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Curriculum Vitae
FAXEN art collectiveClemens Mairhofer *1984 in LinzLucas Norer *1982 in Innsbruck Sebastian Six *1980 in Vöcklabruck
Live and work in Linz and Vienna.
Since 2004, Clemens Mairhofer, Lucas Norer and Sebastian Six work together in the artist group FAXEN. Acoustic experiments in connection with items of everyday life, sculptural assemblages and the physical element of sound are the main aspects of the group’s musical and visual compositions. The works of the artist group FAXEN deal with moments where noise becomes music and the difference between hearing and active listening is explored.
Alongside their artistic work FAXEN are run-ning the artist-run gallery bb15 in Linz/Austria (http://bb15.at).
In 2011 final degree in experimental fine arts at University of Art and Design Linz.
Exhibition overview
2019- Whispering Dialogues, Galerie 5020, Salburg
2018- Minus20Degree Festival, Flachau/AT- Sonic Objections #2, Bildraum, Bregenz/AT- Bregenz Biennale 18, Bregenz
2017 - Mediterranea Biennale #18, Tirana/AL- A Vocabulary of Noise, bb15, Linz/AT
2016- H:UMMMM Festival, Hummelhofbad, Linz- MENU Festival, Hradec Králové/CZ
2015- Listening Post, Lentos Kunstmuseum, Linz- ON AIR, Science Friction, Copenhagen/DK
2014- Deformation der Stille, Galerie 5020, Salzburg/AT- The Memory in your Pocket, Museo d’Arte Contemporanea Villa Groce, Genoa/IT- Transposition.Change, Dokumentations- zentrum für moderne Kunst, St. Pölten/AT- Studio (take2), Steim, Amsterdam/NL- Art PriceV ereins Freunde des Lentos, Lentos, Linz/AT
2013- FINE SOUND - keine medienkunst, Das Weisse Haus, Vienna/AT- Klangmanifeste, Echoraum, Vienna/AT- Let’s Overhear (art in public space), Linz/AT- Testing the Equipment (solo), Afg, Vienna/AT
2012- Moscow International Biennale for Young Art, Moscow- Alle Worte sind aus/all words are gone, Kunstraum Goethestraße, Linz- Repeat please,... SKÁLAR Centre for Sound Art and Experimental Music, Iceland- Rotate Festival, Innsbruck- Kunst.Messe, Landesgalerie, Linz- Use Your Illusion, bb15, Linz
2011- Keep An Ear On Festival, Centro Per L’Arte Contemporanea, Firenze- Resonate In Response To (solo), Prima Kunst, Kiel- Resonate In Response To (solo), Interventionsraum, Stuttgart- Double Layer (solo), Projekt_Love Vienna- DDD - Die Dritte Dimension, WhiteBox, Munich- Schools of Art, Hfbk, Dresden- Hörstadt Kryptophone, Linz
Scholarships and awards
2017- Work In Common, Micro Residency, Primary, Nottingham/UK- BJCEM Stipend, Bundeskanzleramt, Austria
2015- Subnet AIR Stipend, Salzburg
2014 - Creart Network of Cities for Artistic Creation Grant - Artist in Residency Genoa
2012- Annual grant for graduate students, The University of Art and Design Linz
2011- 2nd Prize Kunstsammlung Art Collection, Linz - Grant Linz Impuls, Linz
2010- Excellence Scholarship, The University of Art and Design Linz- Studio fellowship at Atelierhaus Salzamt, Linz- Grant Linz Export, Linz
2010- Manifesta8, Eventos Paralelos, Cartagena- Ars Electronica Performance Festival, Linz- TABAKFABRIK LINZ - Kunst, Architektur, Arbeitswelt, Nordico, Linz- Flimmern & Krachen, Projekt_Love Vienna- Reclaiming Space, Austria Tabakwerke, Linz
2009- logement REIS project space, Antwerpen- Sound Characters, Kunstpavillon, Innsbruck- Normalzustand, Festival der Regionen, Linz- Parque del Sole Festival, St. Pölten
Sound installation3-channel audio 15:00min (loop), horn speaker
Exhibitions - Whispering Dialogues, Galerie 5020, Salzburg, 12.07. - 28.09.2019
Bravo! 2019
The sound installation Bravo! focuses on the cultural and acoustic significance of applause and claps (claps are distinctive percussion sounds of various electronic dance music styles). At first glance, both sounds have the same origin - they are a basic method of acoustic articulation and rhythm tool that we hold in our own hands. Especially in the intersection between E-Musik (serious music) and U-Musik (popular music) cultures, questions regarding the cultural meaning of applause/claps can be raised: How can we communicate with the help of applause? Does the rhythm of the clap push us or are we collapsing under the pressure of the driv-ing rhythms? Does it make a difference who gives what kind of applause and especially in what place?
