Stefan Doepner: LivingKitchen
interactive installation, opening 23.09.2006 (until 15.10.2006)

The Installation offers the visitor to explore his own everyday world which is implemented in the ideas of automation and duty. The inner-space of the living-area relates to the outer-space, therefore the gallery space, as reality to medial reflection. Views and sounds, angles of view and effort will be audio-visual transferred, being amplified and controlled, into projections in the outer area. So the outer area gallery reflects the inner of the living-area and thereby supports the opportunity of sensual reception of this installation.

The complexity of technology, development, mechanic and electronic of our everyday devices is not translated into our reception. The system behind, the creation, conditions and user-optimisation is in now way transparent. This applies even for our not motorised or electric driven surrounding, the ideal kitchen of Bauhaus for example, which dimensions where created considering the shortest distance between the different work-stations or the whole format of our flat-units, this all is based on theories which want to make our life / daily living systematically ‘easier and better’. Starting with the electrified kitchen via the electronic bureau and virtual space towards ‘Augmented Environment’ or ‘Ambient Intelligence’ (s.2/4), a mixture of virtual and real space.

With our Installation we want to approach this phenomena on a not object orientated level, similar to the quote of O.Onnen (s.1). The relation man machine consist at least out of two levels, the function orientated ‘what can I do with it and what do I gain out of it-’ and the aesthetic ‘how do I feel with it-’ relation. We will create an as well post- as pre-ideal picture which you can apply to several ideas and dreams for to improve our environment and which supports you to find an own position.

A moment of sensual and aesthetic reception of an almost normal situation arises, which offers the opportunity to visitor to visualise an straightened image from the distance of a free spectator.

homepage at

Botjan Leskovek: Sound Baths
performance, saturday 23.09.2006:
A sound object (flakon; the big bottle) with a microphone is positioned in a dislocated space. The microphone receives the resonating sounds within the object. Beside the object there is a video camera. The sound and the picture are transmitted into the gallery space. The picture and sound are manipulated live with the computer and projected to the wall and amplified with a sound system.

daily activities = tracking 24.09-30.09.2006:
Flakon with microphone will be moved to different spaces, whereever there is an interesting event going on. Sound and picture are manipulated live, recorded and transmitted. At the closing of the project a CDR with captured sound material is issued.

In the sound baths ROR listens to the space. He is interested in THIS outside and he wants to get out -back to the listening space – with what he hears. With this approach he adds to what he hears the experience of this outside and confronts it with the coexistence of another space, the space inside him, that can well be himself. As an unstable creation he creates changes, cleans through it, falls apart by repetition and tries to create a communication with the border and limit (robom in mejo) relationship, between the fictive and real, between Israel and Libanon, between the place and the space, between Nadia and gallery ESC. The basic for ROR is love, the only real love, the love of the different; the love that understands. So the space in his event is the meeting of the differences, the temporary autonomous changes in the process of thought with the seriality of methods and approaches that feed and keep the situation in its emptying phase as Eternal. The one that holds does not change, just accumulates in the private or public limitation. That one tries to choose in advance what he hears even before he listenes he is the everyday’s relocation of mind in its own solipsism that one is the key product of hope.

homepage at

an experimental sound performance, saturday 23.09.2006

Problemlos Orchestra (PMS; Princic, Mancek, Savski) transform their identities/entities into a flow of sound – a sound drama, which is known to emerge always, when something is extended in time. We usually don’t deal with topics of combined performance, except during a performance itself. Here we try to stress the importance of the difference between the so-called real-time (a live improvised performance) and the constructed time – meaning: preparation before the performance (composition, structuring, building). There is a composition process – but on the somewhat different position on “the wheel of creation”.

