Tickets: pre-sale 8 Euros (via KUPFticket.com), box office 10 Euros
Free special drink for après-ski outfits!

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NORDRA’s masterful ability to deconstruct musical structure in a language of industrial music and noise, alongside the alchemy of her live performance has led to her sharing the stage with artists of a psychotropic nature like beak>, Demdike Stare, SUMAC, Anthony Braxton, Yves Tumor, and OXBOW. The mostly devastating and always transcendental works of musician and sound artist Monika Khot have within them an almost orchestral dimension, with the appearance of each element having its place and purpose. The results give rise to an emotional and adventurous quality wielding her apparent dub, techno, and musique-concrète influences.

Born in 1992 in Virginia US to immigrants of the Karnataka region of India, Khot’s mêlé of sonic exploration began with classical guitar study, computer music, and death metal. Deciding to relocate to Seattle WA US in 2014 she began avant-psych duo Zen Mother, which gave rise to harnessing her songwriting capabilities. In 2016, she began making music as Nordra, releasing all of her works to date on Aaron Turner and Faith Coloccia’s label SIGE.

Nordra has performed her works at Donaufestival, Skaņu Mežs (Sound Forest) Festival, Timezones Festival, Pioneer Works, and more.

Khot has been recruited to play live with other artists including Daughters, Zola Jesus, Marissa Nadler, and Cassandra Jenkins.

http://www.nordra.net
https://nordra.bandcamp.com
https://soundcloud.com/nordra

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GUNSHIP COLLIDER is the solo project of Dominik Morishita-Leitner, formerly known as a member of the band “Postman”. It’s all about post-punk, wave, elektro, pop, made with open source software, break beats, keyboards, and lyrics based on necessity.

https://dominikmorishitaleitner.tumblr.com
https://www.instagram.com/postmoderntalking

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Millennials & Gen Z can only read in lists, so we’re gonna do “5 reasons why you will love LERNPLANET”:

1. Best bandname ever
2. Sounds a bit like old Beak>, Battles and this kind of weird shit
3. FUN lyrics (the good funny, not the cringe)
4. You’re gonna be the first to see them (cool to mention it to others who see them after you)
5. You can do cool things with their name, like Germplanet, Herrenplanet, Sternplanet or Fernplanet

[Fractalnights Vienna]

LERNPLANET is a band from Linz with drums, bass, synths, two voices, strange lyrics, kinda (very) mesmerising and live love life around Georg, Paul, Jeff, Bill and Elon.

https://lernplanet.bandcamp.com
https://soundcloud.com/flubber-3d‑2
https://www.instagram.com/lernplanet666

Today is the tomorrow we worried about yesterday. qujOchÖ takes a look into the future and sets off into the past, equipped with a collection of never realized futurological innovations from the 1960s and 1970s. These are offered for sale at a flea market stand in the Linz harbour area.

LINZ FMR is a biennial format for art in digital contexts and public spaces. The first edition will take place at the end of March 2019 in Linz, Austria.

The heart of the format is an exhibition in public and open space with works by international and local artists who deal with art in digital contexts. An education program with different tours and a supporting program with lectures, concerts and discussions will accompany the exhibition, to reflect on new approaches, working methods and developments related to art in digital contexts.

Participating artists of the first edition:

• Bernhard Garnicnig (AT) & Jamie Allen (CA), bernhardgustavanton.com & jamieallen.com
• Clement Valla (US), clementvalla.com
• Filippo Minelli (IT), filippominelli.com
• Hybris (DE), instagram.com/hybris0815
• Isabella Auer (AT), isabellaauer.com
• Karin Ferrari (IT), karinferrari.com
• Karl Philips (BE), karlphilips.org
• Susanna Flock (AT) & Leonhard Müllner (AT), susannaflock.net & leonhardmuellner.at
• Suzanne Treister (UK), suzannetreister.net
• The Cool Couple (IT), thecoolcouple.co.uk
• Thomas Kluckner (AT), thomaskluckner.com
• Tomáš Moravec (CZ) & Matej Al-Ali, tomasmoravec.cz & alali.cz

LINZ FMR 19 is curated and organized by the Linz art and cultural initiatives qujOchÖ and servus.at, the Atelierhaus Salzamt, the Department of Cultural Studies of the University of Art and Design Linz and the STURM UND DRANG GALERIE.

