27.1.
Mysterious Signals
A live sound performance by Hui Ye and Ricarda Denzer
echoraum Vienna
My ear is an acoustic universe
sending and receiving
My ear also sounds
Where are the receivers for these tiny, mysterious signals?
Inside? Outside? The cells?
(“The Earthworm Also Sings”, Pauline Oliveros)
As part of long-term research into mantras—arrangements of vocal sounds that transcend the semantic level—artist Hui Ye explores various spiritual and esoteric rituals, encountering practitioners who use the voice as their central tool. In her live sound performance, where she weaves together sound material from her research archive with different voices conveying verbal—or nonverbal—information, she attempts to uncover a hidden mantra that carries a continuous, protective vibration.
O-Research is Ricarda Denzer's approach to ‘O’. Like a ceaseless back and forth, a mysterious object ‘O’, Wilfrid Bion describes access to “O” as resonance, not cognitive appropriation. ‘O’ always remains the same and yet is constantly changing. Para-listening, as the artist calls her listening process, is a practice in which listening – also as a method of auditory research – is ‘[...] an intensification and an occupation, a curiosity or a disturbance’. Listening here means ‘being curious about a possible meaning’; it is unimaginable, chaotic, formless and infinite.
Hui Ye (born in Guangzhou, CN) is an artist and componer based in Vienna. She works with various media, including experimental documentary film, video and audio installation, and frequently deals with the socio-political aspects of hearing as well as the constantly changing processes of individual social identity and its expression in technology and sound culture. In her most recent projects, the voice—both human and more-than-human—is at the centre of her artistic research, particularly in its digitised forms.
Hui Ye has been awarded the 2018 Kunsthalle Wien Prize, she is co-founder of Mai Ling, a queer-feminist Asian artists' collective. Her work has recently been shown at Kunsthalle Vienna, Secession Vienna, Belvedere 21 Vienna, Jim Thompson Art Centre (TH), Lothringer 13 Halle (DE), WRO Media Art Biennale (PL), Westbund Museum Shanghai and Times Museum Guangzhou (CN).
Ricarda Denzer is an artist, lecturer and artistic researcher working at the intersection of post-media conditions and psychoanalysis. Denzer is co-editor of the publications ganz ohr / all ears – Audio Trouble, Para-Listening, and Sounding Research (De Gruyter); Silence Turned into Objects – W.H. Auden in Kirchstetten (Edition NÖ); Perplexities (Revolver) and the eJournal #13, Un_University of the ZHdK. In addition to her exhibition activities, she has realised numerous (site-specific) art projects. These include her long-term documentation Telephone Paintings (2019- ongoing), Täuschungsmanöver (Deception), on the history of migration in Allentsteig, restore, Site Santa Fe Biennial, New Mexico, USA, About the House, Kirchstetten (Lower Austria) and currently the implementation of the HörWeg (audio trail) for the Reichenau memorial site in Innsbruck.
hui ye
ricarda denzer
soundingresearch
28.4.
Minuswelt (Sarah Fichtinger, Leonhard Müllner (Total Refusal) & Nikola Supukovic)
Screening
Droneland (Adina Camhy & Katrin Euller)
Live radioplay
Adina Camhy
Sound performance
echoraum Vienna
Minuswelt
Concept/Direction/Camera: Sarah Fichtinger, Leonhard Müllner
Modding/Camera: Nikola Supukovic
Music: Adina Camhy
Work in progress
With Minuswelt, Sarah Fichtinger, Leonhard Müllner (Total Refusal), and Nikola Supukovic appropriate the computer game Kingdom Come: Deliverance 2 and manipulate its digital textures. The game, which boasts a particularly historically accurate portrayal, is set in the agrarian society of the late Middle Ages. Inspired by recent historical research, Minuswelt focuses on the representation of women and the utopian spaces of the early modern period. The privatisation of common goods and the relegation of women and their labor to the domestic sphere formed the basis for the emerging capitalism of this era. The film explores how the role of women and their living conditions at that time are depicted in the contemporary mass medium of video games.
The pseudo-marxist media guerilla Total Refusal explores and practices strategies for artistic intervention in contemporary computer games. It works with tools of appropriation and rededication of game resources.
Since its foundation in 2018 the collective has been awarded with more than 70 awards, like the European Film Award for Best Short, the Diagonale Film Award for the Best Short Doc, the Locarno Award for Best Direction, the Contemporary Visual Arts Award of Styria Province and Vimeo Staff Pick Award. Total Refusal has been screened at more than 130 film and video festivals like Berlinale (2020), Doc Fortnight at MOMA New York and IDFA Amsterdam (2018) and they have been exhibited at various exhibition spaces like the Architecture Biennial Venice 2021, the HEK Basel (2020) and the Ars Electronica Linz (2019).
total refusal
Droneland
Field recordings, synthesizer, effects
Text: Adina Camhy & Katrin Euller
Voice: Adina Camhy
The 10 minute audioplay Droneland is built upon field recordings from the Viennese Alberner Hafen, an industrial site in Vienna’s southeastern periphery – an apparent no man’s land between Lobau, Danube, oil port, logistics center, cemetery and refinery.
