intensified art experience through optimized synergy of audiovisual artistic collaboration. The main focus is on the dialogue between art genres and the opening of traditional, encrusted and art immanent barriers. The Composition graphique musicale is based on the concept of a dialogue between contemporary music and abstract drawing, which is continuously and interactively modulating during the trans-art performance. The final product is the large-scale drawing, the recorded video and the sound recording.
Thursday, 13th of January 2022 at 19:30 Uhr
do trans-Art_67 with Franziska Krug, alias FuVK, electronics
Online event: YouTube Livestream
A new year is beginning and the performance-series do trans-Art continues undauntedly: on the 13th of January artist Astrid Rieder is inviting the ELEKTRONIKLAND-award-winner of 2019 Franziska Krug, alias FuVK, to the 67. do trans-Art Performance. The young FuVK makes music with tape decks which she uses to generates soundscapes live. In an interview with mica the musician describes, "I see paintings in front of my inner eye, that show the single tracks in layers. For me, every colour and shape is a sound sequence which I arrange in a picturesque way.". This is especially relevant for the do trans-Art series in which artist Astrid Rieder steps into a dialogue with a music and reacts to instant composing with abstract drawing and viceversa.
Review: do trans-Art_66 on December 09 with Mia Zabelka at 7:30 p.m.
In the 66. do trans-Art Performance, Astrid Rieder came together with musician Mia Zabelka in a performance they conducted as a video call and sent out via livestream. While the artist was in Salzburg, the musician was located in the Südsteiermark. As different stages of lockdown have a negative impact on the work of artists, a performance like this is an important sign: there’s always a way forward.
This future-oriented perspective is also reflected in the performance in which Astrid Rieder and Mia Zabelka look forward fearlessly: they break tradition and barriers in their performance by tying their art forms together in a dialogue. Additionally, the tools used in the performance are not conventional either: the musician, for example, does not only use her violin, she also produces a variety of sounds with her voice or gently hits the violin strings with her bow.
Meanwhile, Astrid Rieder projects the sounds of her drawing back into the room so the musician can react to corporeal gestures, sounds and the drawing itself with all its shapes and colours. Inspired by the sounds the artist creates a drawing of green and blue lines in various strengths. While the green is presented in thinner lines, it does not fade into the background: in a few places the slim lines strengthen and amplify each other to create a deep green.
While the blue appears light in some places, it still remains dominant in the drawing through strong lines made with pastel chalk. If one looks closer, a remaining detail might reveal itself as well: mixed in with the green and within small lines in the background, some black details can be seen - in parts even transparent, covered by the opaque green.
Here, an active viewing of the drawing is asked for, which can lead to surprises - just like during a trans-Art Performance, in which the smallest sounds or shapes and colours can lead to surprising turns within the performance through the active engagement and appreciation the artist and musician grant each other.
Review: do trans-Art_65 on November 11 with Paul Aigner at 7:30 p.m.
Heterotopia - to Michel Foucault this means opening up new spaces that don't follow the norms and rules of the rest of the world. This is exactly what happened in the 65. do trans-Art performance with Astrid Rieder and Paul Aigner. By opening up the spatial dimension through an additional paper on the floor of the studio, the artist creates more space for bodily gestures, drawing and artistic dialogue. This space for collaboration seemed to delight her performance partner Paul Aigner: throughout the performance one could see him looking at the artist and seeing how his music inspired her; at different times he seemed to survey her as to create sounds based on her movements, the drawing sounds and the drawing itself.
The resulting drawing is made onto two separate papers but, once again, you can see the overcoming of boundaries inherent in the art form trans-Art: Astrid Rieder doesn't let the border between the two canvases scare her as she connects the papers boldly, turning two into one - just like the connection between performance partners and drawing and music.
The resulting drawing, showing different shades of black and white, consists of strong black lines that come from broad corporal gestures which gained new strength through the spatial dimension opened up by the artist. Additionally, one can see fine lines that are partially covered by white or even vanish in the lighter colour. After the performance ended, the artist and the musician Paul Aigner signed the drawing across both of the paper, finalizing the connection.
Review: do trans-Art_64 on October 14 with Valentin Malanetski at 7:30 p.m.
In the 64. Performance of the do trans-Art series the artist Astrid Rieder met the pianist and musician Valentin Malanetski from Moldova in a special kind of way. Within this, the pianist didn't just use traditional tools like the piano keys to make sounds in the trans-Art studio but also engaged with the strings of the piano directly. Astrid Rieder then replied to this with different graphical materials and vice versa.
The musician thinks that performing is an act of opening up towards oneself and others. This is also reflected in the concept of the trans-Art series in which the artist invites a musician she hadn't previously known and converses with them artistically.
This act of opening up and a sense of intimacy could also be felt within the 64. trans-Art performance: quiet sounds and slow drawing gestures are followed by fast sounds to which the artist replies with quick drawing movements and sounds. Visitors of the performance witnessed high emotions within this performance - an element which is inherent within this kind of dialogue: a large range of emotions is activated, communicated and felt by the viewers. Through this, the audience is sent on a "rollercoaster ride of emotions" as reported by a visitor in the trans-Art studio.
