Astrid
Rieder
Current Activities of Trans-Art
Warm welcome
SUMMIT of trans-Art 2022
Venue of the scientific session at the Bundesstraße 37, 5071 Wals
Thursday, October 13th at 6pm
Opening speech Jürgen Tabor
at 7:30 pm do trans-Art_76 with Paul Eiser, Saxophon
Friday, October 14th
Lectures and dicussions
Begin: at 9 am
09:00 Celina Hubmann
09:30 Manuel Schabus
10:30 Anna Koch
11:00 Café break
11:15 Michael Mautner
12:00 Roman Pfeffer
12:30 Elisabeth Moest
Lunch: 13:00 -14:30
14:30 Marie-Therese Rudolph
15:00 Margit Zuckriegl
16:00 Café break
16:30 Panel discussion, chaired by Jürgen Tabor
Admission free - registration and requested:
Venue of the scientific session:
5071 Wals-Siezenheim, Bundesstraße 37, Top8
trans-Art :
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.
Review: audience performance at the Barockmuseum Salzburg as part of the FACTORY on July 28th 2022 with Ingrid Wegmayr, thelonious and Celina Hubmann
Going beyond one's own limits requires courage. To stand out from the crowd, to try something new, perhaps to face one's bareness: In the former Baroque Museum, a place where visitors could return to the art of the 17th and 18th centuries once, one's own boundaries, one's own anonymity could now be overcome.
In the course of the audience performance, two people enter into a spontaneous artistic dialogue. For a short time, the contrast of artist, layperson, musician and audience becomes invisible. Anyone and everyone can leave their place in the room and engage in a new experience in the moment. Modern meets old, layman meets professional, drawing meets music.
This also happened in the audience performance at the FACTORY Salzburg with the three musicians Celina Hubmann, flute and voice, Ingrid Wegmayr, electric guitar and thelonious on the clarinet.
The constant flow during this performance was not only present among the musicians, who always took turns with a colleague after 10 minutes. It could also be felt in the audience: again and again someone from the crowd went to the paper canvas and entered the dialogue. Even spectators who came into the museum by chance from the Mirabell Gardens first watched the performance with interest and then finally dared to continue the drawing on the paper canvas themselves.
Review: do trans-Art_73 with Elisabeth Möst on July 14th at 7:30 p.m.
The 73th performance of the do trans-Art series was something special. Except for arrangements from afar concerning the organisation of the performance, Astrid Rieder and flutist Elisabeth Möst saw each other for the first time - and directly entered the artistic dialogue with each other. It takes courage to get so involved with a person you don't know well yet, but both the visual and the musical artist demonstrated this courage.
The audience seemed to have noticed this, too, and stayed in the studio for a long time to ask the two protagonists about their experiences and ideas. But before that, they watched the performance with great interest. Elisabeth Möst skillfully interacted with her flute and later described being guided, but sometimes also taking the initiative. Particularly interesting, however, was an idea from music history, which she later explained to the audience. Musicians use colours in regard to sounds to communicate with others. Franz Liszt, for example, described colours to orchestra musicians in relation to specific sounds to explain how to play a piece. The musician had to think of this because Astrid Rieder, as the visual artist, unknowingly used the colour green exactly when it matched the note played from the music-historical position. This highlights part of the concept of trans-art: music and art no longer stand there as separate entities, but are combined in the artistic process of creation, supporting each other to form a synergy.
In this way, a drawing is created, which is discussed again and again in the audience, as a large number of associations are evoked. A thick black line in the middle, with paint running downwards, reminds some of a bridge. Others see in the colourful thin lines in yellow, green and orange, as well as ballpoint pens and pencils, a street map. Some interpret the keys of a piano into curved black and white lines of acrylic paint. Thus, an active conversation between everyone present evolves. Within this, it becomes very apparent that the viewers don't just take in the experience of the composition graphique musicale passively, but rather actively attempt to decode the artistic interaction.
Review: do trans-Art_72 on June 9th with Agustin Castilla-Avila at 7:30 p.m.
For the 72nd performance of the do trans-Art series, Agustin Castilla-Avila brings two electric guitars. He offers the audience a special spectacle: the two guitars are held together at the head by adhesive tape. They stand together on the floor while the guitarist plays them simultaneously with two violin bows. In this way, he creates completely new worlds of sound and gives the visual artist Astrid Rieder impulses for her abstract drawing. But it does not remain this way: after a certain time Castilla-Avila puts the bows down and begins to activate the strings of the guitar with his fingers, or covers his finger with a metal tube, which then creates the sounds.
