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Artists in Residency 24.08.-31.08.2019:

Show: 30.08.2019

„Fermentieren ist wie konservieren. Fermentiert man, wird es lange haltbar. Was lange haltbar ist, ist gut. Da hat man dann lange was davon. Gerade heutzutage, wo ja alles Gute gleich aufgegessen und alles weniger Gute über die Schulter geschmissen gehört.“ (J.C., 5.8.19.)

Discursive lab on “fermentation and wickedness” ending into a discussion and tasting of the 3 weeks live cultures in conversation with other researchers in Catskill (NY) and Japan. On the 25/6 we lacto ferment a summer vegetable while discussing the meaning of wicked, queer, wild and technologies in relation to our personal researches. We leave the ferments in the jars to age on top of soccles arranged in the space of the gallery. On the 13/7 the researchers in Brussels (Adrijana Gvozdenović, Pierre Rubio, Rob Ritzen, Sina Seifee) will open and taste them while discussing the same topics, this time informed by 3 weeks of residency and after a workshop on horror. Meanwhile I am in Farenheit House 451 Catskill in New York starting a new live cultures with the artists/curators (Inju Kaboom and Steve Schmitz) and their guests as a relay game of bacterial process. Antye Guenther in Japan intervenes in the middle of her night. (S. M., 11.6.19)

Also ich würde sehr gern kommen, fermentation spricht mich auch sehr an! (S.H., 6.6.19)

I'm very interested in fermentation as a metaphor for transformation, and I'm thinking a lot about "social fermentation" - what could it mean? how can the food hype (with all these blogs and DIY tipps and health / wellness contexts) around fermentation be used and inspire a more open / collective / interactive and political way to talk about it? how would this "fermenting-fermented present evolving into future" taste and look like? (M.K., 25.6.19)

„Ferment the moment“ (5.8.19)

I still don't know how but I would like to think about making "a dance for the future" for example making a dance for the next year (2020). I relate this to the different temporalities of fermentation processes, because there is always this projection to the future when preparing something that will be taste afterwards, after a certain transformation... There is something almost perverse or twisted to make a dance now that is supposed to be for the future... I guess this kind of practices are what I mean by "wicked technologies " ;-) (S. M., 17.4.19)


Susanna Hofer

Susanna Hofers (AT) work mostly revolves around her literary background. Characteristic for her photographic approach is the transformation of images into visual narratives; assembling the shown surface and the narrative in a way that neither appears to be coincidental nor artificial. Her portfolio is focused on taking unpretentious portraits, fragmented documents and seemingly coincidental still life compositions - neglecting fully designed and glossy composed sceneries. Susanna Hofer lives and works in Vienna.

Il lavoro di Susanna Hofer (AT) si sviluppa principalmente attorno al suo background letterario. Caratteristico per il suo approccio fotografico è la trasformazione delle immagini in narrazioni visive; mettendo insieme la superficie mostrata e la narrazione in un modo che non sembra né casuale né artificiale. Il suo portfolio è focalizzato sulla realizzazione di ritratti senza pretese, documenti frammentati e composizioni still life apparentemente casuali - trascurando scenari di composizione completamente progettati e lisci. Susanna Hofer vive e lavora a Vienna.

Susanna Hofers (AT) Arbeit speist sich hauptsächlich aus ihrem literarischen Hintergrund. Charakteristisch für ihre fotografische Herangehensweise ist die Umwandlung von Bildern in visuelle Erzählungen; das Kombinieren der gezeigten Oberfläche und der Narration auf eine Weise, die weder zufällig noch künstlich erscheinen. Ihr Portfolio konzentriert sich auf unprätentiöse Porträts, fragmentierte Dokumente und scheinbar zufällige Stillleben-Kompositionen – unter Vernachlässigung durchdesignter und hochglänzender Szenarien. Susanna Hofer lebt und arbeitet in Wien.

Sara Manente: Wicked Technology / Wild fermentation

By linking practices of fermentation, feminism and artistic research, WICKED TECHNOLOGY/WILD FERMENTATION hosts a space for thinking, perceiving and doing togetherness in live cultures and live arts.
Queering, sampling, transferring a prototype, feeding, inoculating, oxygenating, composting, tasting are processes involved in live cultures. Fermentation techniques challenge ideas of transformation, cannibalism, wildness, exuberance, excess, noise, opacity, death.
Sara Manente (IT/BE) is a performance artist, dance maker and researcher interested in narrowing the distance between the performer, the audience and the work. Her research starts from a dance practice that problematizes perception, translation and (aesthetic) value. Her work comes out in hybrid forms: book launch, 3Dfilm, written text, interview, choreographic piece, workshop, telepathic experience, collaboration et al. Sara Manente lives and works in Bruxelles.

