Freitag November

Hyperreality - Independence day

Grelle Forelle Spittelauer Lände 12, 1090 Wien
Einlass: 22:00 Uhr Beginn: 22:00 Uhr
Hyperreality - Independence day am 2. November 2018 @ Grelle Forelle.

-x- Amblio
-x- AMEN
-x- Battle-ax – live with Bruno Mokross on drums
-x- DJ Angel b4b DJ Hauswein
-x- DJ Ingrid
-x- Fauna pres. INFERNUM – live with Verkonika König aka FARCE & Ursula Winterauer
-x- Grrr
-x- Hanjin Mirror – live (Cihad Johnson & Mephisto Ingemann)
-x- Jung An Tagen pres. Agent in Objekt AV Show – live
-x- Schirin
-x- Therese Terror
-x- Yassin Hawwa b2b Alkan Torres

<>< Grelle Forelle deconstructed


After two years in an institutional framework HYPERREALITY – Festival for Club Culture – Vienna is now an independent project. The annual festival for experimental music and global club culture celebrates its “Independence Day” at Grelle Forelle in Vienna on November 2nd. The event is a FUN RAISER and intends to collect $$$ to start out with first projects, bookings and engagements for 2k19. With Amblio, Amen, Antonia XM, Battle-ax – live with Bruno Mokross on drums, DJ Angel b4b DJ Hauswein, DJ Ingrid, Fauna pres. INFERNUM – live with Verkonika König aka Farce & Ursula Winterauer, Grrr, Hanjin Mirror – live, Jung an Tagen pres. Agent in Objekt AV Show – live, Schirin, Therese Terror and Yassin Hawwa b2b Alkan Torres.

FUN RAISER. Pay as you can! The ticket price is between 15 and 50 Euro. We’re happy for any support, super support, hyper support… and at the box office there will also be tickets from 15€ on.



Music is the art of the collective: On challenges, responsibility and chances of a globally orientated festival in the digital age
Music is the art of the collective: A track can reach many, many people via the internet within a very short time – irrespective of a person’s own community. Large parts of art genres are subject to local and temporary limitations (in other words: they produce single specimen) and thus often restricted to smaller, exclusive target groups. Plans for counter financing are rare, and the system of subsidies in our country does not seem to be able to keep up with the requirements. The challenges of digital music production often lead to a lack of common terms, which can make contemporary music comprehensible as a complex and valuable addition to the musical canon.
This comprehension problem, which seems to be impossible to overcome at the moment, and at the same time the lack of opportunities to make a living with one’s own music has given space to companies to contribute to subculture as sponsors. Sponsoring in itself does not have any immoral component; yet, if companies move on from being sponsors to being producers or culture, organize their own events and act as curators with dubious goals instead of supporting initiatives that came into being by themselves – then we do have a problem.
What can be achieved and improved by a festival? An important part of the concept of HYPERREALITY are commissioned works and residencies, which provide resources for national and international artists without any specifications as regards form and content. This does not only allow for a gig that is properly paid, but also stimulates the production of new content. In the course of HYPERREALITY Holly Herndon was a guest for several days at Schloß Neugebäude in 2017, in order to rehearse with her choir ‘Ensemble’ there for the first time. The format created then has meanwhile been shown at several international festivals. In the same year Beatrixx Curran aka Battle-ax performed for the first time with Bruno Morkoss at the drums. Now they are a band.

Music is the art of the collective. Not only the redistribution of music has changed thoroughly by the internet, also the way how music is being consumed considering its permanent availability. Whilst already the invention of the first sound recordings disrupted the direct experience of music, permanent availability is even one step further away from a live experience. Yet, the live moment, the getting together and the collective experience, still is the most emotional approach to this form of art – for artists, and for the audience.
Music can be a way of self-expression and of exchange at the same time, HYPERREALITY wants to live up to the digital dynamics of ‘younger’ generations of artists and recipients. It wants to provide a physical platform for a globally and digitally linked community, that hardly ever meets personally.
What happens if a format like HYPERREALITY makes that possible? If you have musicians tour around half the world for a gig, cultural contextualization is necessary. “An MP3 travels faster than the context it originated from”, says Marlene Engel in an interview with the PW magazine. Arranging the line-ups of HYPERREALITY does not only mean creating exciting and challenging combinations, it is also about a possible social localization of contents. What happens, if I bring Vogue music, which originated from a queer POC community, to Vienna? Showcases like those of GHE20G0PTH1K, Principe or Qween Beat have contributed to deepening already existing contents and were co-designed by their protagonists. This happens in the form of co-operations and through the opportunity to give communities the chance to shape their contents and to present them in Vienna. Thus, for the Qween Beat Showcase 2018, not only texts of artists participating were created, but also dancers from all of Europe were booked, who extended the live moment to a further level. The live moment can not only be extended as far as content is concerned, but also formally: Stefan Juster aka Jung An Tagen deals with visual and special aspects of these live moments. He developed his first AV show in the course of HYPERREALITY 2018. The contextualization of local musicians with their international counterparts during the HYPERREALITY festival was certainly one of the reasons, why the producer, who lives in Vienna, also could be seen at the Unsound Festival in the same year and spent a residency in Frankfurt.

Music is the art of the collective. Many dynamics in the world of music lead to a singularization of the protagonists, respectively turn them to counterparts. Who gets subsidies by whom, who is sponsored by whom? These dynamics dissent club music in its collective mind set. We should not oppose to each other in a capitalist competition, but rather recognize the major challenges, showing in our work, and the structural disparities and discrimination connected with that. This is also the reason for a musically and culturally extremely diverse festival program with a quota of 50 % of women. Together we will achieve more. In the collective artistic ideas can often concretized in a better way – networking offers new opportunities. Really good music projects are always the result of a collective, and this is how they should be communicated. On the occasion of the release of her album artist Rana Farahani compiled a band for the first time in the course of HYPERREALITY 2018 – among others with Veronika König aka Farce, Ursula Winterauer und Aeksandar Vucenovic. A new co-operation, which offers room for new ideas, alliances and projects.
To the same extent this is also true for the audience. The non-binary social-political messages and ideas around music and the HYPERREALITY festival are supported by the community, but also actively demanded. “Toilets that are not assigned to a sex only make sense if the audience accept them”, Marlene Engel in the interview. Music provides space for encounters, and this is what happens at the HYPERREALITY festival, across genres and, above all, across social separation lines. At the end of the creative exchange between the audience, the musicians and all the other numerous participants the result is a “plus” which means more than the sum of individual parts.