Rendering in art as in live; means of jazz and cinema

interpretation, rendition, or depiction, and imagery as part of a rough translation that lies at the root of the very young art forms that emerged in the late nineteenth century/early twentieth century. Almost simultaneously, cinema was born, and then there was jazz.

In the development of the stream and as this cooperation began, the power of moving images was implemented and applied as an instrument to complement the free association, improvisation, and the power of fine art to create tools against oppressive systems. As a celebration of African-American jazz, all tones/colors of jazz, and visual art.

Five years later, we would like to invite you to the open house evening to mark this collaboration and to the exhibition Rendering in Art: as in live; means of jazz and cinema that is curated by Alaa Alkurdi featuring the artist in the stream team, and the creative cycle that Porgy&Bess undergo daily.

The exhibition is a dialogue between the artists on stage and behind the camera, indicating how impossible it is to escape the technical aspects of rendering art, the importance of the person behind it, and what kind of influence this interaction creates
in terms of visual representation and perception. This offers a glimpse into what is implemented in the visual art experience that is bound to rhythm, tone and tempo which is fine art.

Artists: Alaa Alkurdi, Daniel Helmer, Myo, Veronika Beringer, Johannes Kinzer, Samira Fux, Naïma Mazic

Forword
Alaa Alkurdi, curator of the public domain and head of stream Porgy&Bess

In just a short period, the Stream was being broadcast by Porgy nearly twice a week with the support of the Media lab Akademie der bildenden Künste, totaling 50 concerts till September 2020. The Academy reopened and needed the equipment back; what now?

Amazingly, working closely with Christoph Huber and Gabriele Mazic, we overcame many obstacles. We steered away from conventional approaches and cultivating a quality between the artists on stage and those artists behind the camera.

In this approach of having artists behind the 1400~ streams reflects on connecting all content together and having multiple disciplines in one team member or the whole group made this five-people job to be managed by one person every evening (on rare occasions, we don’t get the copyright to stream, but that’s okay)

From the beginning, It was crucial to me to implement even cinematic elements while eliminating any unnecessary distractions, such as too much light, too noisey/loud, and too much discarding of ascetics and artistic practices, to create a quality that reflects the music on stage and be true to the genre’s attributes. In every reflection session with the stream team, we shaped this experience to deliver an online stage available for the whole world during the streaming times and documentation of an entire scene. The archive is growing, and so is the team.

Even through experiencing the streams and the people behind them, more is needed to demonstrate the people’s importance and character behind the streams. Therefore, it was essential to show in this exhibition the artistic qualities, work, and questions that the team members are working with outside of the Stream.

ad I. Alaa Alkurdi 'Surface' The ink 16 mm video installation,
It is an abstraction and interpretation of the 1,400 concerts performed on the stage since the stream began in 2020. Surface uses the surface of a 16 mm film stock to hand draw on 32400 frames that are scanned, using color grading theory to treat the images as a stream of drawings that is the base layer for the top layer, which is a glass aquarium with ink reflecting the skylight.
Multi-sensory experiences
Our daily interactions involve layered realities, personalities, stories, color, and narrative with the attempt to suggest a motion not to gesticulate one’s characteristics and to attempt personal defragmentation of attributes.

'Pa': 20min, 2025 Wien plays itself

ad II. Daniel Helmer, "Rooms" / "Playback station"
The “Public Domain” and the “Live Music Club” are essential parts of PORGY & BESS. Both curated as individual entities within the same building and institution. Yet the two spaces remain divided geographically and co exist independently. This Sound installation merges these spaces on a sonic level. As you roam through the exhibition in the public domain you are able to hear not only the sounds and the atmosphere of or your immediate surroundings, but also perceive the live music and auditory signals emitted from the music club below. The soundscape offers a fusion of the sonic qualities of these two spaces, creating an artificial room that interweaves the Public Domain and the Live music club.
Playback station: This “Playback Station” offers a selection of the music i created. If you get bored, feel free to use the provided effect machines to enhance your experience.

ad III. MYO, "Small set"

ad IV. Veronika Beringer, "Ritual Reflecting Ritual" & "Performance: Ritual Reflecting Ritual."
“Ritual Reflecting Ritual” besteht aus vier leuchtenden Keramikobjekten, einer Ölmalerei und Unterglasur-Malerei auf Keramik sowie einer Performance am Eröffnungsabend mit der Choreographin Naïma Mazic und dem Musiker sowie Komponisten Christoph Punzmann. Welche Bedeutung haben Rituale für unsere Gesellschaft: Helfen sie uns
dabei, die Kontinuität des Lebens zu unterstreichen, selbst inmitten von Veränderung? Oder dienen sie in gewisser Weise auch dem Erhalt vorherrschender Machtstrukturen und verzögern gar die Möglichkeit notwendiger Veränderungen und Entwicklungen?
"Performance: Ritual Reflecting Ritual“ @ 7:30 pm at Public domain
Veronika Beringer Naïma Mazic Christoph Punzmann