More information and detailed program: linzfmr.at

Opening

Exhibition

Symposium, concerts, artist talks & closing party

Main funders

Main sponsors

Co-Sponsors

Cooperation partners

qujOchÖ takes this as a starting point for an examination of this specific form of resistance and a transformation into the present. Along drawings, illustrations, poems and stories from that time qujOchÖ, together with friendly artists, follows the footsteps of Olaf Gulbransson, Ragnvald Blix, Franziska Bilek & Co, and of often forgotten illustrators, poets and writers.

Some of the satirical journals published in the interwar period have been digitized and made freely accessible in recent years, e. g. the Heidelberg historical holdings at the University of Heidelberg or the online edition of Klassik Stiftung Weimar, Deutsches Literaturarchiv Marbach and RWTH Aachen. In addition, there are exhibition catalogues and scientific texts dedicated to the satire of these years. qujOchÖ sifts this material and builds a small archive which serves as the basis for the production of its own satirical magazine entitled “Der grinsende Penguin”. Subtitle: “Satire für die 20er-Jahrs” (in engl. “The grinning penguin — Satire for the 20s”). The magazine is published in a total of three issues with a circulation of 7,500 copies, printed in broadsheet on 60 g/m2 recycled paper with 8 pages in color. It is distributed in Vienna, Graz, Linz, Salzburg and Innsbruck.

If the penguin jumps into the water, don’t be afraid, just jump after him!

Ö1 Leporello: Vorwitz im Frack, 25. März 2020

Sat, February 3 2018, 20:00 ///
Stadtwerkstatt, Kirchengasse 4, Linz ///

Moderated by president Dominika Meindl
Midnight interludes
Herren‑, Trans- and Damenspenden (little gifts)
Raffle
Photobox
Beauty salon
Golden shower

Many art and cultural initiatives, which have been united since 2016 for this successful alternative to the right-wing Burschenbundball, are pooling their energies for the golden festival of diversity. With exquisite stage acts like Yasmo & the Klangkantine, PÆNDA, EUGENES ELECTRIC TRASHMACHINE, Jakob Bouchal and Yung Tentik’s DJ Team and the sparkling support program, once again a sign against fear and hate is set.

The net proceeds of the event will be donated to SOS-Menschenrechte.

GOODBYE WITTGENSTEIN is an international exchange program between artists and academics from qujOchÖ in Linz, Austria and artists selected by A3 Project Space in partnership with BOM Birmingham Open Media and Atelierhaus Salzamt Linz.

Participants in the program take the relationship between the Austrian born philosopher Ludwig Wittgenstein (1889 — 1951) and David Hume Pinsent from Birmingham (1891 — 1918) as a starting point for a series of projects that will happen in Linz and Birmingham during 2016. The projects respond to Wittgenstein’s early text “Notes on Logic” which was dictated by Wittgenstein in 1913 during a visit to see David in Birmingham. “Notes in Logic” is notably the predecessor of what is considered to be one of the most important philosophical texts of the 20th Century, “Tractatus Logico Philosophicus”.

The first phase of the Goodbye Wittgenstein program was a visit to Birmingham from qujOchÖ artists Verena Henetmayr, Thomas Philipp and Andre Zogholy in Summer 2016 who have been enacting and documenting a series of public interventions at places that are connected to the life of Wittgenstein and Pinsent. In November 2016 a group of four artists around A3 Project Space will come to Linz, where Wittgenstein visited the technical orientated “K.u.k. Realschule” between 1903 and 1906. Emily Warner, Trevor Pitt, Pete Ashton and Mike Johnston will use their residences at Atelierhaus Salzamt and quitch to go on the trail of the philosopher.