Agganciando pratiche di fermentazione, recenti teorie critiche femministe e una ricerca artistica personale, WICKED TECHNOLOGY / WILD FERMENTATION attiva uno spazio per pensare, percepire e ospitare insolite miscele di fermenti vivi e live arts (“live cultures” nei due sensi di colture e culture). Creare un prototipo e distribuirlo, alimentare, immunizzare, ossigenare, miscelare, compostare, degustare, to queer (nel senso di rendere diverso in modo irreversibile): sono processi coinvolti nelle colture viventi. Fermentando, ripensiamo il corpo e la relazione tra i corpi. Accelerando e rallentando il ritmo con cambi di temperatura, parliamo di trasformazione, cannibalismo, selvatichezza, valore, esuberanza, rumore, opacità e morte.
Sara Manente (IT/BE) è una performer, danzatrice e ricercatrice interessata ad accorciare la distanza tra l'artista, il pubblico e la performance. La sua ricerca, pur partendo da una pratica di danza e coreografia, si sviluppa e concretizza in forme diverse: coreografie (lawaai means hawaai e faire un four), danze da leggere presentate come libri (spectacle #1, #2, #3), films (some performances loop con Ondine Cloez e Michiel Reynaert e spectacle #4 in 3D con Christophe Albertijn), interviste e laboratori, esperienze telepatiche in collaborazione con Marcos Simoes (tele visions e this place). Sara Manente vive e lavora a Bruxelles.

WICKED TECHNOLOGY / WILD FERMENTATION verbindet Praktiken der Fermentation, des Feminismus und der künstlerischen Forschung und bietet so einen Raum zum Denken, Wahrnehmen und Schaffen eines Miteinanders in lebenden Kulturen und performativen Künsten.
Queering, sampling, die Übertragung eines Prototyps, Füttern, Inokulieren, Oxygenieren, Kompostieren und Verkosten sind Prozesse, die im Umgang mit lebenden Kulturen beteiligt sind. Fermentationstechniken fordern Ideen von Transformation, Kannibalismus, Wildheit, Überschwang, Übermaß, Lärm, Opazität und Tod heraus.
Sara Manente (IT/BE) ist Performancekünstlerin, Tänzerin und Forscherin, die in ihrer Arbeit die Distanz zwischen Künstlerin, Publikum und Werk abbauen möchte. Ihre Forschung geht von einer Tanzpraxis aus, die Begriffe wie Wahrnehmung, Übersetzung und (ästhetischen) Wert problematisiert. Ihre Arbeiten präsentiert sie in hybriden Formen: Herausgabe eines Buches, 3D-Film, geschriebener Text, Interview, choreografisches Stück, Workshop, telepathische Erfahrung, Zusammenarbeit usw. Sara Manente lebt und arbeitet in Brüssel.


Easter is the Berlin-based duo of writer Stine Omar and producer Max Boss, who place the deadpan delivery of riddling rhymes atop synthetic post-Eurodance beats, distilled into bleak minimalism. For some highly erotic, for others purely asexual, Easter’s music channels the gentle embrace of crisis, like the moisturizing effects of puffy clouds against your skin as Earth’s gravitational pull beckons.
Easter's first album, Ur a Great Babe (2011), was created while Stine still resided in her native Norway, taking frequent trips to Berlin to collaborate with Max. In contrast, the duo birthed its followup, The Softest Hard (2012) in close quarters, completing the record in an intense one-month process, evolving their previous no-wave leanings into something more sterile and contemporary. The EP series New Cuisine Pt. 1 (2014) and 2 (2016) revealed further development, comparatively dense with layers and textures. After concentrating on the full length episodic movie “Sadness is an Evil Gas Inside of Me” starring Britta Thie and Lars Eidinger alongside themselves, and several singles, 2019 will see the release of a new EP.
Aside from their studio work, Easter have taken to stages throughout Europe and Asia, going overseas for the first time in 2014 to tour North and South America. Their stoic performance has been likened more to a flesh-and-blood sound installation rather than a typical band show, embodying the unconventional yet engaging Easter ethos.

Easter ist das Berliner Duo der Schriftstellerin Stine Omar und des Produzenten Max Boss. Ihre Performance zeichnet sich durch die ausdruckslose Überbringung von rätselhaften Reimen zu synthetischen Post-Eurodance-Beats aus, destilliert in ödem Minimalismus. Für einige hocherotisch, für andere rein asexuell, kanalisiert Easters Musik die sanfte Umarmung der Krise, wie die feuchtigkeitsspendende Wirkung von aufgedunsenen Wolken auf deiner Haut, während die Anziehungskraft der Erde winkt.

