Opening steirischer herbst, the acclaimed choreographer Mette Ingvartsen experiments with sensual, erotic and social body languages. She extends pleasurable and joyful situations until they culminate in a celebration with all participants. A choreography that both captivates and stimulates.
The opening night of steirischer herbst does not end with the final applause for “to come (extended)” but with the last notes of the subsequent opening concert.
After years of roaming the city, in the festival’s fiftieth year steirischer herbst is declaring its headquarters as festival centre. With spectacular roofing over the courtyard, an installation in public space, a wide range of events, bar and restaurant, among other things.
Yoko Shimizu uses her space-filling lab installation to give insights into the wonders of nature. Photosynthetically printed plants and colourful crystal worlds hold out the promise of a long, joint future of art and science.
Artist Isabel Lewis invites visitors to a sensory salon. A special meeting of things, people, plants and thoughts, music, dance and aroma.
How can art and spirituality be brought together? Simon Mayer mounts a choreographic concert with a man-machine lineup culminating in a celebration of liberated joie de vivre.
Breaking with all categories, two musicians kick off the first weekend of the herbst festival. DJ Mobilegirl translates the secret language of cult rapper Dope Saint Jude into everything that gets the muscles twitching.
Literaturhaus Graz bookends this year’s Jelinek theme: a matinée on the first weekend of the festival will get you in the mood for the magnum opus, while a symposium following the festival provides fresh fodder for anyone who hasn’t gone far enough with Jelinek yet.
A city walk with a difference: experience the city of avant-garde art as never before, digitally and analogue, with your eyes, ears and taste buds – individually and in a group.
With “roboexotica”, the merry coexistence of man and machine will bring life into the festival centre for one afternoon: robots mix your drinks and fry pancakes for kids. Technology can be fun!
Join us to recall sensational projects, silent provocations and pioneering decisions. Listen in on discussions with directors, programme-makers and associates from fifty years of festival history.
Six women armed with pointe shoes and dumb-bells set out to lambaste the omnipresent neoliberal body cult. The young choreographer Florentina Holzinger rallies her muses to topple poster boy Apollo from Balanchine’s ballet of the same name from his carefully guarded throne.
Fear rules the world. J&J oppose this trend with an evening about hope. Three performers and a priest face their own fears and talk about searching, finding, losing, and reviving hope.
steirischer herbst invites you to browse through its history: on a guided tour of the festival archive or, as of now, online in a comprehensive database.
Anyone who wants to ascend Elfriede Jelinek’s magnum opus is invited to the Veranstaltungszentrum Mürzer Oberland. Food and drink, cinema and literature – and many an unforgettable night – await the brave members of the expedition in this Base Camp.
666 pages of Jelinek in 144 hours as a collective reading experience. On three weekends, steirischer herbst invites the audience to take part in a public reading of “ Die Kinder der Toten” from cover to cover. Again and again.
The transdisciplinary cultural association Tortuga and the print room initiative Risograd demonstrate how dreams can be printed in the courtyard of the festival centre: you can design your own prints and try out a variety of printing techniques under supervision.
Gunilla Heilborn and Theater im Bahnhof practise remembering – not so much what, but rather how. The joint premiere sets out to find ways not to forget the seemingly banal things in life.
When Hauschka fills his piano with table-tennis balls or ads clothes pegs, he creates a unique rhythmic hybrid of techno and minimal music, musique concrète and pop.
The dance of the undead: composer Wolfgang Mitterer accompanies one of Elfriede Jelinek’s favourite films with musical improvisations.
Starting out as a series of parties and live-club in the Thai capital, the six-strong band nowadays wows an international audience.
A host of voices from Graz probe the voice as a manipulative instrument. The premiere of Peter Jakober’s composition features three choirs and a total of twelve conductors, among others.
For fifty years now, musikprotokoll has not shied away from performing the unheard-of, giving sound to the music of composers far beyond the mainstream.
To mark the fiftieth instalment of musikprotokoll, Händl Klaus is returning to Graz as a festival writer with literary interventions.
In the dynamic field between concrete and abstract, Andreas Trobollowitsch’s “composedconfusion” takes five performers to their limits.
Augustin Rebetez creates an intimate cabinet full of strange object-creatures surrounded by dream-like images, mysterious videos and the sounds of musician Louis Jucker.
Our own voices are full of surprises. Choreographer Begüm Erciyas invites us to engage in fascinating conversations with ourselves that familiarise us with our own strangeness.
Appearing for the first time at musikprotokoll, the acclaimed Ensemble PHACE journeys into a precious world of poetry with an exquisite selection of New Music.
On the finite wisdom of a Korean rice cooker. Jaha Koo gives a touching insight into the tragedy of a lonely life in a thoroughly technologised society.
No matter whether it’s big band or small ensemble: Studio Dan grooves flexibly with all experimental waves – this time with iridescent premieres of avant-garde jazz trombonist George Lewis and composer Oxana Omelchuk.
In their lab, Andy Cavatorta and Tom Huber combine crystal-clear sounds and the sound of technology based on a newly developed musical instrument.