The residency includes a public talk at quitch on 4 November 2016 and an exhibition of the works at Atelierhaus Salzamt, running from 24 November to 9 December 2016.

Discobobulatebangbang: Goodbye Wittgenstein
Fri 4 Nov 2016 19:00
quitch, Untere Donaulände 10

On Friday 4 November 2016 the four artists from Birmingham will talk about their work and the methods they use for GOODBYE WITTGENSTEIN. This is followed by an alternating DJ-Set called “Discobobulatebangbang”.

Kristallin #38: Goodbye Wittgenstein
Tue 24 Nov — Fri 9 Dec 2016
Atelierhaus Salzamt, Obere Donaulände 15
Opening: Wed 23 Nov 2016 19:00

The works realized in Linz will be shown during the 38th edition of the Kristallin series at Atelierhaus Salzamt. The exhibition will be opened on Wednesday 23 November 2016 at 7 pm and runs until Friday 9 December 2016.

Links:
http://a3projectspace.org
http://www.bom.org.uk
http://digbethfirstfriday.com
http://www.linz.at/kultur/salzamt.asp
http://mikeinmono.blogspot.co.at
http://emily-warner.com
http://www.podprojects.org
http://www.peteashton.com

Supported by Austrian Cultural Forum London, BKA Kunst, Land Oberösterreich and Stadt Linz.

GOODBYE WITTGENSTEIN in LINZ | Works

Trevor Pitt: “David and Ludwig”

Artist statement: “I will use my time at Salzamt to develop the form and structure for a 21st Century Queer ℗opera; sketching out the libretto (based on Pinsent’s diaries), composing music using Logic software and creating maquettes for staging, mise-en-scene. […] One of the outcomes of the residency will a live performance of extracts from the opera ‘David and Ludwig’.”

Trevor Pitt is an artist and curator based in Birmingham who has been devising projects in galleries and the public sphere for 15 years. His work emerges from the social and cultural context within which they are produced and he adopts a spectrum of collaborative strategies and methods of enquiry. Although his practice is fundamentally that of an artist, he operates as a curator, commissioner, researcher and facilitator dependent on the nature of the “role” he adopts within the dynamic of a project. In 2007 he set up POD Projects as a platform and a strategy for collaborative ventures with artists, organizations and the public. In 2012 he set up A3 Project Space in Birmingham, UK as artist studios and a gallery that provides contemporary artists with the opportunity to develop new work and new relationships with their audiences.

Pete Ashton: “Wittgenstein wandelt wehmütig widriger Winde wegen Wienwärts”

Artist statement: “For Goodbye Wittgenstein I plan to use the schoolyard taunt ‘Wittgenstein strolls wistfully Vienna-wards due to adverse winds’ as a template to explore Linz from the perspective of the young philosopher. I plan to undertake regular walks from the Realschule in the direction of Vienna both alone and accompanied by others. These walks will constitute part of the work. Photographic and other data captured on these walks will then go towards a piece of visual art composed using algorithmic processes trained in part Wittgenstein’s work.”

Pete Ashton is an artist, mostly working with cameras and computers, based in Birmingham, England. Most of his work is anchored by his fellowship at Birmingham Open Media where he has been based since it opened in November 2014. This work is currently being developed on Github and will start taking shape through 2017. During 2016 his fellowship work was mostly a sabbatical based around Speculative Cameras, rethinking the camera as an artistic tool. His latest works include “20/20 Visions” (for Knowle West Media Centra), “Ikon Traces Walking Tour” (for Ikon gallery and Still Walking festival), Sitting In Stagram (2015), Cross City Walks at the Flatpack Film Festival (2015) and Live Sonification of Photography (2014).

