This year’s opening production whisks us off to the dream worlds of French theatre wizard Philippe Quesne. For steirischer herbst he digs his way under the surface of the earth, where he encounters a fantastic society.
The opening night of steirischer herbst does not end with the final applause for “The Night of the Moles (Welcome to Caveland!)” but with the last notes of the subsequent opening party.
A different kind of museum experience: US artists Steffani Jemison and Justin Hicks take a performance-based look at the Neue Galerie collection.
How do we profit from debt? Can we somehow get rid of it? In an installative trail over several rooms, Julian Hetzel investigates the concept of debt. Strikingly and surprisingly, he demonstrates the different types of indulgence trade between beauty clinic and soap production.
Performer and choreographer Philipp Gehmacher ventures into the realm of visual art, asking: Where do the things of the world come from? And how can we grasp them?
Eternity and mortality between Orient and Occident: Together with Gustav Mahler and vibrating porcelain, two artists from Needcompany draft a new universe for a deliciously fragile choreography.
With hip bass music from Amsterdam and Berlin at the opening weekend of steirischer herbst, Kuenta i Tambu set the rhythm, Sarah Farina DJs.
Time for a cup of coffee? Tea? For the duration of the festival the Volksgarten Pavilion opens its doors and turns into a place where everyone is welcome, presenting itself as the exemplary heart of the Arrival City of Graz.
Forbidden pleasure: Pål Moddi Knutsen has collected forbidden songs from the blacklists of the world.
steirischer herbst is screening the latest film of Thailand’s internationally most important director Apichatpong Weerasethakul for the first time in Graz: A gentle masterpiece of dreamlike magic.
Rainer Prohaska brings ratchet straps and beams used in timber construction to Leibnitz and Leutschach, calling on people to build a tea house together. An appeal for flexibility and openness: And an invitation to engage in a dialogue between all cultures.
A L’Ocelle Mare solo can be many things: Soundcrafting, of intense rhythm, sensuous, funny. But one thing’s for sure, it’s an experience.
Projected consciousness: Apichatpong Weerasethakul’s first stage production is showing for the first time in the German-speaking region at the steirischer herbst festival.
The soundtrack for the band’s visually high-contrast performances is created with synthesiser, voice and violin, presented in front of flickering projections, in avant-garde costumes and as always Asian conical hats.
Based on a mediaeval logic machine that can even “prove” God, musikprotokoll builds an interactive sound installation at Kunsthaus. Vokalensemble NOVA deploys the Llullophone in order to marry very old with very new music.
Inspired by ritual dances Ingri Fiksdal and Jonas Corell Petersen search for new rituals with their high-calibre company – in a rhythmic narrative of choreography, live music and costume.
The end of the world in Greek: Blitz Theatre Group dances a surreal waltz of death over the ruins of Europe, brimming with subtle melancholy and a fine sense of humour.
The eclectic club sounds of Lotic, Kablam and Why Be not only challenge the boundaries between genres but actively fight against them.
On their musical tour of town and country, Natalie Ofenböck and Der Nino aus Wien combine Styrian and Viennese sounds – an album like a road movie.
For the third time now steirischer herbst is taking part in Big Draw Graz, inviting people of all ages to give free rein to their creativity.
Julian Hetzel donates money, and that is art! He explains his project on hunger and success in an entertaining lecture performance at steirischer herbst.
For five days in October, the Orpheum Graz is being transformed into a public garden which obeys its own laws and invites the local population to reflect, discuss and stay a while.
As part of the herbst academy 2016, steirischer herbst is once again running four new workshops – this year by Jochen Becker & Daniel Kötter, Marianne Bechhaus-Gerst, Rolando Vazquez and Marjetica Potrč.
Jörg Piringer, winner of the lime_lab 2016 competition, puts on his audibly tangible data costume, both as a performance and as a radio play.
Every stone was once liquid, nothing in this world is rigid, everything is constantly changing shape, everything is in motion: This is what Gil Delindro points out in his art.
Whether in the guise of superheroines or castle damsels, Brigitta Bödenauer and Susanna Gartmayer constantly devise new approaches to music, by way of a surprising stage presence.
The Flamingods weave psychedelic-intercontinental pop songs out of Asian sounds and African rhythms.
