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"kein hoch ohne das tief"- in collaboration with Karl Salzmann

Live Performance 

2017

The performance includes a part of Hanna Schaich's exhibition. Essentially, it is about the linden tree, which is cut in two pieces on the ground. It forms the epicenter of the artistic encounter. The content is about the topics of memory and home, which Hanna Schaich approaches with videos and texts. Karl Salzmann docks on these questions; his part in the sound installation is u.a. in involving the showroom of the gallery and bringing the sound, the sonic material created in dialogue with the tree, acoustically and in places with the presence of Hanna Schaich and her ideas and impulses into an encounter. The poetic narrative level in the videos of Hanna Schaich congenially meet existing artistic receptors and signal forms in Karl Salzmann, which are related to each other and dialogically and playfully dialogue with each other. The sound artist Salzmann records the narrative structure in the texts of the artist and reflects them into the performance.

The performance

The pledge, Hanna Schaich's local mountain, which she has so "before the nose", she has to climb, as she says to CULTURE, again and again, in Rondo-like repetitions to absorb the aura of this mountain. In the performance at the finissage, the tree that has been lying on the floor since the beginning of the exhibition in the first room on the left, in which the video of "Evelyn" is playing, is also appearing. This tree is haptically and sonically processed by the two artists with different materials; In addition, Hanna Schaich speaks her own texts, in which she alludes to the great questions of life, it is about attitudes, images and longings, a philosophy of life, which oscillates between home and dream world. Salzmann creates soundscapes, sound worlds of sounds and sounds, musical cryptograms; he uses graphic scores to visualize elements of music, and soundpainting techniques are used to interpret and make audible the personal and cultural backgrounds that are associatively woven into a rug and separated.

The tree as a universal symbol

In presenting the texts, the linguistic rhythms will condense, discard and control the sound tissue, while a differentiated poetics opens the audible to all the senses, not to stimulate a cuddly, lulling listening pleasure, but rather the tension arising from the sounds and sounds of the phonology of the spoken language echoes of loud sounds, produced. A kind of sound painting. Around the lime tree. For the artist it is important to have something organic in the room and that the tree comes from the pledge slope. This lime tree represents universal themes such as justice, social gathering, the linden tree is for Sheikh the tree of justice on which the birds of heaven sit, as in the composition "El Cant dels Ocells" by Pau Casals, "The Song of the Birds" , Casals, the great Catalan cellist and composer who had to leave his Catalunya before the persecutions of General Franco in the Spanish Civil War, has ended all his concerts and music festivals in exile from 1939 with this song. The set in minor melody has become the song of the homesick Catalan and Spanish refugees. The tree that appears in the exhibition is a broken branch that has been lying on the ground for many years and whose mother tree is still standing on the pawn. In doing so, the artist indirectly also takes up the question of the cycle of life, discusses the role of the biography and questions the meaning of the memories, which make us capable of making history and capable of being bound. In addition to justice, the Linde is also a sign of love, see Schubert's "at the well before the gate, there is a linden tree, I cut into its bark ..."

"Walk down Memory Lane"

Karl Salzmann and Hanna Schaich complement and expand each other in their artistic approaches, they inspire each other, swinging in their ideas and artistic figures synesthetically, as on a carousel, a Rösslispiel, centrifugal on and on, and then immediately reduce itself completely , One of the key characteristics of the performance is that the artist and the artist always use the improvisation to explore the current and new ways in which this interplay can be translated coherently or contrastively. Johnny Cash with "Hurt" and Joy Division appear around the corner with "Love will tear us apart". Lyrics: "When the routine bites hard / And ambitions are low / But the resentment rides high / But emotions wont grow"

Text: Peter Niedermair