Mike Johnston: “The Linz Chapter”

Artist statement: “The Linz Chapter will both be a standalone piece and a part of my ongoing written work inspired by Wittgenstein’s visits to Birmingham. These are scarcely mentioned in the existing narratives of his life, but after much research an interesting story has begun to emerge. […] The Linz Chapter is possible because it too is a post-industrial second city like Birmingham. Consequently the transfer of themes will provide an interesting comparison. And as we know, Wittgenstein’s education was in Linz which makes his ghost available for comment. Two themes in particular have emerged from research in Birmingham – nothingness and paradise. Development of these in Linz will involve an exploration to find and document their local signifiers. […] There will be a reading of The Linz Chapter during the final week of residency.”

Mike Johnston was born in Belfast, Northern Ireland and lives in Birmingham, England, since 1990. He graduated from University of Wolverhampton in 1993 with a degree in Philosophy and Politics. In 1999 he formed the electronic music group Plone and released for “Beginner Piano” on Warp records. Further musical adventures included Mike in Mono, ZX Spectrum Orchestra and Modified Toy Orchestra, with releases on Half-Eaten, Static Caravan, and Warm Circuit. His art practice sprang from involvement in the ZX Spectrum Orchestra: creating animations using machine code, archaic printed works and graph paper illustrations. Johnston exhibited at Citric, Brescia and LABoral, Gijon. Since 2008 he has been writing about the history of Birmingham in the first half of the twentieth century, the philosophy of Ludwig Wittgenstein and the unexpected connections between the two.

Emily Warner: “Number 4, Austria”

Artist statement: “Retracing the route covering Wittgenstein’s time in Birmingham, I am compiling an inventory of research that will act as a score for performative response upon arrival in Linz. This documentation comprises of visual records, scripted text and movement based responses that correlate directly with the sites significant to the Goodbye Wittgenstein narrative. Focusing upon Wittgenstein’s obsession with the production of an ideal space for generating philosophical matter – the remote hut he built by hand. I will be constructing and inhabiting both real and imagined spaces during my time in Linz. Bringing together material garnered from sites in Birmingham and Linz, I will fabricate space as a method for imposing conditions of work and productivity.”

Emily Warner is an artist and researcher working in a multi-disciplinary way to explore art as an on-going process, something that temporarily exists as a live experience, an action-based encounter or a conversational situation. Activating relationships with people and place, she is interested in the condition and construction of relationships in both physical and digital contexts.

GOODBYE WITTGENSTEIN takes a romantic love affair between the Austrian-British philosopher Ludwig Wittgenstein (1889 — 1951) and his young friend David Hume Pinsent (1891 — 1918) and the 1913 mostly in Birmingham written “Notes on Logic”, the predecessor of the Tractatus Logico Philosophicus, as a starting point for a series of works in public space in Birmingham and Linz.

As part of an exchange program between artists and scientists from both cities real and fictive stories are interwoven to revive Wittgenstein. In Summer 2016 qujOchÖ will visit Birmingham to intervene at different places that are connected to the life of Wittgenstein and Pinsent. The work will be presented in a public talk at BOM Birmingham Open Media and at the monthly art event Digbeth First Friday.

In November 2016 a group of four artists around A3 Project Space will come to Linz, where Wittgenstein visited the technical orientated “K.u.k. Realschule” between 1903 and 1906. Emily Warner, Trevor Pitt, Pete Ashton and Mike Johnston will use their residence at Atelierhaus Salzamt and quitch there to go on the trail of the philosopher.

GOODBYE WITTGENSTEIN in BIRMINGHAM | works

I DESIRE LUDWIG’S HEAD FOR MY OWN PLEASURE
Sound Art in public space: 6 speakers.

THE MEANING OF DICTATION
Performative art in public space: old table with fold out stool, typewriter Adler No. 7 from 1911, paper, pencils, examples of phonetic transcriptions, audio recordings.

A LETTER TO DAVID
Media art: postcards, stamps, pencils.

CHAPEL OF THE LONELY HEARTS
Installation in public space: antique wooden wardrobe with mirror, color changing LED heart, photographs, excerpts from diary, flashlight, voice recording of spoken letter.

