news

  1. – 24. October 2020 / installation and presentation / DWDS Bregenz

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July – August 2020 / artist in residence / Flux Residency, Hessen
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  1. May – 30. June 2020 / screening / Online Group Exhibition Künstlerhaus Bregenz

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February – April 2020 / stipendium & artist in residence / Comeback  Stipendium /
supported by: Land Vorarlberg, Stadt Bregenz, Berufsvereinigung Bildender Künstlerinnen und Künstler Vorarlbergs
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10.12.2019-10.1.2019 / solo exhibition / The Call of the Void / Contemporary Art Centre Montenegro, Perjanicki Dom /
supported by: Austrian Embassy Montenegro


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15.11.2019-25.11.2019 / installation / The Return Home of the Mammoth / KIOSK Nida


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Oktober – November 2019 / artist in residence / Nida Art Colony, Lithuania / supported by: Land Vorarlberg
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25.10.2019 / screening / HOTSPOTS – Geschichten eines Vulkans / Kulturcafé Fliegende Ente, Völzberg /
supported by: FLUX – Artists in Residence, Bundesverband Freie Darstellende Künste, tanz+theater machen stark,
Österreichisches Kulturforum Berlin, Land Vorarlberg, Kulturkoffer Hessen
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24.9.2019 / 20:00 / experimental reading / Augmented Realm 4.0 by Angela Wiedermann / Parallel Vienna


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6.8.9.2019 / 20:00 / archive – opera & showing / Antigone Arhivoper hosted by rendezvous3000 / Schwere Reiter, München /
supported by: Kulturreferat München, Meiller Kipper


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26.6.2019 / 17:00&21:00 / screening / HOTSPOTS – Geschichten eines Vulkans / Hauptstraße 53, Deutschland /
supported by: FLUX – Artists in Residence, Bundesverband Freie Darstellende Künste, tanz+theater machen stark,
Österreichisches Kulturforum Berlin, Land Vorarlberg, Kulturkoffer Hessen


April – June 2019 / artist in residence / Flux Residency, Hessen
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9.4.2019 / 21:00 / radio-premiere / Adapting to survive / korppiradio / supported by: Austrian Embassy Helsinki


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March 2019 / artist in residence / For the sake of being(s), Finland

abschiedsspiel

work in progress/3 channel video installation

a film by: Ruby Behrmann, Julia Novacek, Evamaria Müller / with: Hannah Flach, Sarah Flach, Lene Hansel, Neele Kauck, Liana Müller, Lena Peppel, Milena Röder, Norbert Lofink, Dietmar Müth, Edgar Röder, Oliver Röder, Florian Zimmermann, Gerhard Zimmermann / dop: Francy Fabritz / focuspuller: Anouck Schmit / producer: Mariya Barashka

Many soccer fields lie fallow in the small villages of the Vogelsbergkreis. A soccer team consists of 11 players, but there is an increasing shortage of young people to fill these positions. Most are moving away to the cities, it is said. At first the sports clubs tried to form teams from several villages, but now there are too few youngsters even for that.

In “Abschiedsspiel” (working title), such a sports field becomes the venue for several entangled events. The three artists Ruby Behrmann, Evamaria Müller and Julia Novacek have chosen a place with a very special story for this film project: the plane crash of an American military plane in 1966, the soccer field as a product of German-American friendship and a ball drop from a helicopter are just some of the special features. Together with the residents of the village, the artists reflect on these stories, put them in current contexts and ask questions about the future.

supported by: Programm LEADER des Hessischen Ministeriums für Umwelt, Klimaschutz, Landwirtschaft und Verbraucherschutz, Tanz und Theater machen stark, FLUX Theater und Schule

eile

ongoing project/installation and video/2020

Rivers are cultural entities that interact with our social system.
Mountains and rivers are the most important sources of energy and income in Vorarlberg, they determine tourism and the electricity industry and they have accelerated the modernization of the Alps.
EILE is an ongoing field recording project that deals with the River Ill as a biotope and source of income.

The videoessay created in this context layers different sounds and constructs places which seem to elude from the Ill and the studio space by covering and uncovering black and white photographs as an attempt to reconstruct these places. Sounds created using water, a zither and found objects are manipulated with effect pedals and describe the movements of migration of the animals and plants living in the river as well as the numerous barriers they face. The narrative develops with the stream and forms landscapes based on arranged sounds around the Ill, between motorway bridges and cycle paths, the different geophonic frictions and a symphony of power plant noises.

supported by: Land Vorarlberg, Stadt Bregenz, Berufsvereinigung Bildender Künstlerinnen und Künstler Vorarlbergs

 

call of the void (exhibition)

solo-exhibition/perjaniki dom – contemporary art center montenegro/10.12.-30.12.2019

„It (the seduction of the beach) is about the interface of continents and oceans, the potential of fear of being faced with the enormity of a water planet, the seduction of being at ends, of earth, land, and the imprint of urban life. It is about essences, of sand as the earth`s constituent or residual matter, as it dissolves into the shallows of oceanic vastness. (…) We are drawn to edges: the narrative power of looking over the cliff, the roof of a tall building, wanting a seat at the side of the pool, a corner office.“ (Carolyn Cartier, Seductions of Places)
 
The modern subject is a subject that’s always on the move. But how are the places consumed by those who visit them? The spatial encounters in this exhibition perform places and produce landscapes by dissecting elements of storytelling and relating them to the subjective perception of the back and forth with the Unknown.
 