We approach the composition in various ways – with building of different objects of sound and thought (interfaces, sound machines). These can be mechanic, electric, electronic (mehatronic), computer – but in principle they already sustain a kind of a life of its own (a kind of dynamic inertia, or: their own algoritmic structures). We might even try to point out to the psycho-physical and social motivations/motivators/machines.

homepage at

Dunja Kukovec – A curator – it used to be a position to erase. And now?
discussion on thoughts presented; sunday 24.09.2006

Dunja Kukovec would shortly like to discuss her experience as a curator while seeing the working process of making an exhibition as a collaborative project. In a structural sense, she claims, curator is nothing else than first assured viewer, might be organiser, creative service provider or/and feed back loop. While working as a curator s/he is not an artist, and the same goes with an artist, who is not an artist, while working as a curator. Nevertheless, is the question Are you satisfied? asked by artists a symptom showing blurred position of a curator, before all of it becomes a collaborative process in an intermediate space, or are these just shifting roles that need to be acknowledged and requestioned?

Keka ?ali? and Dunja Kukovec – How we become men?
presentation, projection of a documentary video; sunday 24.09.2006

Presentation of shoots, done by Dunja Kukovec and Keka ?ali? together with Tjaa, on the streets of Ljubljana, where they have wanted to meet girls or rather women that are living on the streets or in the homeless centre. Documentary film in process tends to present similarities between them and us, whereas stereotipical thinking about their inabilities to realize themselves are to be disproved. Domestic research project is based on dialogues, gatherings, collaboration and shifting roles and is focusing on a thin, but decisive line, that discriminates us, and is defining us as included vs. excluded in a social economic sphere.
( by Alenka Pirman)

No communication. Just presentation.
video presentation by Neven Korda, sunday 24.09.2006

Barbato Kanak pays attention to momentary flashes, to constant evocation of beauty, to deep feelings. On Four Seassons. On Off. On Experiment. Why Experiment again? Why Off again? Re-reading. Read It!

Remember: God is big, a tree is even bigger.

100 % PURE VIDEO. Neven Korda, a pure video practice and research. A pure video fan. Worshiping the pure video. Neven Korda is an independent pure video artist. He began working with video medium as a member of the Theatre FV 112/15 in the beginning of Eighties. He co-founded FVVideo, the independent video production group, which produced numerous art, documentary and music video projects.

homepage at

The Logic Space Metaphore – a playful situation arranged by Borut Savski
sound performance for four participants and two piano wires, sunday 24.09.2006

First there was Machine … and Machine gave birth to Human

Prior to any cognition there is a differentiation of qualities to opposing values. The curved, spiral space flattens – to the opposingly positioned meanings, subjects, entities (-> dualisation, duality). It is only from this moment on, that we can operate with this space (-> measure). Bad is opposed to good (-> within the space of Ethics and Quality), black is opposed to white (-> within the space of Colour and Physics). Thus created multi-dimensional space is a reduced space of metaphors – of course, itself being a metaphor -> a rationalized model of the world. The structure is clear, but nevertheless, an image, a shadow, a reflection of the original curving. A forcibly flattened space, where there used to be Nature, is a space of Human. Contemplation (-> the personal) and communication (-> the collective) create an ordered logic space (-> a structure), which can also be a space of Aesthetics.

homepage at

solo guitar improformance, sunday 24.09.2006
saMMan – unprepared guitar, electrix, hardware. A joyful de/re-construction of guitar sound into deep purpose.

saMMan is Matjaz Mancek. since 1996 he has been involved in various music-related activities and actions in Ljubljana/ Slovenia: music editor, journalist and dj at Radio Student; dj and promoter of music events; editor for the experimental electronic music label rx:tx; organizer of various festivals and music series (rock, improv, electronica).

He coordinates “Crossradio” a project encouraging the exchange of radio content and programs between independent radio stations from ex-Yugoslavian states. Lately he has been most occupied as a guitar player in the Free-Rock-Improv band Alzheimer Trio.