As part of a multi-channel audio installation (both outside and inside the gallery space), these sounds become the carrier of a sonic investigation that focuses on our relationship with Salzburg’s festival culture and current socio-political trends. The applause/clap can be heard as a pure rhythmic structure in the form of ecstatic moments and monotonous beats, exposed from any context. Out of con-text the applause/clap can be heard as a pure rhythmic structure in the form of ecstatic mo-ments and monotonous pacing. In contrast to Salzburg’s touristic and “event-soaking” city centre, the sound installation repeatedly cre-ates new “empty” highlights and transforms the area of the performance into an abstract festival area of an imagined counter-culture.
Apres Apres 2018
The sound installation refers to a popular party phenomenon in ski resorts entitled apres ski. A meaningless music at 120 bpm, twirling rave trumpets, ski boots, lots of alcohol and frisky DJ’s are the ingredients for this post skiing celebration.
The recorded announcements and animations of an apres ski DJ in Flachau (a popular ski resort in Austria) were used for the Apres Apres sound installation. Shouting and cheering such as “put your hands up in the air”, “zike zake zike zake“, “louder“, and so forth are the basic elements of the sound collages.
Installed under a motorway bridge the atmosphere clearly contrasts the party mood of apres ski events. In such a divergent situation the animations turn into something absurd. Who is this man cheering for? Himself, the employees of the ski resort, the tourists? A call and response animation that animates itself as far as it will go.
Site specific sound installation2-channel audio 08:25min (loop), horn speaker, tripod, neon light
Exhibitions- Minus20Degree Festival, Flachau/AT, 08.02. - 10.02.2018
Videohttps://vimeo.com/256782869
Apres Apres fieldrecordinghttps://soundcloud.com/faxen/faxen-apres-apres-fieldrecording
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Firedrake 2017
The multi-parted work “Firedrake“ examines attempts of the Chinese government to censor foreign short wave radio stations (also called jamming) and methods to avoid these interferences by manipulating radios. By constantly playing an one hour long piece of Chinese folk music entitled “Firedrake“, radio stations such as Voice of America, Radio Free Asia and BBC World Service are muted by the Chinese authorities. In order to bypass Chinese jamming DIY adaptations of radios, so called anti-jamming antennas are used. Materials needed for these antennas are the starting point for an acoustic im-provisation shown in the video. Additionally a fictional radio program that features snippets of an interview, multiple recordings of short wave radio stations and the “Firedrake” broadcast can be heard.
mixed-mediasingle channel video, 60’00’’, single channel audio, 60’00’’, table, blue cloth, screen, short wave radio
Exhibitions - A Vocabulary of noise, bb15, Linz/AT 23.09. - 26.09.2017 - Sonic Objections #2, Bildraum, Bregenz/AT 01.06. - 28.06.2018
Videohttps://vimeo.com/247873672
Transposition 2017
The sound-installation “Transposition“ refers to Albanias history as a country of emigration. As a consequence of the regimes collapse in 1991 Europes largest emigration movement after WW II was triggered.
In relation to this transnational Albanian identity the sound-installation “Transposition” explores the emigrant countries of the Albanian diaspora in an acoustic way. “Transposition” focuses on short wave radio stations from countries with a significant Albanian community such as Greece, Italy, Switzerland, Germany, Canada and Turkey. Short wave radio is insofar striking in this context as it is used for very long distance communication on a global scale.