LOGIC := LOVE
Installation in public space: old wooden ladder, two parrots, two parrot cages.

(For further informations about the works, please scroll down.)

LOGIC := LOVE video recordings of the two parrots
(Camera/Editing: qujOchÖ)

I DESIRE LUDWIG’S HEAD FOR MY OWN PLEASURE audio files of Richard Strauss’ modulated opera “Salome” Part 1:
[sc_embed_player_template1 fileurl=“https://ia801503.us.archive.org/9/items/IDesireLudwigsHeadForMyOwnPleasure/final_salome1.mp3”]

Download

I DESIRE LUDWIG’S HEAD FOR MY OWN PLEASURE audio files of Richard Strauss’ modulated opera “Salome” Part 2:
[sc_embed_player_template1 fileurl=“https://ia801503.us.archive.org/9/items/IDesireLudwigsHeadForMyOwnPleasure/final_salome2.mp3”]

Download

THE MEANING OF DICTATION dictations: https://archive.qujochoe.org/wp-content/uploads/themeaningofdictation_dictations.pdf

THE MEANING OF DICTATION audio recordings of the dictations:
[sc_embed_player_template1 fileurl=“https://archive.org/download/TheMeaningOfDictation/The_meaning_of_Dictation.mp3”]

Download

CHAPEL OF THE LONELY HEARTS audio recording of the read letter from Ellen Pinsent to Ludwig Wittgenstein:
[sc_embed_player_template1 fileurl=“https://archive.org/download/ChapelOfTheLonelyHearts/Chapel_of_the_lonely_Hearts.mp3”]

Download

GOODBYE WITTGENSTEIN in BIRMINGHAM | exhibition

Participating in the monthly art event Digbeth First Friday qujOchÖ presented the outcome of the interventions realized in public space at the end of their stay in Birmingham.

All five works have been re-enacted in the exhibition space of the off space gallery Stryx. The nearly 300 visitors could once again enter the wardrobe to listen to Ellen Pinsent‘s voice, step up the ladder to watch the parrots saying „Logic“ and „Love“ on screens, type a dictation of notes on logic in German on the old typewriter, feel or even hear Richard Strauss‘ Salome in the sound-installation or finish the letter to David Pinsent.

Links:
http://a3projectspace.org
http://www.bom.org.uk
http://digbethfirstfriday.com
http://www.linz.at/kultur/salzamt.asp
http://mikeinmono.blogspot.co.at
http://emily-warner.com
http://www.podprojects.org
http://www.peteashton.com
http://www.britishwittgensteinsociety.org/wittgenstein-linz-birmingham-art-project
http://www.kunstforum.de/nachrichten.aspx?id=11973

Supported by Austrian Cultural Forum London, BKA Kunst, Land Oberösterreich and Stadt Linz. 

GOODBYE WITTGENSTEIN in BIRMINGHAM | More informations about the works

I DESIRE LUDWIG’S HEAD FOR MY OWN PLEASURE
Sound Art in public space: 6 speakers.

The very last Triennial Music Festival in Birmingham at the Town Hall was attended not only by the great and the good of the city, but also by the young Ludwig Wittgenstein and his young friend David on October 4 1912, during his first visit to Birmingham. Besides others the concerts featured excerpts from Richard Strauss’ opera „Salome“ which Wittgenstein avoided and Pinsent deemed „rot“. The opera itself – written by Oscar Wilde – was not without controversy at that time. Wittgenstein refused to listen to „Salome“, was annoyed, left the Town Hall and stood outside.

For this intervention parts of the performed opera at the Trienniale were modulated into ultra high frequencies and performed all around the Town Hall on July 29 2016 between 6 and 9 pm. The multi-channel sound installation turned the final scene of „Salome“ into a controversial piece of sonic weapon, in particular for the younger audience.

THE MEANING OF DICTATION
Performative art in public space: old table with fold out stool, typewriter Adler No. 7 from 1911, paper, pencils, examples of phonetic transcriptions, audio recordings.