Cash or legend: The famous frontman of Einstürzende Neubauten takes to the stage at musikprotokoll as a purist and (almost) on his own.
In the pieces for his solo debut, Andi Stecher explores the musical potential of alpine Perchten processions. Brutish, earthy, powerful, wild and elemental were qualities for which the musician tried to find acoustic analogues.
Noël Akchoté is set to pay homage to music from around the 13th century and music of the 21st century in a short series of midday concerts.
Constantin Luser’s “Molecular organ” in the courtyard of the New Chemistry building at Graz University of Technology is a unique, playful and yet serious interactive tubular sculpture and, at the same time, a set of instruments for an entire brass band.
On the eve of the 2016 herbst conference, Slavs and Tatars' lecture performance questions orientalism in the orient.
A summit meeting: The ORF Vienna Radio Symphony Orchestra meets Klangforum Wien.
Eighty-five-year-old American Alvin Lucier scrutinises and challenges music’s individual elements until they reunite to form a new whole. For musikprotokoll he follows the movement of cellist Charles Curtis.
Orient and Occident meet in the personality of Aïsha Devi. The Nepalese Swiss singer let us hear her intense vocals, before New Yorker Dis Fig contrasts street culture with digital aesthetic.
Trio premiere: Multitasker Renald Deppe joins forces for the first time with an established virtuoso and a rising wizard of live electronic music.
The herbst conference investigates Europe’s current state from a postcolonial and decolonial perspective. What ways are there to talk about Europe? Who should we listen to and which utopias are still (or perhaps again) conceivable today?
It took some time for contemporary music to find its way into the programme schedule of Österreich 1. Back then Lothar Knessl was producing his first broadcasts. As one of Albert Hosp’s guests, he talks about his life on the pulse of contemporary music and his many decades of experience.
Hans-Werner Kroesinger and Regine Dura take their audience on a performance walk along the green border between Austria and Slovenia.
Artists and school students from Graz have joined forces to create works dealing with “musical numbers” which will be presented one afternoon.
Some pieces of music never lose their power to captivate and challenge interpreters and audience alike, and they also have a particular fascination for ever new generations of composers.
Kairo is coming to steirischer herbst, panning out some astonishing insights into the vibrant Egyptian club scene.
Organic electronic music meets vocals with an electronic touch. Demi Broxa is the joint project of two musicians who have been researching the world of sound with passion and meticulous precision for many years, probing ever deeper into the sound microcosm of their instruments.
Split selves and hybrid bodies: In Martin Hiendl’s walk-in opera installation the audience decides what they want to hear.
Congolese-Austrian choreographer Elisabeth Bakambamba Tambwe takes a look at the gaze itself and confronts us with the question: Can you see without looking?
Musician and artist Deena Abdelwahed presents her award-winning radio art performance on the living conditions of Tunisian millennials at the musikprotokoll.
In a breathtaking performance, Moroccan dancer Taoufiq Izeddiou sets out to probe the boundaries between tradition and modernity.
In her solo project, Sasha Perera combines experimental ambient pop with acoustic sounds and a smidgen of Trip Hop.
Together with a large company, El Conde de Torrefiel projects fascinatingly uncanny images from the comfort zone of Europe: A young generation questions the
future – in both senses.
What is flight? What is home? What will the new face of Europe look like? With “Empire”, the final installment of his acclaimed European trilogy, Swiss director Milo Rau is presenting a piece at steirischer herbst for the first time.
With its young DJs, the Lisbon-based label Príncípe Discos creates new sounds and a rhythmic compulsion to dance.
steirischer herbst 2016 does not only cross boundaries in the metaphorical sense. Not only is the border region in southern Styria artistically in focus – but culinarily too, as here, at an evening meal with an unusual blind date.
A legendary keyboarder from Ethiopia and an archaeologist among DJs conclude the steirischer herbst club series.
This is the eleventh issue of the herbst festival magazine. As always, it is more than a programme booklet that sums up and explains specific works.
The video documentation “herbst remixed” accompanies the steirischer herbst festival, recording everything that happens.
“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.
This year again, five artists will be keeping a highly subjective online diary: Milo Rau, Daniel Wisser, Teresa Präauer as well as Natalie Ofenböck and Nino Mandl (alias Der Nino aus Wien).