Easter è il duo con sede a Berlino della scrittrice Stine Omar e del produttore Max Boss, che pone la consegna impassibile di rime enigmatiche su ritmi sintetici post-Eurodance, distillati in un minimalismo brullo. Per alcuni altamente erotici, per altri puramente asessuali, la musica di Easter canalizza il dolce abbraccio della crisi, come gli effetti idratanti delle nuvole gonfie sulla tua pelle mentre la spinta gravitazionale della terra ammicca.

Justin Case aka Gentlewoman

German born techno DJ Justin Case aka Gentlewoman is known for her raw, heady, dark, daft and trashy swinging sets. After she enriched Vienna over seven years with quality music events, temporarily as part of the “Wiener Endorphine” collective, she became more and more in demand as a solo DJ due to her unique sound and her ability to create glittering and dusty atmospheres.
Currently based in Bolzano (Italy), she’s conquering the art and music scene of South Tyrol.

Die in Deutschland geborene Techno Djane Justin Case aka Gentlewoman ist bekannt für ihre dreckigen, berauschenden, dunklen, verrückten und trashigen Sets. Nachdem sie Wien unter anderem als Teil des “Wiener Endorphine” Kollektivs über sieben Jahre mit qualitativen Musikevents bereicherte, wurde sie aufgrund ihres besonderen Sounds und ihrer Fähigkeit, glitzer-staubende Atmosphären zu schaffen, immer mehr als Solo-Künstlerin gefragt.
Derzeit lebt sie in Bozen und erobert die Kunst-und Musikszene Südtirols.

Justin Case aka Gentlewoman è nota per i suoi set sporchi, inebrianti, scuri, pazzi e trash. Dopo aver arricchito Vienna con eventi musicali di qualità per oltre sette anni come parte del collettivo "Wiener Endorphine", è diventata sempre più ricercata come artista solista grazie al suo suono speciale e alla sua capacità di creare atmosfere scintillanti e polverose.
Attualmente vive a Bolzano e sta conquistando la scena artistica e musicale dell'Alto Adige.


Slider lovingly built by @intllgnt

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May 18 2019

Karolina Daria Flora (PL)
Ada van Hoorebeke (BE)
Infinite Palace (AT)

An Vollmond treten die Regeln des Gewohnten außer Kraft. Knospen öffnen sich, Korallen verteilen ihre Geschlechtszellen im Wasser und Kinder drängen durch die Geburtenkanäle ihrer Mütter in die Welt. Sogar Feste sind ausgelassener! Der Vollmond, la luna piena, steht für Fruchtbarkeit und Geheimnis. Um ihn/sie ranken sich gleichermaßen Fakten und Fiktionen, Weisheiten und Volksglaube. In dieser speziellen Mainacht wirft die Kunst ihr neugieriges Licht auf Aspekte des Mondes und Mondseiten des Lebens.
FOOL MOON wagt den Sprung: die Restauration eines Naturfestes, wo sich alte und neue Mythen zwischen Kunst und Natur verweben, Elemente ihre Form wandeln, sich neue künstlerische Bilder behaupten und der Mensch durch einen Transformationsprozess, gleichsam des Mondbildes, geschickt wird.

Wollbad – Moon Cut – Ritual of Kore


Alla luna piena, le regole dell'abituale sono abolite. Le gemme si aprono, i coralli diffondono le loro cellule sessuali nell'acqua e i bambini spingono attraverso i canali di nascita delle loro madri nel mondo. Anche i festival sono più esuberanti! La luna piena, der Vollmond, significa fertilità e mistero. Fatti e finzioni, saggezza e credenza popolare si intrecciano intorno a lei/lui. In questa speciale notte di maggio, l'arte getta la sua curiosa luce su aspetti della luna e sui lati lunari della vita.
FOOL MOON osa il salto: il restauro di una festa della natura, dove vecchi e nuovi miti tra arte e natura si intrecciano, gli elementi cambiano forma, si affermano nuove immagini artistiche e l'uomo è invitato di entrare un processo di trasformazione.