On October 7 1913 Ludwig Wittgenstein dictated „Notes on Logic“ at the Berlitz School of Language in 32 Paradise Street. He recited his work on logic in German language.

For this work passers-by in Paradise Street had been stopped and asked to re-enact the dictation. Sitting on a table they were asked to type down what they phonetically heard of „Notes on Logic“, read in German language, by using an old typewriter. Afterwards the people read aloud their own notes on logic, which was audio recorded.

A LETTER TO DAVID
Media art: postcards, stamps, pencils.

Correspondence from David Pinsent to Ludwig Wittgenstein places David lodging at 105 Harborne Road, Edgbaston in Birmingham, in summer 1914. The house was run by Miss Gertrude Dale who was a friend of the Pinsent family.

In a series of letters in June and July David expressed the hope of seeing Ludwig again around August 1914. The last time they had seen each other was in October 1913, when they said goodbye before Wittgenstein left to live in Norway. Both had been planning to holiday together again but with the outbreak of hostilities it was never to be, and they would never see each other again. David Pinsent died in an airplane accident in May 1918. What could have been the most important thing Wittgenstein was not able to tell Pinsent before he left Birmingham?

This work invites people to finish Ludwig‘s letter to David and send the prepaid postcard to the current owner of 105 Harborne Road, 80 year old Mr. Thomas Andrew Donoghue.

The collected postcards will be presented at a later time.

CHAPEL OF THE LONELY HEARTS
Installation in public space: antique wooden wardrobe with mirror, color changing LED heart, photographs, excerpts from diary, flashlight, voice recording of spoken letter.

David‘s father Hume Pinsent curtailed his retirement during the First World War and returned to Pinsent & Co. He and his wife Ellen lived in Little Wick, a cottage in the grounds of Selly Wick House, the home of Hume‘s brother Richard.

It was from here in July 1918 that Ellen wrote to Ludwig Wittgenstein to inform him of David‘s death who was killed in a flying accident on May 8, 1918: „I want to tell you how much he loved you and valued your friendship up to the last. I saw him the day before he was killed and we talked of you. He spoke of you always with great affection […]“

Wittgenstein replied: „David was my first and my only friend. I have indeed known many young men of my own age and have been on good terms with some, but only in him did I find a real friend, the hours I have spent with him have been the best in my life, he was to me a brother and a friend. Daily I have thought of him and have longed to see him again. God will bless him.“

The installation consisted of an antique wooden walk-in wardrobe placed on the pavement of Selly Wick House. Inside there was complete darkness. A strange atmosphere between anxiety and intimacy spread.

Random passers-by were asked to enter the wardrobe. By doing so and sitting down inside of the wardrobe the voice of an old woman could be heard reading the letter from Ellen Pinsent to Wittgenstein with a noble Birmingham accent. By using a flashlight the inside of the wardrobe could be examined to discover photos and selected diary entries of the beloved David.

LOGIC := LOVE
Installation in public space: old wooden ladder, two parrots, two parrot cages.

44 Lordswood Road was the family house of the Pinsents‘. Wittgenstein stayed here twice — once from October 4 to 5 1912, on his return from a holiday with David Pinsent in Iceland and once from October 6 to 8 1913, after holidaying with David in Norway. October 8 1913 is also the last time the two friends saw each other. Apart from a small section of the boundary wall on Lordswood Road and two old trees, the home of the Pinsent family has been demolished and redeveloped as Weather Oaks, built in the 1970s.

This work refers to the internal struggle of Wittgenstein and Pinsent and their life between reason and emotion, to „Notes on Logic“ and to the famous last part of the „Tractatus Logico Philosophicus“. An old wooden ladder was leaned against the wall of 44 Lordswood Road. Behind the wall one could hear two strange voices, one yelling the word „Love“, the other one yelling the word „Logic“. By stepping up the ladder and peeking over the wall one could see two parrots in cages talking to each other. Whereof one cannot speak, thereof one must be silent. Logic and Love are incompatible.