What does the landscape on the edge of the big city sound like? What history meets what possible futures here? Is there a way out of capitalist reality?
Field recordings, synthesizer sounds and spoken word create a micro-portrait of a landscape on the edge of a big city.
“Droneland” references the audio essay “On Vanishing Land” by theorists and sound artists Mark Fisher and Justin Barton (Hyperdub, 2019), in which they recall a hike along the coast of Suffollk.
Katrin Euller works as a sound and media artist in Vienna. She studied ecology at the University of Vienna and fine arts at the Academy of Fine Arts Vienna. Euller works primarily with sound, moving images, and text, focusing on themes such as noise, dystopian ecologies, vulnerable technology, and collective experiences. With her ambient/noise project "Rent," Katrin Euller performs in clubs, at festivals, in museums, and in the alternative scene, including appearances at Unsafe + Sounds, Sägezahn, Struma + Iodine, the Kunsthalle Vienna and Secession Vienna.
rent
droneland
Adina Camhy studied architecture at TU Graz and UPV Valencia and Master Critical Studies at the Academy of Fine Arts Vienna (ongoing). Her works are shown in public spaces as well as at film festivals, cinemas and exhibitions in Austria and abroad. Exhibition venues include Künstlerhaus Vienna, MIT Massachusetts, Belvedere 21 Vienna, Leopold Museum Vienna, Kunsthaus Graz, Amos Rex Helsinki, Kunsthalle Vienna. Her short films have been screened at film festivals such as BFI London Film Festival, Diagonale Festival of Austrian Film, Doclisboa, Curtocircuíto Festival International De Cine Santiago de Compostela, Milano Film Festival, Uppsala International Short Film Festival or Werkleitz Festival.
Her music, moving between noise, ambient, drone, industrial, field recordings and improvisation, has been part of performances (by Michikazu Matsune, Navaridas Deutinger), films (Total Refusal) and radio pieces and has been present at festivals such as the Wiener Festwochen, Impulstanz or Berlinale. She plays concerts in Austria’s underground venues as a solo artist and in collaborations.
She has received scholarships, grants and awards, including the City of Graz Working Scholarship for Fine Arts (2025), the Carinthia Annual Scholarship for Interdisciplinary Art Forms (2023), the Pixel, Bytes + Film Grant (2022) and the City of Graz Art Promotion Award (2017). In 2023 & 2024 she spent several months in Trieste as part of residencies (AiR Trieste & Clanz Residency) researching the topic of Karst/Karso/Kras in the Capitalocene.
adina camhy
Mysterious Signals
A live sound performance by Hui Ye and Ricarda Denzer
echoraum Vienna
My ear is an acoustic universe
sending and receiving
My ear also sounds
Where are the receivers for these tiny, mysterious signals?
Inside? Outside? The cells?
(“The Earthworm Also Sings”, Pauline Oliveros)
As part of long-term research into mantras—arrangements of vocal sounds that transcend the semantic level—artist Hui Ye explores various spiritual and esoteric rituals, encountering practitioners who use the voice as their central tool. In her live sound performance, where she weaves together sound material from her research archive with different voices conveying verbal—or nonverbal—information, she attempts to uncover a hidden mantra that carries a continuous, protective vibration.
O-Research is Ricarda Denzer's approach to ‘O’. Like a ceaseless back and forth, a mysterious object ‘O’, Wilfrid Bion describes access to “O” as resonance, not cognitive appropriation. ‘O’ always remains the same and yet is constantly changing. Para-listening, as the artist calls her listening process, is a practice in which listening – also as a method of auditory research – is ‘[...] an intensification and an occupation, a curiosity or a disturbance’. Listening here means ‘being curious about a possible meaning’; it is unimaginable, chaotic, formless and infinite.
Hui Ye (born in Guangzhou, CN) is an artist and componer based in Vienna. She works with various media, including experimental documentary film, video and audio installation, and frequently deals with the socio-political aspects of hearing as well as the constantly changing processes of individual social identity and its expression in technology and sound culture. In her most recent projects, the voice—both human and more-than-human—is at the centre of her artistic research, particularly in its digitised forms.
Hui Ye has been awarded the 2018 Kunsthalle Wien Prize, she is co-founder of Mai Ling, a queer-feminist Asian artists' collective. Her work has recently been shown at Kunsthalle Vienna, Secession Vienna, Belvedere 21 Vienna, Jim Thompson Art Centre (TH), Lothringer 13 Halle (DE), WRO Media Art Biennale (PL), Westbund Museum Shanghai and Times Museum Guangzhou (CN).
Ricarda Denzer is an artist, lecturer and artistic researcher working at the intersection of post-media conditions and psychoanalysis. Denzer is co-editor of the publications ganz ohr / all ears – Audio Trouble, Para-Listening, and Sounding Research (De Gruyter); Silence Turned into Objects – W.H. Auden in Kirchstetten (Edition NÖ); Perplexities (Revolver) and the eJournal #13, Un_University of the ZHdK. In addition to her exhibition activities, she has realised numerous (site-specific) art projects. These include her long-term documentation Telephone Paintings (2019- ongoing), Täuschungsmanöver (Deception), on the history of migration in Allentsteig, restore, Site Santa Fe Biennial, New Mexico, USA, About the House, Kirchstetten (Lower Austria) and currently the implementation of the HörWeg (audio trail) for the Reichenau memorial site in Innsbruck.
hui ye
ricarda denzer
soundingresearch
28.4.