The drawing that resulted from the Composition graphique musicale shows impetuous lines, later on covered by different nuances of green and blue that were brought upon the paper in flowing motions, contrasting a shining yellow. Another contrast can be seen within the colours regarding their strength and weakness: an example of this is the use of the yellow of pastel chalk on the one hand and the sparkling, shining yellow of water-soluble chalks on the other.
These different colour intensities also reflect the range of emotions activated within the performance - which is especially important as it presents a way to use these emotions peacefully and constructively within a dialogue. And this kind of dialogue, then, makes way for innovation: where boundaries of art fall, the room for something new is created.
Approaching each other
Especially in view of the current social discrepancies, the dialogue seems to be decisive as a means of communication between two parties. At the 63rd performance of the do trans-Art series, the Viennese cellist Sebastian Jolles met the visual artist Astrid Rieder. The drawing artist and the musician agreed on rhythm, pitch and tonal language. Although the sound of the drawing and the instrument speak different languages, they can interact with each other through openness and mutual understanding. The common intersection is important and not only serves as an effective aid in art. Social upheavals, such as the Corona crisis or the Afghanistan debate, also need a mutual "approach": Language, integration and the added value of both sides are paramount. Learning from one another increases the overlap and avoids polarization. The 63rd Composition graphique musicale shows the social division in which the world, and especially Europe, is currently located. Not only the physical expression and the drawing noises, but also the lines, shapes, hatching and condensation in black and red are a warning to society. In order to prevent such problems or to solve them peacefully, understanding and social and cultural-artistic integration are required.
Review: do trans-Art_62 on August 12 with Agustín Castilla-Àvila at 7:30 p.m
About the trotting of the sounds
Astrid Rieder and the Spanish composer and guitarist Agustin Castilla-Avila, who lives in Salzburg, conducted a very special do trans-Art dialogue with three white electric guitars and intensified drawing noises. The optically and acoustically appealing sound installation of the electric guitars, which were attached to the left and right of an armchair installation by Fritz Rücker, reinforced the acoustics through the metal tubular frame of the armchairs. This made it possible to create a great variety of moods and sounds that are reminiscent of a Persian oud and unleash images of trotting camels. The simultaneously fine, trotting sounds harmonized and synchronized with destructive, dark sounds, which were first graphically represented by individual lines, later with clear condensation. The do trans-Art dialogue led the audience to discoveries, transgressions and also on new paths.
Review: do trans-Art_61 on July 8 with Anna Koch at 7:30 p.m
After a strong year full of sudden changes in our everyday life, one question is posed: has our view of social norms and basic values, caused by these results, ever changed? Astrid Rieders trans-Art wishes to take people on a path of peaceful, constructive and future-shaping dialogue. In doing so, she focuses on the values of a society that is open to new ideas. In the 61st performance of the do trans-Art series, the artist will interact with Anna Koch, clarinetist. The two protagonists hardly know each other, but want to show how constructive engagement with one another can lead to a productive result.
Review: trans-Art at Shakespeares by niM and Hear with Andreas Tentschert, Piano
Wednesday, June 30 at 08:30 p.m.
To look at music is a different process as well; I like to see sounds as a shape and color. (Sophia Ogielska on her conversation with David Tudor)
To look at the sound - to recognize its shapes and colors - this process could be regarded closely in Astrid Rieder's trans-Art performance on June 30, 2021. As part of the niM and Hear series at the Café Shakespeare, Astrid Rieder and Andreas Tentschert, pianist and music historian, created an audio-visual presentation of trans-Art. Listening to music and interpreting music is some other process than viewing and audio-visually listening to music. In trans-Art abstract dimensions meet compositionally in completely new spheres and give protagonists and the audience an active access to the communication between new music and abstract art.
Review: Austrian Music Week Salzburg and do trans-Art_60 with Romana Kemlein-Laber and Hermann Stangassinger on June 10 at 7:30 p.m. at the trans-Art Studio
trans-Art Studio in Salzburg, Austria, is a bee-hive of activity.
We feature articulate voices in art, in dialogue and seek the experimental. At the 60th do trans-Art performance, which in June of this year is coupled with the Austrian Music Week there will be performances in Salzburg, Vienna, Klagenfurt and Graz.
The main topic of the Austrian Music Week this year is “Improvisation”. This large subject matter will be musically interpreted by composers and performers of ACOM, the (Austrian Composers Association).
The trans-Art Studio Salzburg will feature 6 live streamed performances on June 10.
In order of appearance:
o 60th do trans-Art performance with Astrid Rieder (trans-Art performance), Romana Kemlein-Laber (viola) and Hermann Stangassinger (double bass)
o Peter Arnesen (Piano Improvisation / Impressions)
o Romana Kemlein-Laber aka (FuVk) / (Electronics)
o Gerhard Laber (Percussive Sound Design)
o Werner Raditschnig ( Electric Guitar and Electronics )
This event will include a live audience in Salzburg if possible.
