In the Blink of an Ear

3. Oct. 2023 // 18:30
Wolfgang-Schmälzl-Gasse 19, 1020 Wien

Improvisations and Compositions
Free entrance


Roland Schueler, cello
JSX, Turntables


“Excuse me, do you say in English, ‘I look at the window,’ or do you say in English, ‘I look out the window’?” In Jim Jarmusch’s film Down By Law, the Italian drifter, Bob (played by Roberto Benigni), draws a window on the wall of his windowless jail cell. Bob, who speaks little English, asks his cellmate, Jack (played by John Lurie), which preposition to use when speaking of his window. Jack replies, “In this case, Bob, I’m afraid you’ve got to say, ‘I look at the window.’” (Seth Kim-Cohen, ›In the Blink of an Ear‹) …

From September 20, 2023, the exhibition BLINK OF AN EYE can be seen at the artspace SUSSUDIO. It brings together new location-specific works by Kaja Clara Joo and Michael Kienzer in order to trace elective affinities and interactions and to create an exciting dialogue at the interface between sculpture and installation. As part of the exhibition, PHACE will connect with the works of art on October 3rd with a performance by Roland Schueler and Jorge Sánchez-Chiong in order to trace the above relationships and effects inside the sonic art space.

When In the Blink of an Ear minimalism and maximalism merge, lowercase and hyperpop collide, Schueler & Sánchez-Chiong are playing and listening, , to paraphrase Seth Kim-Cohen, definitely “out of the jail cell”. It is another facet in PHACE’s regular collaboration with Jorge Sánchez-Chiong and his incomparable mix of musical spontaneity and boundary-pushing understanding of sound – as a composer, on the turntables or in educational projects – and also a foretaste to PHACE | ANIMAL SMILEYS , our cycle concert on May 7th, 2024, where we will once again deepen our collaboration with Sánchez-Chiong.



In the Blink of an Ear
Improvisations and Compositions by Schueler and Sánchez-Chiong

Roland Schueler | Cello
JSX | Turntables


Exhibition: BLINK OF AN EYE  20.09.—11.10.2023, Sussudio, Wolfgang-Schmälzl-Gasse 19, 1020 Wien

music / performance



Bozen, Transart Festival
Sept. 16, 2022 – 17:00
Sept. 17, 2022 – 20:30

Winkelau 9
39014 Burgstall


Diese Produktion im Rahmen des TransArt Festivals ist eine Kooperation von Liquid Loft und PHACE
Liquid Loft wird gefördert von der Kulturabteilung der Stadt Wien und vom Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport.
PHACE wird gefördert vom SKE-Fonds (Austro Mechana), vom Bundesministerium für Kunst & Kultur (BMKÖS) und der Stadt Wien Kultur.

Tanz, Choreografie: Luke Baio, Stephanie Cumming, Dong Uk Kim, Katharina Meves, Dante Murillo, Hannah Timbrell
Künstlerische Leitung, Choreografie: Chris Haring
Komposition, Sound: Andreas Berger
Lichtdesign, Szenografie: Thomas Jelinek
Stage Management: Roman Harrer
Company Management, Produktion: Marlies Pucher


Doris Nicoletti, Flöte
Reinhold Brunner, Kontrabassklarinette
Michael Krenn, Saxophone
Mathilde Hoursiangou, Keyboard
Berndt Thurner, Percussion
Petra Ackermann, Viola
Roland Schueler, Cello
Alexandra Dienz, Kontrabass
Samuel Toro Perez, E-Gitarre
Produktion: Markus Bruckner
Künstlerische Leitung: Reinhard Fuchs

Stand-Alones are choreographic and musical compositions made up of simultaneously performed solos/duos/trios, which at certain moments of the performance enter a Dialogue with each other, are synchronized and come together to form a polyphony.

Each individual piece is based on an independent music, speech or sound composition. The dramaturgy of the evening enables the visitors to experience the performance individually, according to their own rhythm and is influenced by the spatial arrangement, the movement of the audience and the random order of the individual performances. The Stand-Alones combine to form an overarching sound and performance space whose unstable diversity can be freely and very personally explored by visitors.

Stand-Alones was originally developed by Liquid Loft for the Leopold Museum in Vienna. The concept was subsequently adapted for spaces such as the Musée des Beaux-Arts Nancy and the Musée d’Art Moderne Paris; later versions were created in public space, where the choreographies fit into the existing architecture and surroundings.

With Liquid Loft and PHACE, outstanding soloists and performers from contemporary dance and music meet for the first time at the TransArt Festival and perform in the impressive architecture of the Dr. Schär building in Burgstall.


