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BASE collective: Arno Böhler (Philosopher, Performer, University of Vienna and University of Applied Arts Vien- na); Janhavi Dharmankar (Dancer, Performer, Ph.D. Stu- dent in Philosophy at the University of Vienna); Susanne Valerie Granzer (Actress, Performer, University of Music and Performing Arts Vienna); Johannes Kretz (Electron- ics Performer, University of Music and Performing Arts Vienna); Lilly Kroth (Performer, Painter, MA-Student in Philosophy at the University of Vienna); Wei-Ya Lin (Viola Player, Ethnomusicologist at the University of Music and Performing Arts Vienna); Veronika Mayer (Composer, Sound Artist, University of Music and Performing Arts Graz); Martin Rumori (Sound Artist, University of Music and Performing Arts Graz); Anuradha Upadhyaya (Painter, Performer based in Baroda MS University); Elisabeth Wilding (Fine Artist, University of Applied Arts Vienna)

Together with Laura Dominici, Alessandro Giarratana, Pius Hagenauer, Gernot Rahm, Alba-Marie Rastl, Laura Schreiber

A site-specific installation for the Galoshans Festival in an old Tabacco Warehouse in Greenock/Scotland. The Installation proposed 'light articulated optical' or 'real spaces' by encountering those 'real spaces' and by perceiving those suggested 'visual narratives'.

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The videoprojection shows the round architectural elements of a well in a water-pumping system as well as its balcony and glass roof. One hears a regular beat of a metronome. In timed succession, 2 performers go up and down a spiraled stairway, place balloons filled with helium at the base of the well. The movement of the rising ballons and the regular ascension and descension of the performers emphasised the verticality of the architecture.

Two Edited Videoloops of slowly, naturally moving Palmtreeleaves. Projected like Shadows on the floor, each Video has it´s own projector, overlapping and partly adding/substracting it´s structures and movements in (real) space.

Endings are beginnings are endings,
everything that will occur has already occurred.

Beginnings are Endings is a film that begins before dawn when it is still dark. In the middle of a forest, in an enclosure in darkness, a well dressed gentleman sits on a stool reciting a passage from Friedrich Nietzsches “Thus spoke Zarathustra”. As he speaks, the sun rises and brightens the area, throwing light on the setting that is the source of a given, intense audio backdrop.

A desolate house in British colonial style in the town of Hikkaduwa, Sri Lanka functioned as a Camera Obscura, which made the need of a seperate film camera redundant. The resulting films, photographs and interventions bring in the atmosphere of the surrounding nature with light and shadows, using the architecture of the building.

2012 – 2014 , theviennaproject

Panoramaprojection of names of all victims of Nationalsocialism in Austria, murdered between 1939 – 1945. Each victimgroup is depicted the same size, and differentiated in slanted representation.

Idea and Concept Karen Frostig, Artistic Realization Elisabeth Wildling

A film shot on skateboard through the streets of Shanghai, specially around the main block in the center of the megacity. In the installation, the film is inclined at 90 degrees by which the viewer is presented with an unknown view of the city. The moving perspective leads to a constant series of immersion and disappearance. [Skateboard Artist: Georg Sampl]

Cities keep us moving, in terms of time, space and also class. Cities never rest. Stable structures are constantly changing and provisional ar- rangements do remain. There are fast cities and there exist slower ones on our globe. In this programme we will re-define urban velocities! Is it provocative to stay still? Has not everybody his or her very own individual velocity? Can anybody create his or her own vehicle? Please, join us on this journey from Vienna to Shanghai and back.

A joint project of University of Applied Arts Vienna and Tongji University Shanghai with: Magdalena Akantisz, Nisrine Boukhari, Brigitte Felderer, Maria Hupalo, Peter Kozek, Maximilian Josef Lackner, LI Tong, LIU JiZhou, LIU ZhenYuan, Peter Regner, Georg Sampl, Christian Steiner, Stephan Trimmel, Anna Vasof, Tomasz Vollmann, Elisabeth Wildling, Alexandra Fruhstorfer, ZHANG QianXin, ZHENG YongZhi

Abandoned buildings open up in its emtiness and absence space for memories. Feichtenbach, a real place, with history, a former health resort in the “Wiener- wald”, witness of a time period of austrian past. Past Present Times is concerned with hid- den tales, metaphors, clichés, which we are faced with at this place. Monumentality stands beside fragility.

Dance, Architecture and Film are constructing and reconstructing the place in an installation. The video sequences will be projected on a revolving stage. Through turning around the vertical axis, the imagery will create scalings and effects
of disappearing.

Project: Dinter, Lengheimer, Wildling
Film, Projection: Elisabeth Wildling
Kamera: Axel Wolf Bierbaum
Rotary Canvas: Elisabeth Wildling
Construction: Tanja Dinter, Martin Püspök, Hannes Loipetsberger
Rotary Stage: Transkatholische Vögel, Draft Peter Kozek, Realization: Jakob Scheid
Choreography: Tanja Dinter, Lisa Lengheimer
Performance: VolkstänzerInnen from Lower Austria

Spatial Introversion / Partial Transition (Quasi-Space)
The installation, consisting of printed panels and semi-transparent screens, can be regarded as a filter, or hinge, within various spatial circumstances. As a sublime spatial border – comparable with a transparent skin – the panels can either divide or unite. Through this ambivalence, the screens become ‘quasi-objects’, which rep- resent hybrids between subjective and objective phenomena, just as a pawn might exist as a neutral party in human interactions, to help stabilise social exchanges. In this respect, the installation engenders quasi-objective or quasi-spatial devices [3], as it represents neither explicit information nor explicit matter, but rather a com- pound, which develops its particular unique status through the spectator. [G.H.]

[1] Marcel Duchamp (1887-1968) – a French artist – developed “The Large Glass” – a work based on X-ray techniques – between 1915 and 1923. The graphic on glass should assume an interaction with the room and by doing so create a “Ready-Made” out of the background space. Duchamp was obsessed with the idea of every entity as a copy of an original existing within a higher dimension. His “Rotoreliefs” (1935) express this concept.
[2] Friedrich Kiesler (1890-1965) – an American architect of Austrian extraction – developed a design for the improvement of display-windows in 1930. The idea was to create a stronger convergence of the entrance-area and display-window environments, in which the display-window should be made to look like an entrance and the entrance to look like a display-window. Both areas should thus, in an improvement of the blueprint, enter into an exchange with one other. “Make the window look like an entrance and the entrance like a window”, Kiesler, Frederick; Contemporary Art applied to the Store and its Display; New York; 1930; 79.
[3] A concept of Michel Serres, which describes, in a crudely simplified manner, the function of transitional objects in social interaction.

Inspection, transparency, reflection:
A given stable spatial setting is expanded. Projection surfaces of this superposition are filter sheets, suspended across the space. Projecting apparatus overlaps the effects of the spatial elements. A composition that translates the space within itself and re-conveys the relations of inside and outside – projection and motion merge to form a sculpture, dissolving conventional space, also that of the viewer.

The exhibition space “Schauraum Angewandte” becomes a spatial sculpture made up of spaces of viewing.