IMAfiction Portrait #10 Elisabeth Schimana Screening
Elisabeth Schimana & Igor Gross Virus #1.3 Mutation for percussion solo 
Moderation: Seppo Gründler 
echoraum, Vienna 

XX Y X & IMA 2024
Presentation of the IMAfiction series in cooperation with IMA Institute of Media Archeology / Elisabeth Schimana.
IMAfiction is a portrait series dedicated to women artists from the field of media arts with a focus on sonic art.
In this series of 5 Austrian and 5 international female artists (Liesl Ujvary, Rebekah Wilson, Heidi Grundmann, Eliane Radigue, Andrea Sodomka, Maryanne Amacher, Anne La Berge, Electric Indigo, Beatriz Ferreyra, Elisabeth Schimana), most of the artists chose who they wanted to be portrayed by. The results are homages that are aesthetically diverse, intimate, and refreshingly free from any conventional film format constraints.
Over the course of 2024, all IMAfiction video portraits will be shown in 8-10 events. Wherever possible, the portrayed artist and the filmmaker will be present with a talk and/or live act.

Virus #1.3 Mutation for percussion solo
Compositions for a live-generated electronic sound body (audio score) and acoustic instruments (interpretation) It is a battle and synthesis of the two sound bodies. Together they stay alive. Virus #1 is dedicated to individual instrumental groups.
The live-generated electronic sound body is host and hostess to which the string sounds dock, adapt to it, penetrate it and use it for their replication. At the beginning this body is immune, but in the course of the piece it gives up its resistance, absorbs the string sounds and nothing stands in the way of the virus multiplying.

Elisabeth Schimana
Works as a composer, performer and radio artist since 1983.
She studied Electroacoustic and Experimental Music at the University of Music and Performing Arts in Vienna, Music and Performing Arts in Vienna, Computer Music - Composition at the IEM, Graz and Musicology and Ethnology at the University of Vienna.  In her work she has been focussing on space / body / electronics for many years.
She regularly co-operates with ORF Kunstradio and conducts research in the field of women's art and technology. Elisabeth Schimana gives lectures and composition workshops internationally. She founded IMA Institute for Media Archaeology.

Igor Gross
Studied percussion in Vienna. Busy concert activity in the field of contemporary music, including with Klangforum Wien, PHACE Ensemble 20th Century, Ensemble Phidias, Ensemble Platypus. Solo concerts and work with freely improvised music. Regular projects with orchestras such as the Vienna Philharmonic Orchestra, RSO Vienna, Vienna State Opera and many others.



Michaela Schwentner Wechselwirkung (2020-21) – Screening 
Pia Palme & Sonja Leipold Vanishing Shores – Live performance  
echoraum, Vienna 

Wechselwirkung (2020-21)
A music theatre piece for singer, dancer, ensemble and electronics (2020) created by Pia Palme, Paola Bianchi, Juliet Fraser, Irene Lehmann, Christina Fischer-Lessiak − an artistic research collaboration group as part of the PEEK Project On the fragility of sounds  

World premiere 13.11.2020  
Produced in cooperation with Wien Modern 33 
Duration: 60 min

Pia Palme – concept, composition, text, bass recorder 
Juliet Fraser − voice (soprano), dance 
Paola Bianchi − choreography, dance 
Christina Fischer-Lessiak − artistic assistant, research, production 
Irene Lehmann − dramaturgy 

Lars Mlekusch – conductor 

Ensemble PHACE 
Doris Nicoletti – flutes | Reinhold Brunner – bass clarinets | Daniele Brekyte – violin | Rafał Zalech – viola | Barbara Riccabona – violoncello | Alexandra Dienz – double bass | Berndt Thurner – percussion 

Molly McDolan − oboe da caccia  
Sonja Leipold – harpsichord 

Veronika Mayerböck – light 
Christian Sundl – event assistant 

For the video & trailer 
Michaela Schwentner – film direction and concept, editing 
Christina Bauer – sound design, recording 
Martin Siewert – sound editing 
Martin Putz – camera 