Astrid Rieder's abstract drawing also undergoes a development as the performance progresses. At first, it consists of pale strokes in the middle of the paper canvas. But then the additive drawing takes on a focal point: with thicker, black lines in the shape of a circle, the artist draws the attention of the audience to the center of the paper canvas. In addition, white elements appear around the circle - a combination that could remind viewers of a storm. But a trans-art performance happens in the moment, its end is never predictable, as it is created through the interaction of sound and drawing. So this stage of the drawing is overrun again, and the whole canvas is covered by wide black stripes.
Review: do trans-Art_71 on May 12th with Celina Hubmann at 7:30 p.m.
The flutist and soprano Celina Hubmann is a guest in the studio of the visual artist Astrid Rieder to work together on the 71st performance in the do trans-Art series. Since the musician usually works in the field of operettas and musicals, an entertaining performance was expected - and this hypothesis was certainly fulfilled. In the performance, the musician makes particular use of her voice: she reacts to the graphic impulses of the visual artsit with a wide variety of sounds and noises. At the same time, she deliberately uses the space to make use of manifold facets of performance art as a tool for artistic communication. Thus, she first moves freely through the space, before approaching the graphic artist so closely they almost touch.
Another particularly striking aspect was the interplay between the two artists in terms of content: with a rhythmic tapping, Astrid Rieder first draws on one side of the canvas, then on the opposite side. In this way she commemorates those affected by the war in Ukraine. The drawing wants to evoke this thought by depicting two opposite sides between which chaos reigns.
The colour "titanium white" has also been specifically chosen by the artist, because the term "titanium" evokes a male association through patriarchal connotations - one thinks of power, violence, the struggle for strength.
Celina Hubmann seems to catch on to this train of thought, as she responds to the pain in a theatrical way: towards the end of the performance, she creates sounds that evoke the image of someone crying.
As an artist, Astrid Rieder particularly uses monochrome colours in do trans-Art_71 and thus creates a picture in a variety of different gradations of white and black. The additive drawing therefore continues to form over the course of the performance: at first the artist applies thin lines to the canvas, later it develops into strong spatula movements with acrylic paints. By applying colours with a palette knife, the structure of the canvas transforms - a paper canvas becomes a concrete wall that disintegrates.
The strong colours, black and titanium white, blend towards something new. This is similar to the process of a trans-art performance: through speech and counter-speech of the partners, a democratic union of two basic assumptions and attitudes is formed, the composition graphique musicale.
Review: do trans-Art_70 on April 14th with Paul Eiser at 7:30 p.m.
Paul Eiser is not only a gifted saxophonist, but also a founding member of NIM AND HEAR. With NIM AND HEAR, there has now been a concert series in Salzburg that is entirely dedicated to "new improvised music" for four years . So it was particularly exciting when Astrid Rieder and he entered into dialogue to perform together across their genres.
It is no wonder that with this musician, who is committed to the development of art in Salzburg, and this artist, who places the dialogue at the centre of her artistic practice, a performance emerges that is aware of the responsibility of art.
Art can point out grievances, offer new spaces. That is why Astrid Rieder, as an artist, also wants to encourage people to strive for change and to enter into a benevolent dialogue with the foreign.
The result is a work that may well be reminiscent of current events: the choice of blue and yellow colours in the drawing reminds viewers of the war in Ukraine. KRINK lacquer colours were chosen, which run over the rest of the picture. This reminded the audience of the pain that - not only - Ukrainians are going through.
The war in Ukraine affects Astrid Rieder as an artist, as a mother, as a European. Above all, she was moved by the fact that the national colours of Ukraine are blue (sky) and yellow (grain), which are actually pacifying colours. As a result, the Ukrainian flag is tinged with affirmative emotions for her. Her motifs - sky and grain - are confidential for her, but certainly also for many others - especially through her home:
She herself comes from the Weinviertel, Lower Austria, the granary of Austria. This creates a great bond for her with the Ukrainian population. What's more, is is currently the time when the grain is grown!
Review: audience performance on March 17th with Celina Hubmann, Romana Kemlein-Laber and Ingrid Wegmayr in the Stadtgalerie Lehen, Salzburg at 6:00 p.m.
It is delightful to be able to leave the studio and carry trans-Art out into the world after such a long time filled with precautions and lockdowns - in an audience performance at the "Stadtgalerie Lehen" located in Salzburg.
During this, members of the audience could try out being a trans-Art artist for five minutes and interact with different musicians.