Nature is often presented as this fascinating object that functions as a stage for our self-presentation. We are seeking to find ourselves in the landscape, on a quest to reconnect to the fragments of ones being. Our search is a search for authenticity or a moment of loosing control in a regulated world.
On this journey we encounter places shaped by the interaction between humans and nature that have to be closely monitored and maintained to ensure their existence. We discover myths of origin tying their narrative to the sand, cliffs or rocks: Neringa the giantess that formed the Curonian Spit with her own hands and the Ginnungagap, the abyss which came before genesis in the north mythology. We wander, turn and listen while exposing one layer of potential memory after another.

supported by: centar savremene umjetnosti crne gore, Austrian Embassy Podgorica

the return home of the mammoth

installation/2019

first part of the series „on being a good animal – there is nothing outside of nature“
Woolcarpet about the Song: Whats driving there in the car and sticking out his long trunk? Its a mammoth, and its driving home. (Rüsselmammuts Heimkehr, Adorno about Horkheimer)

The nature of humanity is impacting the earth in many fatal ways. Often when something’s gone we realize that we would have needed it. For the past 20 years biologists worldwide are working on re-inventing live. The resurrection of the mammoth hybrid is part of a de-extinction process and could supposedly prevent a catastrophic global warming feedback loop by stopping greenhouse gas emissions in the arctic tundra.

supported by: Land Vorarlberg
pictures by: Julija Navarskaitė

the silence of the dune

videoinstallation/13:20/2019

In „The Silence of the Dune“ we visit the Curonian Spit, which is characterized by the interaction between humans and nature. Humans monitor and maintain the Spit with the intention of stabilizing the landscape because its existence is threatened by natural forces such as wind and waves who move the sand masses in unwanted directions. Thanks to extensive reforestation projects humans managed to stop the natural movements of the sand but this interventions have consequences:
„With the planting of the forest, we passed the death sentence for the dune. The dune has two ways to die: either it gets overgrown or is carried into the lagoon. There is no other way.“ (Aushra Feser)
In the video we encounter the interactions between forest, wind, sand and water, which influence, mix, attract, move and burry each other. The sounds of the individual components overlap and play with cinematic moments of “suspense”.

supported by: Land Vorarlberg

   

set/costume design

STUDIO VOGELSBERG

a film by: Ruby Behrmann, Julia Novacek, Evamaria Müller; acting: Conny Gieron, Ralf Greßmann, Ute Lipp; costumes: Evamaria Müller

supported by: FLUX – Artists in Residence, Bundesverband Freie Darstellende Künste, tanz+theater machen stark, Österreichisches Kulturforum Berlin, Land Vorarlberg, Kulturkoffer Hessen

 

regno della musica – TERRA

composition: Saskia Bladt; stage, video, text: Anna Sofie Lugmeier; with: Neuen Vocalsolisten (Johanna Zimmer, Susanne Leitz-Lorey, Truike van der Poel, Daniel Gloger, Martin Nagy, Guillermo Anzorena, Andreas Fischer) und Sophie von Arnim, Eliane Fankhauser, Jens Fuhr, Diana Barbosa Gil, Chasper-Curò Mani, Evamaria Müller, Imma Piacevole, Jon Richter, Christoph Sehl, Martin Spura, Emily Yabe, Elizabeth Waterhouse, Sophie Gigou

co-production with Münchener Biennale and Musik der Jahrhunderte Stuttgart

 

DAS SPIEL VOM REDEN
set design for 2-channel-video/2016

performance/direction/production management: Julia Novacek, camera/light: Marie Klein, Daniel Partke; assistent director: Lisa Kuglitsch, Patrick Topitschnig; sound: Teresa Schwind, Nadja Klement; setdesign: Evamaria Müller; location manager: Nadja Rothkirch; audio engineer: Christoph Mateka; colour grading: Marie Klein; translation: Dalibor Mikić; catering: Sarah Schamat; extras: Dalibor Mikić, Hannelore Bauer, Gerlinde Gröll, Christian Jeschko, Anna-Sofie Lugmeier, Michael Müller, Marianne Schweinberger, Sebastian Sraser, Michael Wahlmüller, Christopher Weikenmeier

picture/videostillcredits julia novacek

 