By approaching the sound installation the visi-tors are experiencing a blended sound scape of radio stations form around the world. Via headphones the movement of a slowly rotating microphone which passes the multiple radio stations becomes audible. The listener can hear a steady fading in and out, a mix of different radio programs constantly generating new and unexpected combinations.
sound installationmicrophone, mirror ball engine,short-wave-radio, speaker, table
Exhibitions- Mediterranea 18 Young Artists Biennale Tirana and Durres/AL, 04.05. - 09.05.2017
A site specific sound installation for Hummelhofbad spa that contrasts the wellness athmosphere by presenting reports and sounds from the cold and dark deep sea. The sound installation gives an insight into the acoustic world of the oceans whose research was only made possible through sonic methods, such as echolocation or sonar. “In this momentary awareness I tried to tell myself,...“ mixes quotations of deep sea explorer Jacques Piccard, with unexplained recordings from the deep sea and field recordings from the spa. In 1960 Piccard dived with his submarine “Trieste“ to the bottom of the Mariana Trench with a depth of 11,034 m. Never attempted again he is still the only person who visited this extreme environment. His unique reports from the dive give an insight into a world without any light that requires to focus on the auditory perception. Piccards reports serve as a framework for a multi-channel installation that mixes with maritime underwater soundscapes and field recordings from the spa itself.
In this momentary awareness I tried to tell myself,... 2016
Multi-channel sound installationhorn speaker, adhesive foil text
Exhibitions- H:UMMMM Festival, Hummelhofbad, Linz/AT, 09.04.2016
Listen to ‘In this momentary awareness,..’https://soundcloud.com/faxen/awareness
A helium filled balloon equiped with micro-phones is used to create expansive field re-cordings of urban areas. This method allows the artist collective FAXEN to record mutliple acoustic transitions between divergent areas in an urban environment. Sonic zoom-in and zoom-out movements that oscillate between subjective and objective points of view, be-tween actual and abstact and between close by and far away.
Arranged as a multi-channel sound installa-tion ON AIR invites the listener to explore the diverse acoustic topography of a city.
ON AIR 2015
multi-channel sound installationloudspeaker, overhead projector, beamer
Exhibitions- ON AIR, Science Friction, Copenhagen/DK 30.10. - 01.11.2015- Menu LABoratory, Hradec Kralove/CZ, 31.03. - 03.04.2016
Various auditory characteristics of the Lentos Art Museum served as the starting-point for a composition which focuses on reverberation and acoustic reflection. The artist collective FAXEN invited percussionists to perform within 4 different rooms of the museum, and to adjust their tempo in response to each room’s particular reverberation time. These live-performances were recorded to form a composition that peaks in a synchronised drum stroke, which links the four selected rooms for a brief moment. The composition is presented as a multi-channel setup and ac-companied by a graphic score.
Volumes 2015
Multi-channel sound installationLoudspeaker, adhesive foil, inkjet print 70x50,
Exhibitions - Listening Post, Lentos Kunstmuseum, Linz/AT, 23.10.2015 - 21.02.2016
Listen to ‘Volumes’ composition https://soundcloud.com/faxen/volumes
REC 2014
On the basis of Steim’s Studio 1, REC investigates the architecture, the specific acoustics and working situations in record-ing studios. This examination sets a focus on unnoticed structures and elements of music production, such as coordination and communication between musicians and the acoustic configuration of the studio.By demounting and rearranging the acoustic absorber panels, the artist collective Faxen highlights the sculptural qualities of these unique objects. This setting is combined with a four channel installation based on documen-tary material - mainly the count-in - of various recording sessions.
4-channel sound installation acoustic absorber panels, 4 speakers, 3 metronomes
Exhibitions- Studio (take2), Steim, Amsterdam
Videohttp://vimeo.com/112479377
Double Layer (small scale) consists of 4 fans, 4 speakers and a pedestal. The sound instal-lation is the small scaled version of Double Layer (originally realized in 2011).
In multiple ways the sound installation func-tions as a self-contained coupling: the trans-port box is transferred into a pedestal and the sound input gives an output that comes to influence the input again. The fan’s air stream is used to set the speakers in motion. Two of the speakers are used as microphones to transmit the sound of the running fans, the remaining speakers to play back the sounds. By and by the sounds evolve through layers of feedbacks, played back noise, fan sounds and the natural resonance of the space.
Double Layer (small scale) 2014
mixed-media fans, loudspeakers, wood, Bass-Graphic-Equalizers
Exhibitions- Transpostion.Change, DOK Niederösterreich, St. Pölten/Austria, 21.03. - 27.04.2014- (h)ear XL Festival, art centre Signe/NL, 26.09. - 09.11.2014
“Squadra di Canto” portraits a singers groupin the outskirts of Genoa. The eight singers ofthe group perform a typical Genovese vocalfolk music without the help of instruments,entitled Trallalero. The Trallalero is a style ofmusic without any written scores, so actuallythe singers learn style, intonation, melodyand lyrics through oral repetition alone. In thisregard the Trallalero can be understood asan embodiment and passing on of distinctiveacoustic characteristics of language, class,culture, tradition and musical styles, throughthe voice of the singers. Highlighting thiscertain technique of cultural transition, thevideo presents each voice separately andgives the viewer the opportunity to witnessthe process.