The string quartet as a seismograph of the contemporary: the renowned Quatuor Diotima celebrate their musikprotokoll début with no fewer than three concerts this year.
A ball at musikprotokoll? Yes, seriously! Contemporary composers write, the Vienna RSO performs, and the audience dances along.
Marlene Monteiro Freitas overloads our senses with her performance. Fascinating, humorous, highly musical, and off-beat, she stages the image of a world that is out of joint in many different ways.
Barry Guy comes to musikprotokoll for the first time, improvising with his highly regarded fellow double bassist Peter Herbert.
For ”The Future as a Remix”, steirischer herbst's exhibition partners have opened their archives and donated materials.
A sensitive guitar quartet, a virtuos baroque violinist, and a legendary double bassist whisk you away on a rich and varied journey through the centuries.
Together with Stefan Doepner, Josef Klammer and Seppo Gründler explore how the Internet ot Things sounds like. They share the stage with sound robots, readymades and hacked gadgets.
Anna Meredith is seen as one of the most innovative minds in modern British music. As part of the ”Soundtracks”, she presents her mixture of avant-garde, pop and contemporary classical music.
The “Social Muscle Club” is all about give and take. Catering for the needs and skills of the audience, the performative swap-shop ensures some unexpected new encounters.
A journey through time in all directions: the University of Music and Performing Arts Graz dreams itself into a special version of the eighties with the opera “Electric Dreams”.
Between grand piano and synthesiser, vibraphone and organ, drums and guitar, Cologne Tape create abstract musical force fields.
SiS_Mic brings her self-made sound table, her big feedback speakers, and various materials to Graz. She will only decide which direction the concert takes on the spot.
Together with Kathy Alberici, Rima Najdi has turned her performance “Madame Bomba: The TNT project” into a radio play, which will be shown as an audio-visual liver version.
As part of the herbst academy 2017, steirischer herbst is running four two workshops – this year with ArchipelagoLab, Max Heinrich and Helvetia Leal as well as Eiko Grimberg and Clemens von Wedemeyer.
What if we decide after the apocalypse that it’s not all over? For their theatrical video documentary, over five years the Berlin group followed the couple who never left their village near Chernobyl.
steirischer herbst is opening a philosophical canteen: in this casual setting we will be serving performances and talks that open up the leitmotif for discussion – from Oceanic thinking and alternative logics of being-in-the-world to a decolonial view of a Eurocentric “we”.
Chinese artist Tianzhuo Chen combines quotations from pop, folklore and commerce to create a global snapshot between kitsch and apocalypse. A live stream of consciousness in the rhythm of music.
A death-defying quest for happiness takes the EnKnapGroup and the Nature Theater of Oklahoma to an American dream somewhere between Baghdad and the Wild West.
The sounds of the theremin seem to be created as if by magic: it is played without contact using the electric capacity of the human body. At the concert in the festival centre, Dorit Chrysler joins young people from Graz to perform her composition “Invisible Flames”.
Orient and Occident, transcendence and trance are the perfect ingredients for a flamboyant finale of steirischer herbst 2017, when the energy level once again spirals to undreamed-of heights thanks to the bewitching Karma She from Israel and Munich-based DJ Mechatok.
“herbst Fragments” is an app that gives users access to more than 100 interview excerpts and original audio recordings from the history of steirischer herbst.
The Nature Theater of Oklahoma ventures the impossible: creating a film version of Elfriede Jelinek’s novel “Die Kinder der Toten”. Filming around Neuberg an der Mürz is, at the same time, a live performance. Anyone who wants can come along and watch and, above all, join in!
This year again, five artists will be keeping a highly subjective online diary: Gunilla Heilborn, Marie Gamillscheg, Matthias Schamp und Veronica Kaup-Hasler.
Fancy a Jelinek tour? Specially organised coach tours and walks and a brochure take you on a journey to the mysterious locations of “Die Kinder der Toten“.
This is the twelfth issue of the herbst festival magazine. As always, it is more than a programme booklet that sums up and explains specific works.
On the occasion of the anniversary of steirischer herbst an artist’s book recalls the history of the avant-garde festival.
Benjamin Verdonck is a great poet of little things. With his three table-theatres he opens up worlds of images that tackle the big questions with touching simplicity.
”Cinema 666” brings to life the spirits of the cinematic past – with Styrian home movies, forgotten gems of horror and classics of the Nature Theater of Oklahoma.
A book, a commissioned work. This publication brings together pieces by 50 artists and theorists whose works have shaped the festival over the past decade.
The state of suspension between modernism and culture and its (uncanny) states in the sense of advanced perception are the focal theme of Stefan Fraunberger’s acoustic research.
Undead everywhere! Three rare pearls of horror film will lure visitors with their undead protagonists. Top-notch shockers selected by absolute genre mavens.
The video documentation “herbst remixed” accompanies the steirischer herbst festival, recording everything that happens.
When steirischer herbst visits Upper Styria this year, everything revolves around “Die Kinder der Toten” by Elfriede Jelinek. Her ghost novel eloquently debunks undead clichés about Austria and national pathos.