Produktion FWF PEEK Projekt On the fragility of Sounds AR 537 
mit Unterstützung der KUG Kunstuniversität Graz, ZfG 
Koproduktion mit Wien Modern 33 
@WUK Vienna, Projektraum  

About the piece  
Combining the distinctive creative process of choreographer Paola Bianchi with the compositional practice of Pia Palme, the piece has been devised in an experimental, non-hierarchical, collaborative way. The question of transmission between the disciplines was woven into the entire process of the group. We developed both precisely composed materials and improvisational modules. A storyboard designed by Palme and Bianchi brought these modules together and specified the spatial configurations. The storyboard was completed with Lehmann’s advice on dramaturgy and with feedback from Fischer-Lessiak. Every member of the creative group shared their particular expertise and experience. Soprano Juliet Fraser brought in her expertise as a singer. In her performance, she linked together Palme’s score with Bianchi’s oral instructions, giving feedback at every step during the process. She embodied Palme’s music and Bianchi’s choreography. The theatre scholar Dr. Irene Lehman and Christina Fischer-Lessiak, a musicologist and cultural worker, joined the group to further enrich the collaborative practice and discourse. The results explored the consonance, dissonance and interferences between voices, sounds, spaces and bodies – a polyphonic assemblage in which movement in space shapes music and sound shapes bodies in space. Also, multiple temporalities converge in the piece: Francesca Caccini’s soundworld and texts interfere with contemporary music and text, the intense period of the pandemic merges with pre-pandemic ideas and concepts.  

The premiere and the performances were not open to the public. We arranged the venue Projektraum at WUK into a ‘COVID-safe’ theatre space and rehearsed the piece according to the pandemic regulations at the time. Performances were then recorded and filmed. We changed the stage concept so that the required safety distance could be kept between the members of the ensemble as well as between the performers. The trailer therefore shows an adapted arrangement and choreography, not the original design. I completed the composition during the first lockdown period in Austria in the spring of 2020 and made adjustments that became necessary because of the pandemic later that year, during a residency in Switzerland. The artistic process of all the contributors resonates the difficult situation during that year. Michaela Schwentner produced a film of the premiere which was shown online in January 2021.  


a piece for extended harpsichords with microtonal tuning and electronics (2022)   

Sonja Leipold - harpsichords  
Pia Palme - electronics   

The piece makes use of extended playing techniques and is designed as a contemporary chaconne that is repeatedly interrupted by wide, calm soundscapes and drones. Reduced noise mingles with baroque opulence, blurred or condensed by microtonal moods.  
Field recordings recorded in a Finnish forest near Turku are integrated into the polyphonic and partly live-generated electronic part. Fragrant coniferous forest covers a coastal area that only a few centuries ago formed the floor of the sea. 



9.4. 2024  
Hanna Schimek and Angelica Castelló SYRINX AND PAN  – An Arcadian dramolet  
echoraum Vienna 


21.5. 2024
IMAfiction #08: Electric Indigo – Screening
Electric Indigo Under Way Elastic – Live performance
echoraum Vienna

Irini Athanassakis – KORE (solo exhibition) 
Closing: Anat Stainberg & Sara Zlanabitnig A CHAT (live performance)
Sehsaal Vienna

Having or making children was long considered the most natural thing in the world, even if it didn't always seem so easy.
The modern world mainly practises birth control and family planning, trying to get the demographic curve under control, fertility is an exception. These developments are diametrically opposed to the old fertility rituals and cult objects. At the same time, reproductive technologies are booming and the boundaries of what is feasible and ethically acceptable are constantly being pushed.
KORE means daughter and is the name of Persephone, the daughter of Demeter. According to Homeric mythology, she spent part of the year with her husband Hades in the underworld and another part of the year on earth with her mother; then the earth blossomed and was fertile.

What could today's and tomorrow's picture narratives on the subject of KORE look like? 