Squadra di Canto 2014
Video (HD) 8:30min (loop)
Ausstellungen- The Memory in your Pocket, Museo d’Arte Contemporanea Villa Groce, Genoa 21.03. - 01.04.2014
Videohttp://vimeo.com/91301520
“Can the material bear the sensation it up-holds? And can the sensation stood upright, express itself, produce pure sensory qualities, through the material forms and forces it lays hold of?” asks Elizabeth Grosz in her book Chaos, Territory, Art. The sound installation “Testing The Equip-ment” is an acoustic and architectural inter-vention at the AfG exhibition-space in Vienna. The work is dedicated to the on-site built-in acoustic ceiling panels. These universally used components are typical for modern architecture and define the acoustic charac-teristics of indoor spaces such as offices, business offices, schools, etc ... By remov-ing some of the ceiling panels, the acoustics and the architecture of the exhibition-space got modified. The removed panels serve as the raw material for the construction of two speakers each playing-back a rhythmic signal, which explores the room’s resonance.
Testing the Equipment 2013
site-specific intervention sound absoring tiles, speakers, Roland 303
Exhibitions- Testing the Equipment (solo show), AfG, Vienna/Austria, 2013
Let’s Overhear is an urban intervention, which records and analyzes the acoustic space, while simultaneously playing it back in a modified way. Referring to Walter Benjamin’s notion of the urban: “Buildings and urban environment are absorbed in two ways: by use and by perception” Let’s Overhear wants to make this use and perception audible. In the centre of attention are the specific sonic characteristics and qualities on site which influence the musical interpretation of the ex-isting soundscape. This setup allows the visi-tors/listeners to expand their acoustic horizon and to verify their perception in interplay with the composition. The audience absorbs the environment as a composed soundscape; an urban spot full of sounds.
Let’s Overhear 2013
site-specific sound intervention microphones, parametric speakers, Raspberry Pi Computer, wooden boxes
Exhibitions- Let’s Overhear, Donaupark Linz, 22.07. - 04.08.2013
Videohttp://vimeo.com/78056768
The sound-installation “Wow“ explores a text by William B. Seabrooks entitled “Wow!”. A reflection on what might happen if human language were abolished. Via a slowly rotat-ing microphone parts of the text become temporary audible.
Seabrooks short story is based on an experi-ment with Aleister Crowley. In 1920, after a conversation about Trappist monks and their vows of silence, they both agreed to sus-pend normal verbal communication and limit themselves to the prearranged monosyllable “wow“ for a week. Based on this experience, Seabrook wrote the short story, “Wow!“, set in ancient China, in which people discover peace and contentment through replacing human language with the word “wow“; eventually, a second faction emerges, those who spread dissent by using “wo“. In conse-quence, two great armies fight to the death over “wow“ and “wo“, leaving nothing but “a few empty bubbles floating on a river of blood.“
Wow 2012
mixed-media microphone, mirror ball engine, speaker, table, text excerpt of William B. Seabrooks book Withcraft
Exhibitions- FINE SOUND - keine medienkunst, Das Weisse Haus, Vienna/Austria, 20.02. - 30.03.2013- Alle Worte sind aus! All words have run out!, Kunstraum Goethestraße xtd, Linz,Austria, 18.10. – 14.12.2012
Videohttp://vimeo.com/55438866
Use Your Illusion 2012
Installation & exhibitionhardware store shelf, neon lettering, participating artists: Sam Bunn, Carola Dert-nig, ekw14,90, FAXEN, Invernomuto, Tomáš Moravec, Alexandra Navratil, Roman Štětina, Jakub Vrba
Exhibitions- Kunst Messe, Landesgalerie, Linz, 2012- Use Your Illusion, bb15, Linz, 14.11. - 23.11.2012
At the showcase of bb15 - space for contem-porary art at the art fair in the State Gallery of Upper Austria FAXEN presented their work, “Use Your Illusion”. Consisting of a commer-cially available hardware store shelf, contain-ing the neon lettering “Use Your Illusion“. The installation refused to take part in the common practice of an art fair, and instead acted as a placeholder for a group exhibition curated by artist-group FAXEN in the prem-ises of bb15. A contribution, as a subver-sive denial, interpretable as a comment or statement about the situation on site and the staging of art.
