My dream house

My dream house is a place for living and dreaming. Where I put my dreams into practice, where I withdraw myself, my body, where I can relax, where I am able to forget unimportant, stressing things, where I can think about things you´ve never thought before, where I can paint when I feel like painting, where I can write, cry, jump, run when I feel like doing so, where I can cook when I am hungry. Where I can go rowing in my little boat without leaving because my house is nature too. It joins two banks but it doesn´t really touch the soil. It hangs in the air like a little air-ship.The water, the soil, the air – nature is my house. I would like to sing with the wind when it strokes me and makes my house. Tremble. I would like to feel the rain. I would like to warm up in the sun. I would like to sit in my house and watch the moon and the stars. But I don´t want to live alone at the time. I would be happy if people just cross my bridge. They would enliven the house by walking in.The people visiting me should enjoy themselves. I would like to provide them with the possibility to feel happy in the adventure of my house. And when they want to stay overnight, they would choose their own sleeping place – my house should offer them the place they like.

Anna Wickenhauser, architect

Goin’ Home

Einen Sänger in einen weit auslaufenden Mantel stellen,  

ihn singen lassen, mit tiefer Stimme, 

einen Zipfel hochheben und drunter kriechen.

/

Placing a singer in a roomy, outbound coat,

letting him sing, with low-pitched voice,

lifting a corner and crawling underneath.

Mantel, verschiedene Wollstoffe, Holz, Verstärker, Mikrofon, musikalische Begleitung durch Akkordeon oder Klavier. 
Performance mit Joseph Garcia und Benjamin McQuade in einer Installation von Gelitin.
Galerie Meyer Kainer, Wien, Jänner 2010

Two Step Slow Drag

Empty it will be a quite flat thing, a patchwork composition of rags – various bedshits, in light colors, showing different patterns mixed with black died ones. Further we asked the musicians to improvise on the format of traditional Ragtime.

Verschiedene Baumwollstoffe, found footage Polster- und Bettbezüge, teilweise schwarz gefärbt, Kartonagen, Klebeband, Schlagzeug, Keyboard, Gitarrenverstärker. 

Installation, musikalische Improvisation mit ddkern und Philipp Quehenberger

Miete Strom Gas oder Brasilien Wax, quartier21. freiraum, Wien, Mai 2009

Spot her error, Spot her error, Spot her error. Well, now she´s all over you.

Your pretty dress is oil stained

From working too hard

For too little

You’ve got your leather boots on

You’re feeling the boredom too

I’d gladly go with you

I’d put your leather boots on

I’d put your pretty dress on.

Denim, Seide, Baumwollstoffe, zwei Turntables, Mischpult, Computer, Verstärker, zwei Speaker, drei Spots und ein Tisch.

Textile Objekte und Performance zusammen mit Salvatore Viviano

In der Kubatur des Kabinetts, Wien, März 2009

Circle dancing

For the first time I understood that belonging was a way of escaping myself and of finding a place in the world: The blur of the round-and-round, the speed at which each member of the ring becomes indistinct, where nothing can be seen any more so all is felt, and difference flattens into figures on a vase.

She couldn’t rock and roll with me and I couldn’t avant-garde with her.

Zu zweit sich in einen übergrossen Sack setzen, 

einige Platten spielen, immer lauter, 

Zigaretten rauchen.

/

Sitting in pairs in an oversized bag,

playing some records, louder and louder,

smoking cigarettes.

Wollstoffe, Holz, Mischpult, Verstärker, Plattenspieler,  130 x 300 x 360 cm. 

VeSch, Wien, Februar 2009