He is the initiator and coordinator of “Klubski Maraton Radia student”, a project designed with the aim to increase touring opportunities for young slovenian bands and musicians. In 2004 he was the artistic director of “Progress EX04 festival of Eastern-European Electronica”. He also works as a coordinator for a series of improv events called “Impro Telos” at club Gromka, and as curator for the “Sound Explicit” series of experimental music projects in P74 Gallery.

homepage at

Luka Prin?i? – Open Source sound + software + linux + people + sharing
presentation / performance / debate; Tue, 26/9, 20:00

This gathering is an open space, playfuly interwoven with interventions by everyone. It however starts from certain (possible) propositions, which are somewhat forced into the space:

- software/code must be free, as well as art wants to be free
- truth is individual but not necessarily material
- utopias, dreams and chaos are constitutive element of a life
- to be autonomous means to be free and connected, influenced, reappropriated and copied freely through any-waves (radio-waves, sound-waves, light-waves/particles, dark matter)
- accepting schizophrenia today means …

The gathering includes sounds, images, hardware, code, projections, talk and you.

Prin?i? is a researcher of signal and noise.


Milena Kosec – Heartbeat

: Austrian parlamentary elections
Public action performed on Wednesday and Thursday, 27. and 28. 9. 2006.

Graz, september 2006. In the time before the parlamentary elections the PR of the Republic of Austria hires the most effective creative core of the Scarecrow State, to give boost to the mood and the civic conscienceness with the citizens of Austria and to present the state in the most enticing manner. After an intensive reasearch among the people it was realized that the state seldomly really listenes to the citizens. Therefore a suggestion was accepted that the promotional action moves even further on and that each citizens heart should be listened to individually. So the formally acknowledged representative of the Scarecrow State – Milena Kosec, the career contemporary artist, will perform among the citizens of Austria her beloved action HEARTBEAT. Is it about the hidden wish, for the citizens to listen to the heartbeat of the state? Will this add new foundation to the development of the relation citizen-state from the current level of simple sex to the more noble form of erotic and with the possibility to develop into mutually understanding partnership?

Together we can make it. Lets trust in the power of the INDIVIDUAL in the COLLECTIVE!

Milena Kosec – Art network
I started to build Art network with the last year’s Art project. This year I spread it mainly accross Slovenia. Next year I plan to continue in the international space. The ESC gallery, Graz will be my first station abroad. The basic elements of the project are group photo with the staff of the gallery or center of contemporary art, personal talk with the employed about their work, the description of the mission of the place in question, their yearly program and the list of similar institutions, active in the international space, that they actively collaborated with in the last three years.

Out of this material I build a network on the internet as my personal experiental map of the institute of galleries or centers of contemporary art. Included is the photo, the list of the people portraited, link to the institution and a shorttext about my personal feelings and experiences. When the net reaches the majority of Slovene places for contemporary artit will together with their international connections show an interesting inclusion of Slovenia into the world. Publicly accessible on the internet it will provide a handy tool for artists and the specialized public for making new connections and collaborations, and to the public it will speak about the meaning of contemporary art in the international dimensions..

homepage at

Marija Mojca Punger?ar – SOCIAL DRESS

a workshop with participants from Graz
28. 9. 2006 (Thursday), 17.00 20.00
29. 9. 2006 (Friday), 17.00 20.00
30. 9. 2006 (Saturday), 11.00 15.00

Social Dress is interdisciplinary project that include serial of social events sewing workshops. The main projects goal is to establish a simple selfsuplying system on the field of making clothing.

I use the term social dress for clothing that would work integrative in the terms of community. I would like to transform the sewing into entertaining and useful social activity. The main idea is to share my fashion ideas (clothing that I create in free time for my friends and myself) with workshop participants and to help them to create their own clothing. At workshops we will create spirited and functional clothing that will be easy to produce as well. The important part of workshops will be exchanging stories, anecdotes, experiences, etc. A website with photos, instructions, documents and useful information will be established as well.

Local people from Graz are invited to attend workshops. There is no need to have previous backgrounds. Bring your own textile fabrics and scissors!


Photo: Nada gank Photo: Nada gank

Marija Mojca Punger?ar, presentations and screenings

24. 9. 2006 (Sunday)
Presentation of the project (20 min) + projection of documentary film (39 min).
The Brother and Unity project is a story about two highways and people who built them. Between April and May 2006 I documented the construction works on the building site of the Hrastje Lenica highway section at Novo mesto in Slovenia. In 1958 the Yugoslavian volunteer brigade workers were building the Dolenjska highway, called the Road of Brotherhood and Unity, in the same place.

