause, and thereby asks the question of what happens to the thrown-away object. Every day we produce huge amounts of garbage, but what happens to it afterwards is usually no longer of interest to us. Sonic Trash transforms Maria-Theresien-Straße into a poetic space of reflection with undreamt-of depths.
In addition, the trash cans thank the garbage disposal staff when being emptied.
Ulrich Kühn
„8 biting bits“
Die Installation "8 biting bits" verbindet ganz einfach und interaktiv Abfallentsorgung mit tiefsitzenden Gefühlen. Der Einwurf in den Mülleimer löst Töne aus der virtuellen Computerspielwelt aus. Über 60 Samples, die wir alle von irgendwo her kennen, triggern Emotionen, ... vielleicht eine Erinnerung, weil wir mit unseren kleinen Heldinnen eine Münze gefunden oder ein Level geschafft haben...oder aber den Abgrund gestürzt sind.
The installation "8 biting bits" combines waste disposal with deep-seated emotions in a very simple and interactive way. Throwing something into the garbage can evokes a sound from the virtual computer game world. Over 60 samples, which we all know from somewhere, might trigger emotions, ... maybe a memory, because we found a coin with our little heroines or made a level ... or the plunge into the abyss.
Veronika Mayer
„Shepard-Skala“
Die sogenannte Shepard-Skala, die akustische Illusion einer unendlich steigenden oder fallenden Tonfolge, wird zur klingenden Metapher für die verschiedenen Wege des Mülls - seien es unsere ständig neu anfallenden Mistmengen oder der mögliche Kreislauf durch Mülltrennung und Recycling.
The so-called Shepard scale, an acoustic illusion of an endless rising or falling pitch scale, is used as a metaphor for the various pathways of rubbish – this might be our ongoing production of trash or the possible cycle of waste separation and recycling.
Website: https://veronikamayer.com
Christine Schörkhuber
Allerorts wird der Konsumentenschaft mit zahlreichen Sounds, Beats und Stimmen eine schöne Warenwelt schmackhaft gemacht, die es zu kaufen, konsumieren und in ihren Resten zu entsorgen gilt. Christine Schörkhuber schredert und verhäckselt Werbejingles aus Funk und Fernsehen zu rhythmischen Mini-Collagen.
Everywhere consumers are made palatable with numerous sounds, beats and voices, which can be bought, consumed and leftovers to be disposed of. Christine Schörkhuber cuts and shreds advertising jingles from radio and television into rhythmic mini-collages.
Sonic Trash is an interactive Sound installation in the public space, initialised in September 2020.
When an object is thrown into the bronze trash can, a sound file is played that imitates the echo of the thrown object. This sound can be compared with the falling of the object into a shaft space. The reverberation suggests a space of great depth, the sound can be dull, bright, or other variations, different every time.
Sonic Trash functions as an unexpected acoustic intervention in an everyday action and wants to encourage passers-by to pause, and thereby asks the question of what happens to the thrown-away object. Every day we produce huge amounts of garbage, but what happens to it afterwards is usually no longer of interest to us. Sonic Trash transforms Maria-Theresien-Straße into a poetic space of reflection with undreamt-of depths.
Is a video projection dealing with different layers of society and the individual. While we are trapped in our reality we are often not aware of the other. The other refers to what happens under the table, the left overs picked up by someone, the things that are invisible and not spoken of. But yet they are always there just beneath the table. In our increasingly unjust society some feast while the majority has to live of the scrubs of those most fortunate. The narrative of the dishwasher changing his live becomes more and more uncovered as mere fantasy for the masses. Born poor or rich predicts the future of everyone. The rich get rich the poor get the scrubs. Born a dog or a human in this case
Scrubs, Dinner at Garikula_video projection_Armenia 2017
“FLAT WHITE OPEN am Hannovermarkt” is a three-day open space concept realized at Vienna's "Hannover market". Two neighbors and artist friends try to use the existing structures of the Hannover market and transfer their workspace there.
In contrast to the well-known White Cube, where the artistic process is not as important as the artistic product, the recipient´s reaction to the exhibited artwork is not the primary interest. FLAT WHITE OPEN wants to be an open space for interaction and exchange. A slot in the market area is temporarily rented and materials from the market are artistically used for work in this minimal housing/working space.
FLAT WHITE OPEN_Intervention at Hannovermarket_Vienna 2016
Two construction workers hammer in turn, almost rhythmically onto the face of a building. Their pace is uninterrupted, there are no questions asked. The never-ending loop of construction-deconstruction, distilled in the heavy swings of the two workers on the rooftop of an Indonesian ruin is projected onto the windows of an old Viennese government building.
On the one hand this aesthetic process of deconstruction makes believe that the old structures are broken down, on the other hand the constant looping of the video resets their effort.
Intervention. Seestadt Aspern and Karlsplatz Vienna. 2017
Who will be the future inhabitants of Seestadt Aspern, one of Vienna’s largest urban development projects? How will the future “Seestadt Aspern” deal with alternative forms of living? How will they deal with marginal groups such as the “Wagenplatzkultur”, a form of living where people have decided to live in their caravans instead of owning a piece of land, house or flat.
“Prolog#2” is the attempt to draw the silhouette of a performer that is projected onto the person herself and the wall behind her. As the movements become faster the outlines also fade into ever more simplistic strokes and catching up becomes harder.
Restlessness, increasing speed, simultaneous consumption of different media define this performance as they are a permanent companion of today´s life.
Prolog #2_Interactive Mediaperformance/live visuals_KUNSTtransPORT 22/11/2014
Prolog#1 is an interactive video-installation in the old town of Hall, Tirol. It doubles and criticizes the omnipresent surveillance and asks for self-determination in this context. It seems that constant surveillance has become widely accepted for the sake of security, while awareness of the consequences is low.
In contrast to the passive role of the people in this context Public Seeing grants the passerby the possibility to create their own video which is projected on a big scale.
The participants are granted options, for example switching the active camera, and therefore become the creators of their own surveillance video, while being constantly publicly exposed in doing so.
Prolog#1_Public seeing_Video Projection_in collaboration with KUNSTtransPORT and Johanna Huter, Carmen Fetz, Johannes Bodner, Matthias Nicolussi-Castellan; at Haller Night Seeing_24/10/2014
Unter_bruecken subtly extends the acoustic awareness of space.
In our hectic everyday lives we are often not “here”, but the sound installation unter_brücken wants to bring modern people back “here” by reinforcing the given sound space. With new desire, bridges should be crossed and the dimensions of a movement in a new (sound) space should be expanded on and made easier to experience. The city dwellers thus become an active part of the orchestra bridge.
THE THING IS ...
...the city, the village, the street, wherever we are, belong to us!
Or does it? Yes, public space is starting to lose public attention and is silently passed into private hands... Count us out!
We hang out wherever and whenever we like, be it a lamp post, a traffic sign, or the good old traffic light. These objects are what we exchange our comfortable wing chairs for. Get out into urban life, or let yourself dangle from a tree. So... hang loooos!
Relax and take back what belongs to you anyway!
Hang Looose_Series of interventions_Vienna 2007
HOW DOES IT WORK ...