Further information to the Austrian Music Week, concerts and dates, can be found on the ACOM website.
Review do trans-Art_59 on May 13 with Peter WesenAuer at 7:30 p.m.
Peter WesenAuer and Astrid Rieder meet for the 59th do trans-Art performance in the trans-Art Studio Salzburg. Peter WesenAuer, pianist and composer, exploits the power of the piano and develops a driving and at the same time playful force, which Astrid Rieder replies to with her drawing. Almost threatening soundscapes are replaced by delicate and light-footed ones, which leads to a bright clearing. Astrid Rieder's graphic composition, finds its place on the paper canvas, develops broadly and delicately with strongly concentrated accent points in dark red and muted yellow. At the end of the performance, the tension of the artistic dialogue slowly drains like a river in the valley and then flows into a pleasant calm.
do trans-Art_59 on May 13 with Peter WesenAuer at 7:30 p.m.
Sharing is caring
This is the motto of the 59th performance in the do trans-Art series. The guest is the conductor and pianist Peter WesenAuer. Together with Susanne Hehenberger, he produced the 12th and 13th episodes of the "Great American Songbook" in the studio of Astrid Rieder in Wals near Salzburg in March. With their online "CoronaConcerthall", they want to bring American entertaining music of the mid-20th century closer to the audience.
Peter WesenAuer not only masters a wide variety of music genres, but also lets himself be inspired by instant composing in new music.
As chief conductor of the "Sinfonietta da Camera Salzburg", Peter WesenAuer will return into the studio and conduct a dialogue with Astrid Rieder on the piano.
Review: do trans-Art_58 on April 8 with Celina Hubmann and Leonie Rothbucher
triangle, a reaction process
What happens if two musicians, the Duo Celeo, meet the visual artist in a trans-art performance? The goal of this extraordinary, 40-minute, spontaneous interaction is not only to make progress, which is an important requirement of trans-Art, but also to perform well-balanced in the symbolism of an isosceles triangle.
New look to a completely fresh Composition graphique musicale. The core of this compositional activity is the conceptual aspect of this interactively modulating dialogue. It's about the interactive creative process, not the image and the sound, even if they remain. Spurred on by the peculiarity of creating a do trans-Art performance with three people, trans-Art shows again and again what harvest can be brought with balanced, benevolent exchange between individuals.
Review: do trans-Art_57 on March 11 with Svetlana Grots-Lanskaia
Energetic source of inspiration
The harpsichordist Svetlana Grots-Lanskaia, amazed as a trans-Art performance partner who despite the current odds, supports art with enthusiasm and resilience.
The dynamic and overwhelming energy of her piano playing made the young musician’s music appear like a roar from an unleashed lioness. Astrid Rieder playfully chased the music of the wildcat with her drawing on the paper canvas.
The alternate engagement, the efforts to lead a dialogue, a mutually modulating artistic form of expression result in a mutual Composition graphique musicale that cannot be separated. Like fresh water from a gushing spring full of liveliness, Svetlana Grots-Lanskaia and Astrid Rieder satisfied their dry thirst for artistic experience in the 57th do trans-Art performance. Precious moments like these push resilience and provide resources of inspiration for the time after the lockdown.
Review: do trans-Art_56 on February 11 with Agustín Castilla-Àvila
In the 56th performance of the do trans-Art series, a "we are" feeling was created. The "we are" concept made it possible to experience all these effects, which was brought to life through the dialogue between Astrid Rieder and Agustín Castilla-Àvila. Was it the bi-tones of his classical guitar including capos* or Astrid Rieder's different drawing materials: the abstract content of trans-Art requires understanding and a sense of belonging from the other person. The other one becomes part of the "we are" concept. Through the feeling of belonging, the trans-Art artists enable a product that can only arise from the "we are".
*Capos allow the vibrating guitar strings to be shortened
Two broadcasting slots at the Radiofabrik 1st and 3rd Saturday per calendar month, at 11am „Studio of contemporary music/trans-Art“
Saturday, October 2nd
do trans-Art_63 with Sebastian Jolles, Cello
Saturday, October 16th
retake of the do trans-Art_62 with Agustín Castilla Àvila (due to server errors by Radiofabrik)
Two transfers at RadioFro. Always on the 2nd and 4th Tuesday per calendar month, at 11pm.
Tuesday, October 12th
transfer of the broadcast studio about the do trans-Art_63 with Sebastian Jolles, Cello
Tuesday, October 26th
transfer of the broadcast: retake of the do trans-Art_62 with Agustín Castilla Àvila (due to server errors by Radiofabrik)
television show: Astrid Rieders do trans-Art with Andreas Tentschert (niM and Hear at the café Shakespeare, Salzburg)