28. 9. 2006 (Thursday)
Presentation of
selected projects: installations, performances, site-specific interventions.
The presentation is based on documentary videos + comments

29. 9. 2006 (Friday)
VARIOUS FILMS, 1996 2004
Projection of selected video films: low-budget or no-budget experimental & short video films (1h).

29. 9. 2006 (Friday)
Interviews with Kiki Smith, Robin Winters, Alex and Alyson Grey; video projection (1h).
This is the video serial of interviews with three recognized American artists. During interviews they explained their art careers by answering questions on family background, sex and national identity, working, dress and drug habits, relationship to money, incorporation in art system etc.

homepage at

Irena Tomain – Voicings

performance, Thursday 28.9.2006

You need my voice.
You need my voice, because you can no longer hear your own.
You can no longer hear your voice.
You cannot hear yourself anymore.
You cannot hear anymore.
You’de like to hear.
You’d prefer to be heard.
You’d prefer even more to be heard out.
You can’t hear yourself because you only quietly stand by and look on.
You’re too obedient.
You will be heard out by my voice, which is but a mirror of your voice.
My voice will allways be too much or too little for you.
You feel better, you find it easier to turn a deaf ear.
Or better, easier – turn a blind eye.

Voicings are a junction of a static body, which is full of voice, and an imageless moving voice.
Stage is a place for viewing.
A body is a space for listening.
A voice is imageless.
A body is voiceless.
A body that is beeing tuned.
Sealed with an image it falls into voices.
It listens to itself.
The appearance of the image of voices and the sound of the body.
The structure of the voice unfolds the landscape of the body.
For a moment, the body is an image of the voice, the voice a lanscape of the body.

Irena Tomain uses voice as a medium. Voice obliviously reveals the history of the body. It unfolds the stories inscribed in it, stories which cannot be shaken off or altered, stories which have to and need to be told and lived through again and again. Obssessive persistence over the question which of the voices is the genuine one, may be fleetingly resolved in a frail suspense, momentary exhale. As a follow-up a repeated slip into a play of re-examination of identity. Continual circulation of auto-reflection. /text from Maska webpage – for Kaprica performance/

Nada gank -Photo Roll
a photo documentation of various events, mainly in Ljubljana, 23.09.2006 – 15.10.2006

Nada gank, Irena Tomain & friends – Autobahn
a live vj & dj set; an impro sound,vision & choreographed session; wednesday 27.09.2006

Nicole A Pruckermayr – IOhannes m zmlnig: Race the Net interactive installation, opening 23.09.2006 (until 15.10.2006)
“Race the Net” is based on the work “Surf the Net/Row the Net”.
Both are dealing with the topics of interface: the contactless interaction between humans and machines – and the borderless navigation. Contrary to the former work, the physical constitution of the user is not any longer in the focus. While “Row the Net” has already created a fast and speedy world, where it has not been an easy task to pause for a momement and watch, in contrast to our everyday “real-live” movements, this has become nearly impossible in “Race the Net”. “Row the Net” pretends to move in real-world speed from one webpage to another by the physical effort of oaring. “Race the Net” is Hyperspeed within this world: gathering information has become barely possible because of acceleration. at least it requires a special interaction with the medium in order to get the wanted information. Like everything else, this needs to be learned and trained. The acceleration in our reality has modified our practice of seeing. Now it is possible to look out of the window of the moving train and recognize the environment as such instead of some abstract colours. We have mutated to be able to collect necessary information despite the clouding of cognition by speed. This sharpened view is now to be used in the “virtual” world. How do I find myself in this accelerated new world? Which parameters can be used for orientation? How easy is it to adapt human habits? This route is visualized in a (euclidean) 3D graphic, where worlds (webpages) are connected into one space. These connections represent the hyperlinks.