A work spanning more than fifteen years on infertility, the desire to have children, reproductive technologies and motherhood questions some aspects of this major topic. 80 drawings in which medical, biochemical, mythological, feminist and philosophical images and texts become pictures. A number of objects were also created, such as a gold-plated mystery object (Uterus), a crocheted snake (Sac de l'éspoir) and a black-painted, oversized pomegranate seed modelled from clay.

photos by Josh Müller 



photos by Michaela Schwentner

XX Y X + IMAfiction   
IMAfiction portrait #06: Maryanne Amacher – Screening 
Merche Blasco FAUNA – Live performance 
echoraum Vienna 

IMAfiction portrait #06: Maryanne Amacher, video still

Screening of IMAfiction portrait#06 Maryanne Amacher 
A video portrait by Elisabeth Schimana & Lena Tikhonova (A/US, 2013, 33 min)

Maryanne Amacher was born in Kane, PA in 1938. She studied with George Rochberg and Karlheinz Stockhausen at the University of Pennsylvania. She founded her famous telematic City Link Series (1967-79) at the SUNY-Buffalos Centre of the Creative and Performing Arts. Together with Marvin Minsky's Triadex Muse, she began developing ear tone music at the MIT Center for Advanced Visual Studies in the 1070s. With torse and Lecture on the weather (1975), she created two large-scale works with the Merce Cunningham Dance Company and John Cage respectively.
Since the 1980s, she has developed stagings for her works Ways of Hearing: these mini sound series defined the dramatic format of TV series at the time, which developed over days and weeks; the music for Sound-Joined-Rooms series explores multiple, overlapping acoustic environments and structure-born sound. A selection of the sound characters from this series was released by Tzadik Records on two CDs.
In 2005 Amacher received the Golden Nica at the ARS Electronica. Until her death in 2009, she taught as part of the MFA programme at Bard College in New York. (Text: Bill Dietz, Mica Silver; translation from English: Sabine Sanjo)

Elena Tikhonova is a film director, screenwriter, editor and VJ. Born in the Soviet scientific city of Obninsk, the 'city of the peaceful atom'. Graduated from the Moscow Film University 'VGIK', camera for feature and documentary film. Vienna has been the centre of his life and work since 2000. She realises documentary films as well as short and experimental films, including 'Elektro Moskva', a film about electronic music in Russia. As VJ 'Mirnji Atom' ('peaceful atom') she performs with various artists.

Elisabeth Schimana has been working as a composer, performer and radio artist since 1983. She studied Electroacoustic and Experimental Music at the University of Music and Performing Arts in Vienna Music and Performing Arts
in Vienna, Computer Music - Composition at the IEM, Graz and Musicology and Ethnology at the University of Vienna. In her work she has been focusing on space / body / electronics for many years.
She regularly co-operates with ORF Kunstradio and conducts research in the field of women's art and technology. Elisabeth Schimana gives lectures and composition workshops internationally. She founded IMA Institute for Media Archaeology

Merche Blasco © Echoraum 

Merche Blasco is a multimedia artist and composer from Spain who currently
lives in Berlin. She was a DAAD scholarship holder for Music and Sound in Berlin
2022-2023, performed at MaerzMusik in March 2024 and at the CTM Festival  
and Heroines of Sound in Berlin in 2023.
She designs and builds imprecise technological assemblages that catalyse 
embodied forms of live electroacoustic composition and new ways of listening. 
Through her constructed devices, Merche seeks to establish a more horizontal relationship with other entities and distance herself from parameters such as 
precision, power and control. As an alternative form of performance, she develops collaborative spaces with instruments that maintain their own agency, in
compositions in which her body and the live exploration of organic materials
are central elements.
Her work increasingly focuses on creating participatory sound performances in 
public spaces to connect people in unfamiliar surroundings through collective 
music-making and listening.
Performances and installations: MaerzMusik, CTM Festival, Heroines of Sound, 
Sonar Festival, La Biennale di Venezia, NIME Conferences, Whitney Museum
of American Art, The Shed, Tsonami International Sound Art Festiva Chile,
The High Line in New York, SONIC Festival, Mapping Festival Geneva, Queens
Museum of Art, Museum of Contemporary Art in Santiago de Chile.