In the subsequent exhibition at bb15, the already used hardware store shelf acts as a recurring element to form the exhibition architecture. Based on these elements, the surrounding space is opened up by video projections and screens.
The focus of the exhibition is based on works at the interface between artistic realities and chimaeras in art. The works are addressing these topics and can be subsumed under the concept of illusion. Illusions in the artistic dis-course emerge,especially in relation to issues of aesthetics, presentation and staging.
Double Layer consists of 6 fans and 6 speak-ers. The fan’s air stream is used to set the speakers in motion. Half of the speakers are used as microphones to transmit the sound of the running fans, the remaining speak-ers to play back the sounds. By and by the sounds evolve through layers of feedbacks, played back noise, fan sounds and the natural resonance of the space.
“Double Layer” functions as a cause and effect unite in a self-contained coupling, where an input gives an output that comes to influence the input again. This might be said to function as part of any system, production or network, shifting in degrees of positive and negative influence. Or as Brandon LaBelle describes the communicational concept of feedback in “Acoustic Territories”: ”This wavering oscillation[feedback] imparts an elemental dynamic of exchange of self and surrounding, as a deeply significant flexibil-ity, and on a communicational level must be heard to give way to moments of intimacy and mingling, or intense proximity, as well as alienation and estrangement. Feedback is relationally productive precisely by function-ing as such sensitive, tensing link prone to fluctuation.”
Double Layer 2011
mixed-media fans, speaker, microphone stands, audio-mixer
Exhibitions- The III Moscow International Biennale for Young Art 2012, Moscow, 10.07. - 19.08.2012- Schools of Art, HFBK, Dresden, 20.05. - 19.06.2011- Projekt_LOVE, Vienna 18.11. - 09.12.2011
Video http://vimeo.com/32502867
“Double Layer(live)” is a modified live versionof the sound-installation “Double Layer”.By turning on the fans, the microphones startto rotate. These sounds and the signalsgained by piezo microphones placed on thefans, build the only acoustic source for thislive performance. The original signals aremodulated and adjusted via various effectunits and mixers.
By and by the sounds evolve through layersof feedbacks, played back noise, ventilatorsounds and the natural resonance of thespace. What we hear is a fragile structurealways close to collapse. This is a specialtype of network or interaction - it raisesawareness about the interplay betweensound, space and movement in combination.
Double Layer (live) 2011
audio-performance microphones, piezo microphones, micro-phone stands, audio-mixer, analogue effect unite
Exhibitions- Ars Electronica Performance-Festival, Linz/Austria, 2010- Hypno Vereinsbar, Stuttgart/Germany, 2011- DDD - Die Dritte Dimension, WhiteBox, Munich/Germany, 2011- Rotate Festival, Innsbruck/Austria, 2012
Video http://vimeo.com/15122656
Live-recording (excerpt) http://tinyurl.com/a8mqpa8
„Resonate in Response to“ is a rethinking ofspace - especially of acoustic characteristicsand qualities of rooms, which provide thefundament for the sound-installation. Afterrecording the sound of selected places, thecollected audio samples are analyzed andevaluated. The parameters gained throughthis process build the basic structure for acomposition that continuously generatessubtle interferences between the naturalsoundscape and the replayed tones.
For the playback of the selected tones asoundarchiv consisting of specially producedvinyl records (dubplates) that cover a widefrequency range of sinustones is used. Incombination with three turntables and threesight specifically located speakers, it’spossible to reconstruct the natural ambientsound in an analogue way.
Resonate In Response To 2011
record-players, speaker, vinyl-records including custom made sinus loops
Exhibitions- Manifesta8 Eventos Paralelos, Cartagena/ Spain, Sala de exposiciones Muralla Bizantina 12.11.2010 - 06.01.2011- Interventionsraum, Stuttgart/Germany, 24.02. - 27.02.2011 - Keep An Ear On Festival, Centro Per L’Arte Contemporanea, Florence/Italy, 19.05. - 22.05.2011- Prima Kunst Container, Kiel, 09.07. - 04.09.2011- bb15, Linz/Austria, 18.10. - 22.10.2011
Video http://vimeo.com/25071506 http://vimeo.com/20748046
The sound of the renaissance fountain „Plan-etenbrunnen“ is the acoustically determinant element in the courtyard of the state house in Linz. The intervention consists of two parts.