The outcome of this is a universe popuplated by planets, isles of information. The tiresome waiting for web pages becomes the real excitement of “surfing” the net. The ordinary two dimensional view of the internet in form of a series of webpages is now getting to at least a 3D-world. This is more equivalent to the actual networked structure of many parallal spaces and worlds. It matches the idea of relational space of the internet. “Race the Net” has a distinct memory of places, so it is possible to see the development of these parallel worlds.
Experiencing this real data space and its physical extend, makes the virtual space tangible and haptic. Additionally, experimenting with the interface might lead us to “new” ways of navigation.

Phantom Orchestra | on 1m2 and 2 levels – Frnk Zimmer A quiver, a slight vibrating, a jerk, that seems to follow certain rules. In parallel abother world of sounds consisting of snippets of a conversation, passing car and other city noises. On the bottom a 1m2 white expanse, which is roofed by another 1m2 white plattform – the stage of the Phantom Orchestra.

The Phantom Orchestra is an orchestra without musicians. The orchestra apparatus consists of prepared e-guitars, one e-bass, a tape recorder, and other sounding object that are more or less closely related to the music world. Premiered at Liquid Music in 2005, each new version represents a further development of the project – such as is the spacily compressed version for Intermediate Spaces at steirischer herbst 2006.

phantom orchestra

Audio materials
The source material is created by two sound strands. One is a live signal from the proximate acoustic surrounding of the installation space ESC. The second one is a collection of the places, where the Phantom Orchestra was already installed. This strand of sound is augmented by audiomaterial from the participants from Intermediate Spaces.

Control – Composition – System
The enviromental sounds are partly audible in the installation, their main function though is to be the structural trigger for the Phantom Orchestra. Based on real-time-sound analysis, the attitude of the sounds strands becomes the constitutive element of the orchestra. The instruments are activated by rubbing, rasping and grating of motors, and other moveable parts attached to the instruments. A sound situation is created that is generated by data of analysis and their interpretation. In this setting, interpretation stands for the fixation of conditions, (what and how it sounds) and the initiation of subsequent developments. The aim is to create an autonomous musical system.

During the past performances of the Phantom Orchestra, a subsystem has been addded to the original orchester concept. The sound spectra of the orchestra instruments are used as basis.
Software: The project is realized with Pure Data, an open source programming environment.
Thanks to Elli Scambor, Heimo Ranzenbacher, Michael Pinter, Reni Hofmller, IOhannes m zmlnig, Winfried Ritsch, Pd-Community
Fotos: Elli Scambor
Miriam Raggam & Gerhild Steinbuch – Kitchen Talks (working title) first slides of their next animation film

Miriam Raggam: und, videowork

DIVANOVA 06 says the grace Tischgebet in Mundart
grace in dialect

Apparatus – IEFS: Ursula Kiesling and Maki Stolberg interactive installation, opening 23.09.2006 (until 15.10.2006)
2×2m Installation: mirror, tv, dvd, foto camera, self timer, red floor covering, div. material

For the time of the participation, the apparatus offers the freedom of art for self portayal via remote control. Results and continuation of the IEFS survey 6.-12.11.2006, Kapelica gallery, Ljubljana ,,Zwischen zwei drhten taucht auch irgendein kleiner funken auf.” “Between two wires somewhere there also appears a small spark.” (edward krasinski)

With the investigation and presentation of an artists organisation (”mitgliedererhebung /member census” 2005 – 2006) the IEFS made its beginning: an attempt to document internal relations/networks, and to use a common space with placeholders.
During the “kirschbltenprojekt” 2006 the focus lay on the compilation of these intermezzi/intermediate spaces/ interactions that accompany the coming about/failure of a group exhibition. For Intermediate Spaces at ESC we install an apparatus picturing our working methods as well as the visitors/observers/participants and possibly all personell involved. Terms like attempt, apparatus, compilation, census point to the notion of using (pseudo)scientific methods in order to use their unresistable power of persuasion for our purposes. Measurements of all kind, image creating and statistic practices, interviews, observing participation, etc are being deployed in order to make invisble effects of the trias artist observer material accesible to ratio and perception.

PowerPointPanic – Karl Stocker &Seppo Gruendler Son of “Fettleibigkeit als antikapitalistischer Protest”
Gruendler / Stocker seit ber 20 Jahren im Dienste der Wissensvermittlung …”