{"id":5488,"date":"2025-05-20T20:00:56","date_gmt":"2025-05-20T18:00:56","guid":{"rendered":"https:\/\/echoraum.at\/?p=5488"},"modified":"2025-04-05T12:37:36","modified_gmt":"2025-04-05T10:37:36","slug":"xx-y-x-miriam-bajtala-%c2%b7-chra","status":"publish","type":"post","link":"https:\/\/echoraum.at\/site\/xx-y-x-miriam-bajtala-%c2%b7-chra\/","title":{"rendered":"XX Y X: Miriam Bajtala \u00b7 CHRA"},"content":{"rendered":"

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\u00a9 Miriam Bajtala<\/figcaption><\/figure>\n


\nMiriam Bajtala<\/strong> (Screening)<\/p>\n

DREI STIMMEN \/ THREE VOICES<\/strong> Video, 12:54 min,
\nPerformer*in deutsch\/englisch performers german\/english: Markus Heinicke, Anna Mendelssohn, slowakischer slovak Off\u2013Text: mb, Vertrieb distribution: sixpackfilm, 2011<\/p>\n

The video begins with a text detailing my emigration to Austria: the social and economic conditions, the language learning, and the loss of language. Two performers can be seen reading the text in German (Markus Heinicke) and English (Anna Mendelssohn). The Slovak part is heard as an off\u2013screen voice. Three Voices is not a translation, even though you hear a text in three languages. It also isn\u2019t a dialog, despite two people being visible who are speaking and partially referring to one another. The film depicts a condensed approach to history, language, expression, and what remaining silent can mean. It showcases speaking to acquire language in front of a camera. What is necessary is said: from the starting point
\nin German, speech returns in English, and ultimately Slovak: I take ownership of the language that I have almost lost.
\nTeil von Nichts als Gespenster. Part of Nothing but ghosts.<\/p>\n

THE ONLY SONG I REMEMBER IN SLOVAK <\/strong>Video, 05:00 min,
\nSprache language: slowakisch mit deutschen\/englischen Untertiteln Slovak with German\/English subtitles, 2017<\/p>\n

The only song I remember in Slovak is a video that gathers three generations of women, each singing a Slovak folk song in their home, and compares spaces, generations, song interpretations, and relationships. The fourfold performance is mounted in such a way that all women (grandma\u2013aunt\u2013mother\u2013daughter), although standing in their rooms, sing a song together, the only one I can still sing in Slovak. Teil von Nichts als Gespenster. Part of Nothing but ghosts.<\/p>\n

Miriam Bajtala<\/strong> (*geb. in Bratislava) lebt, schl\u00e4ft und arbeitet meistens in Wien. Themen ihrer k\u00fcnstlerischen Auseinandersetzung kreisen um Wahrnehmung, Raum, Erinnerung, (Selbst-) Erm\u00e4chtigung, Zeugenschaft, Repr\u00e4sentation und die Kraft der Poesie. Bajtalas Arbeiten sind in Ausstellungen und bei Filmfestivals zu sehen. 1998 – 2002: Akademie der bildenden K\u00fcnste in Wien; 2012 – 2018: Universit\u00e4tsassistentin und Dozentin an der Experimentellen, Kunstuniversit\u00e4t Linz; Stipendien und Preise: Gabriele-Heidecker-Preis (2021), Outstanding Artis Award f\u00fcr bildende Kunst (2012), artist-in residencies u.a. in Rom, Krumau, Paris und Los Angeles (Schindlerstipendium). Einzel (EA)- und Gruppenausstellungen, Screenings (Auswahl): 2025 Working Class Daughter (EA), Neue Galerie, Tiroler K\u00fcnstler*innenschaft, Innsbruck, 2024: 18 R\u00e4ume (EA), Kunstraum Goethestrasse, Linz; 2023: In den K\u00f6rpern (EA), Bildraum 01, Wien; 2022: Oikos: \u2018the house\u2019, Wienwoche, Wien; 2020: dichtegeschichte, Kunstraum Weikendorf (EA), Kunst im \u00f6ffenttlichen Raum N\u00d6; 2019: Displacement, Musrara Festival, Jerusalem (ISR); 2017: PERFORM, Videonale 16, Kunstmuseum Bonn (DE); 2016: Welt des Sprechens, Trans-Positionen-Festival Werkleitz, Halle (DE); 62. Internationale Kurzfilmtage Oberhausen (DE); Duisburger Filmwochen No.40 (DE); 2015: Das Als-ob-Prinzip, Magazin 4, Bregenzer Kunstverein, Bregenz; 2013: In meinem Namen, Secession, Wien (EA); 2011: terms of decision, Austrian Cultural Forum, London (GBR); 2010: Nichts als Gespenster, Forum Stadtpark, Graz (EA); usw. www.miriambajtala.org<\/a><\/p>\n

 <\/p>\n

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\u00a9 Udo Siegfried<\/figcaption><\/figure>\n

CHRA: WONDEREEL<\/strong> (Solo Performance)<\/p>\n

„chra is the kind of person who still carries a cassette recorder everywhere, even in the age of wireless earbuds and streaming. She likes the click of the buttons, the whir of the tape, and the way it captured sounds imperfectly\u2014like life.
\nOne drizzly evening, she found herself standing at the base of the city\u2019s abandoned Ferris wheel. It was a towering relic, its once-bright paint faded and peeling.“<\/p>\n

chra<\/strong>, the electronic music artist, is recognized for her compelling use of field recordings and low frequencies. Through integration of these elements, she weaves a distinctive sonic tapestry, offering listeners an immersive experience that transcends traditional electronic music boundaries. releases: editions mego, trost records, comfortzone, tsuki boshi, blackest ever black, jsme amm<\/p>\n","protected":false},"excerpt":{"rendered":"

  Miriam Bajtala (Screening) DREI STIMMEN \/ THREE VOICES Video, 12:54 min, Performer*in deutsch\/englisch performers german\/english: Markus Heinicke, Anna Mendelssohn, slowakischer slovak Off\u2013Text: mb, Vertrieb distribution: sixpackfilm, 2011 The video begins with a text detailing my emigration to Austria: the social and economic conditions, the language learning, and the loss of language. Two performers can […]<\/p>\n","protected":false},"author":2,"featured_media":5489,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16,5,4,8],"tags":[],"class_list":["post-5488","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","category-konzert","category-programm","category-reihe"],"acf":[],"_links":{"self":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/5488","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/comments?post=5488"}],"version-history":[{"count":0,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/posts\/5488\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media\/5489"}],"wp:attachment":[{"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/media?parent=5488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/categories?post=5488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/echoraum.at\/site\/wp-json\/wp\/v2\/tags?post=5488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}