Bagno di lana - Taglio di luna - Ritual of Kore

Dian Joy and Candida Kickl as BLUE: Ritual of Kore

Two subaltern demigods of BLUE invite you to a performative intervention in the Knottnkuchl of Hotel Amazonas. The transformative shine of the blue moon has been chosen as a setting for the process of self-emancipation to which individuals are invited to participate. Guided by BLUE, a structured process is traversed: a playful, experiential assemblage inspired by the counter-play of sun and moon which is yet informed by a distrust in the binary mindset which characterises Western thought. The ritual draws on a variety of mythological frameworks in order to construct a symbolic logic that seeks to reinstate the importance of ritual as essential to human spirit. The fragments of the performance are influenced by Ancient Greek, South American, Juju and Roma ritual traditions.
The performance takes place in English.

Zwei der subalternen Halbgötter von BLUE laden zu einer performativen Intervention in die Knottnkuchl des Hotel Amazonas ein. Den Schutz des blauen Mondes wählen sie, um die Teilnehmenden zu einem Selbstermächtigungsprozess einzuladen. Begleitet durch BLUE durchläuft man einen strukturierten Prozess: eine spielvolle, experimentelle Assemblage, deren Aufbau vom Gegenspiel zwischen Sonne und Mond inspiriert ist, aber nichtdestotrotz die Aktualität der binären Denkweisen der europäischen Kultur hinterfragt. Das Ritual greift auf eine Reihe von mythologischen Traditionen zurück, um eine symbolische Logik zu erzeugen, die das Ritual als ein dem menschlichen Geist eng verbundenes Element ansieht. Fragmente der Performance sind von den rituellen Traditionen des Antiken Griechenlands, Südamerikas, der Roma und des Juju entlehnt.
Die Performance findet auf Englisch statt.

Due dei semidei subalterni di BLUE invitano a un intervento performativo nel Hotel Amazonas. Scelgono la protezione della luna blu per invitare i partecipanti a un processo di auto-potenziamento. Accompagnato da BLU, si passa attraverso un processo strutturato: un assemblaggio giocoso e sperimentale la cui costruzione è ispirata dalla contrapposizione tra il sole e la luna, ma mette in dubbio l'attualità dei modi binari di pensare nella cultura europea. Il rituale utilizza una serie di tradizioni mitologiche per creare una logica simbolica che considera il rituale un elemento strettamente legato alla mente umana. Frammenti di esecuzione sono presi in prestito dalle tradizioni rituali dell'Antica Grecia, del Sud America, dei roma e del Juju. La performance sarà in inglese.

Artist in Residency: Karolina Daria Flora

During her residency at Hotel Amazonas Karolina Daria Flora interweaves the transitory essence of the Moon into her works and the Lunar Goddess will be the protagonist of that story. As the Moon inhabits the realm of the dreamscape, and it's believed to be the gate to the occulted mysteries, subconsciousness and magic, we will dive with her into the ever changing waters reflecting the Moons enigmatic grin.
Karolina Daria Flora is a self-taught multidisciplinary artist, a healer and a bird. She works in the field of costume design, creating elaborate costumes for multiple projects - film, theatre, performance; co-founder of A L T O Art Residency in Alto Paraíso, Brazil. She makes sculptures, weavings, installations,videos, land art and photographs which she uses to shape the vision of psychedelic, fantastic realities, tableaux-vivants and ritualistic landscapes.

Während ihrer Residency im Hotel Amazonas verwebt Karolina Daria Flora die flüchtige Essenz des Mondes in ihre Werke und die Mondgöttin wird die Protagonistin dieser Geschichte sein. Da der Mond das Reich der Traumlandschaft bewohnt und das Tor zu den verborgenen Geheimnissen, dem Unterbewusstsein und der Magie ist, werden wir mit ihr in die sich ständig verändernden Gewässer eintauchen, die das rätselhafte Grinsen der Monde reflektieren. Karolina Daria Flora ist eine autodidaktische multidisziplinäre Künstlerin, eine Heilerin und ein Vogel. Sie kreiert kunstvolle Kostüme für Film, Theater und Performance und ist Mitbegründerin der A L T O Art Residency in Alto Paraíso, Brasilien. Anhand von Skulpturen, Webereien, Installationen, Videos, Land Art und Fotografien formuliert sie Visionen von psychedelischen, fantastischen Realitäten, Tableaux-Vivants und rituellen Landschaften.

Durante la sua residenza nell'Hotel Amazonas Karolina Daria Flora intreccia l'essenza transitoria della Luna nelle sue opere e la Dea Lunare sarà la protagonista di questa storia. Mentre la luna abita il regno del paesaggio onirico, e si crede che sia la porta per i misteri occulti, il subconscio e la magia, ci immergeremo con lei nelle acque mutevoli che riflettono il sogghigno enigmatico delle lune.
Karolina Daria Flora è un'artista autodidatta multidisciplinare, una guaritrice e un uccello. Lavora nel campo del design di costumi e crea elaborati costumi per film, teatro e performance; co-fondatrice di A L T O Art Residency ad Alto Paraíso, Brasile. Usando sculture, intrecci, installazioni, video, land art e fotografie, l’artista formula visioni di realtà psichedeliche e fantastiche, tableaux vivants e paesaggi rituali.