ad V. Johannes Kinzer "Club Terra, listening station"
The music project CLUB TERRA explores the sonic dimensions of urban nightlife through improvised electronic music.
At the heart of this project is the Soma Terra Synthesizer, a unique and enigmatic instrument that serves as the creative catalyst for the duo’s sonic journey.
J zer0 and Svartvitt take this extraordinary instrument on a musical journey through various styles of music clubs. Their goal is to capture the music and unique atmospheres of different establishments, recreate them sonically in real-time and give them their own contemporary spin.
The result is a hybrid sound varying between ambient, electronics and noise, intuitively adapting to its surroundings. Partial danceable, atmospheric driftable.
Music: “J zer0” - Johannes Kinzer Svartvitt – Michael Bayer

ad VI: Samira Fux, "Zeughammerwerk" 10:15min, 2024 / "Wenn's leben beginnt" 28min, 2022
„Zeughammerwerk“ 12min, AT 2024,
Im Werk dröhnt es laut, die flirrende Sommerhitze verschwimmt mit der Hitze der Essen. Rotglühende Metallstücke werden unter Hämmern in die später nützliche Form gezwungen. Das Donnern der Maschinen gibt den Rhythmus vor, zu dem sich die Arbeiter*innen bewegen. Die Metallstücke gehen durch viele Hände und werden geschliffen, lackiert, etikettiert und verpackt. Ein Sommergewitter bringt Abkühlung und die Routine durcheinander, die Arbeitsverhältnisse der Filmproduktion blitzen auf. Die Arbeiter verlassen die Fabrik.
Regie: Samira Fux
Kamera: Gabriel Monthaler Setton: Lukas Ellmer

"Wenn’s Leben beginnt" 16mm Farbe 12min, AT 2022, de mit eng UT
Hermi pflegt ihren großzügigen Garten sehr, denn die Nachbarschaft redet. Ins Haus hinein gelangt selten ein fremdes Auge und noch seltener ein offenes Ohr. Bei Zigaretten und Wein plaudert sie über Vergangenes, weniger über Zukünftiges, am meisten über die jüngsten Geschehnisse - denn deren Wunden sitzen tief. Vom Alter, dem Ruhestand, neuen Männern und Hunden, kurz, von Veränderung will Hermi nichts wissen und trotzdem scheint ein Wendepunkt in ihrem Leben erreicht.
Kamerastatement: Wie bewegt sich eine ständig arbeitende 76-jährige Frau, wie steht sie, wie macht sie ihre routinierten Handgriffe in dem kleinen Raum der Trafik.
Gabriel Monthaler & Samira Fux
Regie: Gabriel Monthaler
Kamera: Samira Fux
Produktion: Gabriel Monthaler & Samira Fux

ad VII. VII. Naïma Mazic, "Album:the muse at work", live documentation, 80min, 2023/"PoLy-Mirrors", live documentation, 80min, 2021
„ALBUM“the muse at work live documentation... 80 min, 2023
is a performance by dancer/choreographer Naïma Mazic with percussionist/ vibraphonist Evi Filippou and a record player, based on nine of endless jazz tunes named after women and songs written by female jazz composers. Shared polyrhythmic choreographies between dance and music, tell stories of creative and reproductive labor and the patriarchal structures that distort them. Informed by the divine figure of the muse, n ï m company shares a record of nine love stories by co- musing with Carla Bley, Moki Cherry, Mary Lou Williams, Alice Coltrane and more.
We celebrate the women who have inspired songs.
We celebrate the women who have written songs.
We celebrate the women who cleaned the rooms in which songs were composed.

'PoLy-Mirrors' live documentation... 80 min, 2021
„PoLy-Mirrors“ A RE-PERFORMANCE OF FEMININE DIAGONALS
Look at me.
Dont look at me.
Look diagonally up into the right corner.
Look diagonally down into the left corner.
Create a diagonal line between your right shoulder and your left hip.
Hide one body part, present the other. Create the biggest distance between them. Stop.
If you are diagonal you may not move. If you are straight you cannot groove. Tilt your head.
Change the position of the eyes.
Do not not look at me.
Show me your neck.
Let diagonals extend into space
In PoLy-Mirrors /a re-performance of feminine diagonals, choreographer Naïma Mazic brings slanted looks, tilted heads, tangent necks, twisted bodies into movement. Two dancers and two jazz musicians communicate through a shared rhythmic vernacular, disrupting straight lines, looks, bodies.