IDEAL PARADISE

a nomadic urban composition alongside different places in vienna by claudia bosse/2016

concept/artistic director: claudia bosse; performance: günther auer, léonard bertholet, rotraud kern, alexandra sommerfeld, florian tröbinger, ilse urbanek; choir: jad al-mubaraki, cosima baum, sarah binder, marlene grois, monika has, ahmed hashim, anna hirschmann, vicky klug, melanie konrad, bozena kunstek, anne megier, christina maria murer, luzia rux, ahmed saeed, johanna urban, xandi vogler, isabella voicu, monika volk, hayder wahab, michaela wolf, christa zuna-kratky; sound: günther auer; assistant/coordination: viktoria bayer; technical director: paul horn; critical witness: gabrielle cram; artistic management: silke bake; clothing: iva ivanova, anna-sofie lugmeier, evamaria müller; communication/dramaturgical assistant: anna etteldorf; administration: margot wehinger; intern: sara trawöger, dagmar tröstler; sound assistant: juliana lindenhofer; technical support: frederik hocke; volunteers: andreas binder, jose zubiela rodriguez

pictures by eva würdinger

 

REISEMOBIL-STELLPLATZ/ 1230 WIEN
– unsichtbare Lenker (des Geschehens auf der Bühne)/Video/2015

actors: Nancy Mensah-Offei, Steve Schmidt, Jan Walter, Lisa Weidenmüller; screenplay/direction/production/editing: Julia Novacek; camera: Marie Klein; second camera: Jan Zischka; sound: Daniel Partke; music: Elischa Kaminer; assistent director: Lisa Kuglisch, Valerie Tiefenbacher; costume/make-up/setdesign: Evamaria Müller, Artemiy Shokin; filmposter: Valerie Tiefenbacher; audio engineer: Christoph Mateka; catering: Sarah Schamat; driver: Benjamin Schmied, Andreas Seidl

foto/filmstillcredits julia novacek

sound design

Offenes Feld
concept, choreography and text: magdalena meindl; costume: federico protto; live sound: evamaria müller; pictures: bo vloors; animation seen in the pictures: Ordinary Devotion by toni stefanska & kostantin thiesen

the performance was part of Antigone Archivoper

OLIVER – fishing in heavy liquids
music for videopiece/2016

© all rights reserved by OLIVER
the video piece was part of the shortfilm-program at the hungry eyes festival gießen

Rendezvous2018
music/audioplay/56 min

the lecture performance was developed during a residency at the hothouse for rough translations (MUC) and shown there as well as at the Hungry Eyes Festival Gießen

Augmented Realm 4.0

music and livesound for angela wiedermanns reading of her research-dramolette augmented realm 4.0 in public places, literaturhaus (VIE), künstlerhaus (VIE) and literaturbiennale wuppertal.

سمت الرأس надрыв!
videoinstallation/9:30/2016

direction/camera/editing: anna-sofie lugmeier; co-direction: boris krastev; performers: johannes frick, petya alabozova, boris krastev, egli katsiki, bilyana georgieva, philip deschamps, angélique zaini, petra van gompel, hilde i. sandvold; music: evamaria müller

Recordings of the systematic “acustic tapping” of the empty exhibition space (wellwellwell) with two gravels were combined with electronic sounds, inspired by the water power plant at the shooting location and the cutting beats of a singing bowl. A group of young people is staring at a point far away in the sky. Better be somewhere else, somewhere you are not getting strained. It is a state of mind, a noticeable break of a generation, which is longing for so much more: everything seems possible.
displayed as videoinstallation at wellwellwell (VIE)

videostillcredits anna-sofie lugmeier

antigone archivoper

hosted by rendezvous3000

performative installation/120:00/2019
premiere: 6. september 2019, pathos munich
hosted by Anna-Sofie Lugmeier and Evamaria Müller
with: Viktoria Bayer, Stefan Cantante, Diana Barbosa Gil, Paul Ebhart, Anna-Sofie Lugmeier, Magdalena Meindl, Evamaria Müller, Julia Novacek, Lilli Pongratz, Leonard Prochazka, Federico Protto, Franziska Schneeberger, Artemiy Shokin, Jovana Reisinger, Antonia Rippel-Stefanska, Konstantin Thiesen, Angela Wiedermann

Sophocles‘ Antigone is one of the most-analyzed and -interpreted greek tragedies ever. But the figurehead is exhausted. Antigone wants to be lived through, not shown. It is not just our material, but model – blueprint of an artistic practice of self-empowerment.

17 artists first developed independent positions and different formats, which finally resonated with each other: animation, video, choreography, text, sculpture and music met and formed a temporary network on 3 performance evenings, that wanted to exist under mutually agreed arrangements. In this project, we wanted to find out if the boundaries between the individual and the group can be fluid.

Our Antigones line up or interpenetrate each other and assert themselves in their sovereignty. We meet in the coagulated version of an opera, in a collective process in which conflicts are endured and negotiated.

supported by Kulturreferat Munich, Meiller
pictures by Bo Vloors
trailer by Lilli Pongraz, Jovana Reisinger