The concept of the installation in phase one is to change the acoustic perception of the site by subtraction and not by adding sounds. This is achieved by the shutdown of the fountain, every 5 minutes, for a period of 5min.
Due to temperatures below zero degrees the fountain has to be be turned off around the end of November beginning of December.Around this period phase two of the inter-vention will take place: Now the sound of the fountain is added artificially by hidden speakers. The lack of a visual equivalent to the sound of the fountain is again an irritat-ing moment. The two differing methods, substraction and addition of sound are testing the perception of the recipients in different ways.
Konstellationen 2011
site-specific sound intervention
Exhibitions- Hörstadt Krypthophone Festival, Linz/Austria A sound festival in public space. 14.11. - 06.11.2011
“For the Birds” can be seen as a homage to John Cages’ aleatoric work. Basically it is an experimental test arrangement denoted to study randomness, it’s generative force and the correlation between noise and sound.
Technically the sound is generated as follows: Two opposing hairdryers set a ball inside a glas cube in motion. Light sensors under-neath the glas, influenced by the moving ball, trigger twelve chromatic tones on a circuit bended keyboard.
For the Birds 2010
mixed-media hairdryer, table-tennis-ball, keyboard, glas-cube, light-sensors
Exhibitions- Flimmern & Krachen, Project LOVE, Vienna/ Austria, 09.04. - 23.04.2010- Best Of, Tabakfabrik, Linz/Austria, 05.11. - 14.11.2010- Repeat Please, SKÁLAR – Centre for Sound Art and Experimental Music, Iceland, 04.10. - 14.10.2012
Video http://vimeo.com/11082084
Via transforming the austrian tobacco brandlogo into a theoretically endless repeatingpattern, an optical illusion is generated. Byapproaching the graphic, its monochromeclarity dissolves and modifies intointerference which evokes a retinaldisturbance. The gained impression - beeingtorn between inclusion and exclusion - echositself in the current situation of the Bauhausfactory of Peter Behrens in Linz.
untitled (widespread) 2010
Digital Lightjet, Dibond, 160 x 90cm
Exhibitions- Reclaiming Space, Austria Tabakwerke, Linz/Austria, 2010 - TABAKFABRIK LINZ - Kunst, Architektur, Arbeitswelt, Nordico, Linz/Austria, 2010- Parallelwelten Jung und Alt, die Kunst sammlung OÖ, Linz/Austria, 2011
“Tilt” is a sound-installation consisting of 100small speakers. The arrangement of thespeaker lines follows the mathematicalprinciple “squaring the square” - the gallerysurface area is divided in 15 similar smallerspaces without replicating any measure-ments. By positioning the speakers in space,“Tilt” transfers the two-dimensional method of “squaring the square” into a spacialintervention.
The sounds create a second invisible space:a space created by high-frequency tonescombined with field recordings of the galleryand silence of different length.
Tilt 2009
Digital Lightjet, Dibond, 160 x 90cm
Exhibitions - Sound Characters, Kunstpavillon, Innsbruck/ Austria, 23.01. - 07.03.2009
In the course of the art in public area festival “festival of regions” in Linz/Austria FAXEN re-alized a sound-installation in an underground car park. First the space was recorded. A spectral analysis lead us to a sight specific fourier series with a peak around 80Hz. By retransferring those tones via a 4 channel sound-installation subtle interferences be-tween the natural and artificial sounds occurred. During the festival the installation was audible every 30 minutes for 24 minutes.
sight seeing 2009
site-specific sound intervention
Exhibitions- Normalzustand, Festival der Regionen, Linz/ Austria, 10.05. - 01.06.2009
May he hetal? is a live project exploring the potential of modified keyboards and hand-crafted interfaces. The goal is to “worm out” some unexpected and opinionated sounds. Out of this soundpool rises the music of May He Hetal?, which is located somewhere between Noise and Music.
May He Hetal?
audio-performanceModified keyboards and handcraftedinterfaces
Concerts (selection)- Dogzstar, Istanbul, 2010 - Rhiz, Vienna, 2009 - Fluc, Vienna, 2009- Kunstpavillon, Innsbruck,2009- Kunsthalle, Vienna, 2008 - Logement, Antwerpen, 2008- Ars Electronica Nightline, Linz, 2007