Artist in Residency: Ada Van Hoorebeke

Ada Van Hoorebeke's practice evolves around the elaborate process of dye making with natural colours from waste material such as scrap iron, fruit peals, urine and indigo, and applying these dyes with resist dye techniques such as hot wax stamped or painted on fabric. Her installations are inspired by cottage and domestic industries. Whilst transforming and re-evaluating their purposes, the artist explores how handwork-based routines can gain new relevance on a social and poetic level.
Her work was recently shown at WIELS Contemporary Art Centre, Brussels; Komplot Brussels, Division of Labour, Manchester; Peninsula Art Space, New York; Basis Projektraum, Frankfurt; Be-Part Platform for Contemporary Art, Waregem; DMW Art Space, Antwerp; Grimmuseum, Berlin; BankART, Yokohama.

La pratica di Ada Van Hoorebeke si evolve attorno all'elaborato processo di tintura con colori da materiali di scarto come rottami di ferro, buccie di frutta, urina e indaco, e applicando le tinture con tecniche “resist dye” come cera calda stampata o pittura su tessuto.
Le sue installazioni sono ispirate dalle industrie casearie e domestiche. Mentre trasforma e rivaluta i loro scopi, l'artista esplora come utilizzare le pratiche manuali per acquisire una nuova rilevanza a livello sociale e poetico. Il suo lavoro è stato recentemente presentato al WIELS Contemporary Art Centre di Bruxelles; Komplot Brussels, Division of Labor, Manchester; Peninsula Art Space, New York; Basis Project Space, Francoforte; Be-Part Platform for Contemporary Art, Waregem; DMW Art Space, Anversa; Grimmuseum, Berlino; BankART, Yokohama.

Bei Ada Van Hoorebeke dreht sich alles um die aufwendige Herstellung von Farbstoffen aus Abfallstoffen wie Eisenschrott, Fruchtschalen, Urin und Indigo. Diese Farbstoffe werden mit Resist-Farbstofftechniken wie Heißwachs auf Stoff gestempelt oder gemalt. Ihre Installationen sind inspiriert von Manufakturen und der häuslichen Produktion. Während die Künstlerin deren Zwecke transformiert und neu bewertet, untersucht sie, wie handarbeitsbasierte Routinen auf sozialer und poetischer Ebene neue Relevanz erlangen können. Sie hat ihre Arbeiten im WIELS Contemporary Art Centre in sowie Komplot in Brüssel, Division of Labour in Manchester, Peninsula Art Space in New York, Basis Projektraum in Frankfurt, Be-Part-Plattform for Contemporary Art in Waregem, DMW Art Space in Antwerpen, Grimmuseum in Berlin und BankART in Yokohama gezeigt.

Live concert: Infinite Palace

Vienna-based musician „Infinite Palace“ (formerly “Infinite Pal” and „Crazy Bitch in a Cave“) is known for his love of genre-fluid pop songs and questioning fixed identities. Thoughtful electro songs are accompanied by his trademark androgynous falsetto vocals. Atmospheric loops and crooked reverbs meet piano and electronic beats with a DIY pop sensibility.

Der Wiener Musiker „Infinite Palace“ (früher “Infinite Pal” und „Crazy Bitch in a Cave“) ist bekannt für genre-fluide Pop-Songs und die Hinterfragung fixer Identitätsvorstellungen. Sein unverkennbarer, androgyner Falsett-Gesang entfaltet sich in nachdenklichen Electro-Songs. Atmosphärische Loops und krumme Hallräume treffen auf Piano und elektronische Beats mit einer DIY Pop-Sensibilität.

Il musicista viennese "Infinite Palace" (precedentemente "Infinite Pal" e "Crazy Bitch in a Cave") è noto per le canzoni pop fluide di genere e per mettere in discussione i concetti di identità fissa. Il suo canto inconfondibile in falsetto androgino si esprima in canzoni electro pensierosi. Loop atmosferici e riverberi storti incontrano pianoforte e ritmi elettronici con una sensibilità pop fai-da-te.

09. - 16.03.2019
Artists in residency: Voodoo Jürgens & David Schweighart aka Schrecken

Interview mit Voodoo Jürgens auf Zu Geschichten Musik machen