Minuswelt (Sarah Fichtinger, Leonhard Müllner (Total Refusal) & Nikola Supukovic)
Screening
Droneland (Adina Camhy & Katrin Euller)
Live radioplay
Adina Camhy
Sound performance
echoraum Vienna
Minuswelt
Concept/Direction/Camera: Sarah Fichtinger, Leonhard Müllner
Modding/Camera: Nikola Supukovic
Music: Adina Camhy
Work in progress
With Minuswelt, Sarah Fichtinger, Leonhard Müllner (Total Refusal), and Nikola Supukovic appropriate the computer game Kingdom Come: Deliverance 2 and manipulate its digital textures. The game, which boasts a particularly historically accurate portrayal, is set in the agrarian society of the late Middle Ages. Inspired by recent historical research, Minuswelt focuses on the representation of women and the utopian spaces of the early modern period. The privatisation of common goods and the relegation of women and their labor to the domestic sphere formed the basis for the emerging capitalism of this era. The film explores how the role of women and their living conditions at that time are depicted in the contemporary mass medium of video games.
The pseudo-marxist media guerilla Total Refusal explores and practices strategies for artistic intervention in contemporary computer games. It works with tools of appropriation and rededication of game resources.
Since its foundation in 2018 the collective has been awarded with more than 70 awards, like the European Film Award for Best Short, the Diagonale Film Award for the Best Short Doc, the Locarno Award for Best Direction, the Contemporary Visual Arts Award of Styria Province and Vimeo Staff Pick Award. Total Refusal has been screened at more than 130 film and video festivals like Berlinale (2020), Doc Fortnight at MOMA New York and IDFA Amsterdam (2018) and they have been exhibited at various exhibition spaces like the Architecture Biennial Venice 2021, the HEK Basel (2020) and the Ars Electronica Linz (2019).
total refusal
Droneland
Field recordings, synthesizer, effects
Text: Adina Camhy & Katrin Euller
Voice: Adina Camhy
The 10 minute audioplay Droneland is built upon field recordings from the Viennese Alberner Hafen, an industrial site in Vienna’s southeastern periphery – an apparent no man’s land between Lobau, Danube, oil port, logistics center, cemetery and refinery.
What does the landscape on the edge of the big city sound like? What history meets what possible futures here? Is there a way out of capitalist reality?
Field recordings, synthesizer sounds and spoken word create a micro-portrait of a landscape on the edge of a big city.
“Droneland” references the audio essay “On Vanishing Land” by theorists and sound artists Mark Fisher and Justin Barton (Hyperdub, 2019), in which they recall a hike along the coast of Suffollk.
Katrin Euller works as a sound and media artist in Vienna. She studied ecology at the University of Vienna and fine arts at the Academy of Fine Arts Vienna. Euller works primarily with sound, moving images, and text, focusing on themes such as noise, dystopian ecologies, vulnerable technology, and collective experiences. With her ambient/noise project "Rent," Katrin Euller performs in clubs, at festivals, in museums, and in the alternative scene, including appearances at Unsafe + Sounds, Sägezahn, Struma + Iodine, the Kunsthalle Vienna and Secession Vienna.
rent
droneland
Adina Camhy studied architecture at TU Graz and UPV Valencia and Master Critical Studies at the Academy of Fine Arts Vienna (ongoing). Her works are shown in public spaces as well as at film festivals, cinemas and exhibitions in Austria and abroad. Exhibition venues include Künstlerhaus Vienna, MIT Massachusetts, Belvedere 21 Vienna, Leopold Museum Vienna, Kunsthaus Graz, Amos Rex Helsinki, Kunsthalle Vienna. Her short films have been screened at film festivals such as BFI London Film Festival, Diagonale Festival of Austrian Film, Doclisboa, Curtocircuíto Festival International De Cine Santiago de Compostela, Milano Film Festival, Uppsala International Short Film Festival or Werkleitz Festival.
Her music, moving between noise, ambient, drone, industrial, field recordings and improvisation, has been part of performances (by Michikazu Matsune, Navaridas Deutinger), films (Total Refusal) and radio pieces and has been present at festivals such as the Wiener Festwochen, Impulstanz or Berlinale. She plays concerts in Austria’s underground venues as a solo artist and in collaborations.
She has received scholarships, grants and awards, including the City of Graz Working Scholarship for Fine Arts (2025), the Carinthia Annual Scholarship for Interdisciplinary Art Forms (2023), the Pixel, Bytes + Film Grant (2022) and the City of Graz Art Promotion Award (2017). In 2023 & 2024 she spent several months in Trieste as part of residencies (AiR Trieste & Clanz Residency) researching the topic of Karst/Karso/Kras in the Capitalocene.
adina camhy