Here, Celina Hubman suprised everyone with unconventional sounds using her voice, the flute - or even a combination of both. Ingrid Wegmayr, too, inspired the audience during their interactions by using a variety of tools as to produce sounds with her electrical guitar.
The third musician present, Romana Kemlein-Laber, showed the audience her versatility not only within the music she made with her viola but also by adding, for example, percussive elements by knocking on the instrument's body.
All of this resulted in a beautiful flow as the members of the audience stepped to the canvas and into the dialogue one after another. Afterwards, many members of the crowd remained a little longer, avidly speaking about what they had experienced among themselves but also with the artist and musicians.
Review: do trans-Art_69 on March 10th with Agustín Castilla-Ávila at 7:30 p.m.
Currently, Agustín Castilla-Ávila is in the US for his project "Neverending artist". Still, he interacted with artist Astrid Rieder in the 69th do trans-Art performance. Because of the spatial separation, the guitarist joined a skype call and was projected onto the wall of the artist's studio. Like this, the artist and musician could both see each other and allow for the dialogical interaction of a trans-Art performance to happen. Still, there were some difficulties: due to the internet connection, the image was sometimes lagging behind in time and the sound was unclear. Despite that, when looking at Astrid Rieder drawing, one can see that this did not throw her off the track - she still dove into the art-immanent dialogue and resorted to the impulses the image of Agustín Castilla-Ávila gave her in case of missing sounds. Through this, one can see a shape resembling the singing bowl the guitarist used throughout the performance in the drawing.
Another particularity of this performance was that, finally, the artist could reinvite the public to her studio. Thus, the technical difficulties faded into the background, overshadowed by the joy of being able to welcome a physical audience. This made it possible for small crowd to gather in the studio and perceive the trans-Art performance in its entirety.
Review: do trans-Art_68 on Feburary 10th with Peter Wesenauer at 7:30 p.m.
The 68. do trans-Art performance constituted an interaction between artist Astrid Rieder and conductor and pianist Peter Wesenauer. Throughout the performance, Wesenauer did not only use the conventional piano keys of the grand piano in Rieder's but also used the strings of it to alter sounds.
An enormous assortment of sounds results: from quiet sequences to loud sounds and from short, staccato notes to legato sequences and short melodies - Peter Wesenauer presented us the whole bandwidth.
The simultaneous use of the piano keys and its interior even resulted - as the musician stated excitedly after the performance - in the detection of a new flageolet tone.
These innovative impulses where not only inspired by Astrid Rieder's drawing but also influenced the drawing simultaneously in a dialogical interplay. The graphical component is also characterized by this kind of diversity and inner complexity. Rieder doesn’t prioritize certain shapes or colours within the drawing which consist of an assortment of thin lines. Only in the middle of the paper canvas, an abstract shape seems to appear. By the end of the performance, this shape has already integrated itself into the rest of the drawing again. A trans-art performance remains interactive: what is there in one second can be gone in the next, with the next impulse.
Review: do trans-Art_67 on January 13th with Franzsika Krug aka FuVk at 7:30 p.m.
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.
During the performance, a table was positioned diagonally to the artist, and the musicians equipment, like multiple tape players, was placed on top of it. With these, the musician generated sounds that felt like a whole area/surface of music. Within this she reacted to the artist and once could notice that FuVk was not only influenced by the drawing but also by the sounds created by the drawing materials which were projected back into the room by contact microphones.
Through this, Astrid Rieder creates her own rhythm - inspired by the sounds around her, then again also inspiring the musician. The drawing created during the performance is characterized by black lines accompanied by opaque and bold yellow. Throughout the performance the artist drew yellow dots which she later on connected with vigorous yellow lines. Afterwards, she reported having been influenced to do this by the new tattoos the musician had gotten and shown her before. For one, this show the spontaneity of a trans-Art performance: it is never rehearsed but forms in the studio at the exact moment the musician and artist step into dialogue; thus, every kind of influence can shape it. Additionally, the yellow lines between the dots symbolize the close connection that forms between the two artist when entering the dialogue of a trans-Art performance.
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.
Review: do trans-Art_63 on September 9 with Sebastian Jolles at 7:30 p.m.
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.
The internet audience should contact the ACOM (office@komponistenbund.at) in order to register for access to the live stream.
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
Radiofabrik
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)
FS1 - Freies Fernsehen Salzburg
television show: Astrid Rieders do trans-Art with Andreas Tentschert (niM and Hear at the café Shakespeare, Salzburg)