Programm PHACE

Bernhard Lang DW22
Winterlicht for bass recorder and double bass, 2010  (third movement)

Salvatore Sciarrino
Addio case del vento for recorder solo, 1993

Fuminori Tanada
Mysterious morning III for saxophone solo, 1996

Iván Adriano
Grattos of Netanya for electric guitar solo, 2021/22

Samuel Toro Pérez
Lobster Studies #2 Beige for electric guitar solo, 2022

Christoph Dienz
Bass surface for double bass solo with two players, 2014

Pierre Jodlowski
Serie C for piano and tape, 2011

Nadir Vassena
Rivolto verso terra – rivolto verso il mare for viola and cello, 2001

Roland Schueler
Staub for cello and viola, 2020

Gérard Grisey
Anubis-Nout for contrabass clarinet, 1983

chamber music / performance

12 TON #3

Dialog der Generationen

26.6.2021 – 19:30
Herklotzgasse 21 / 1150 Wien



Petra Ackermann | viola
Barbara Riccabona | violoncello



12TON is a cycle of events for new music that was launched in autumn 2020 in the pea factory (laboratory for art and cultural production) on the Brick-5 area in Rudolfsheim-Fünfhaus. The starting point of this series of events relates to works by composers of the 20th and 21st centuries. The primary aim is to create a musical dialogue between the works of a living composer from the 21st century and a renowned composer from the 20th century. The musicians invited by 12TON choose a representative from the 20th century who has shaped them in terms of content, aesthetics or composition. From a musical – but also character and personal point of view – the concept of this series should create a bridge between the generations and at the same time create similarities and contrasts within the broad field of contemporary music.

Giacinto Scelsi
Zwei Sätze aus “Elegia per Ty” für Viola und Cello
Manto 1 für Viola solo

Stefan Fraunberger
interval crisis

chamber music / performance / video

Mürz im März

PHACE im Dialog mit Timm Ulrichs

Live-Recording am
kunsthaus muerz

online 8.5.2021


Mathilde Hoursiangou | piano / clavichord / keyboard / toys / concept
Roland Schueler | violoncello / concept
Ernst Kovacic | portable (field) harmonium / typewriter
Markus Bruckner | camera / editing / sound / concept




From the concert hall to the exhibition room: PHACE takes the Covid19 restrictions as an occasion and a challenge to design new formats apart from the usual concert settings. In “Mürz im März” we enter into a dialogue with the works of art by Timm Ulrichs, to which a solo exhibition at the kunsthaus muerz is dedicated.

With works by Katharina Klement, John Cage, Nigel Osborne, Juliana Hodkinson, Anton Webern and others.

Online from 8 May 2021 – 7:30 p.m.

music, visual arts, performance

Danse Macabre

4.Jun.2021 // 19:30
Wien, Wiener Festwochen
F23, Breitenfurter Str. 176, 1230 Wien
world premiere
further performances: 5.-9.6.2021 (except 7.6.)

commissioned by Wiener Festwochen
supported by Dorotheum


Markus Schinwald, idea, concept, stage

Matthew Chamberlain, music

Lars Mlekusch, conductor musical rehearsals

with Oleg Soulimenko a.o.



Doris Nicoletti, flute
Alessandro Baticci, flute
Markus Sepperer, oboe
Claire Colombo, oboe
Reinhold Brunner, clarinet
Theresa Dinkhauser, clarinet
Christof Dienz, bassoon
Christian Walcher, bassoon
Reinhard Zmölnig, horn
Manuel Egger, horn
Peter Lengyelvari, horn
Michael Wachter, horn
Spiros Laskaridis, trumpet
Luis Abicht, trumpet
Stefan Obmann, trombone
Daniel Holzleitner, trombone
Thomas Märzendorfer, trombone
Taiko Distelberger, trombone
Bernhard Plos, trombone
Simon Teurezbacher, tuba
Friedrich Gindlhumer, tuba
Kimiko Krutz, keyboard
Luca Lavuri, keyboard
Mathilde Hoursiangou, keyboard
Berndt Thurner, percussion
Igor Gross, percussion

Following a commission by the Wiener Festwochen, austrian-born and internationally acclaimed visual artist Markus Schinwald has produced a Danse Macabre. This visual scheme first adopted in the 14th century is an allegory symbolising Death’s equalising power over people and became a major iconographic theme of the Late Middle Ages. A personification of death invites protagonists from all walks of life to join in this final, inescapable dance. With his new work, Markus Schinwald, renowned for his visual manipulations of bodies and spaces, returns to the medium of performance. Here he elaborates a system of fragmented partition walls that wrap themselves around the audience like a membrane, permeable only to the physical bodies of the performers. A new composition for 23 live musicians by young American artist Matthew Chamberlain accompanies the macabre procession. There is no escape!

information on schedules and reservation soon!

Venue: F23
Duration: ca. 50 Min.
Tickets: 30 Euro
chamber music, performance, electronics

Portrait Peter Ablinger

16. Dec. 20021 // 20:00
Auditorio CentroCentro – series VANG


Doris Nicoletti, flute/perc
Michael Krenn, saxophone
Roland Schueler, percussion
Berndt Thurner, percussion
Mathilde Hoursiangou, piano/perc
Reinhard Fuchs, percussion

supported by


From listening, and not so much from the sound itself; from our way of relating to sounds and their memory, and not so much from their materiality. These are some of the main starting points of the work of Austrian composer Peter Ablinger, one of the most singular and influential composers of the last 20 years, always questioning our listening habits and pointing towards new poetics of sound.


for snare drum and noise (1994, 2007), 1’20”

for piano and ensemble (min. 5 players in variable instrumentation), (1990,92), 6′

for 12 world-receivers (1996), 8′


aus: “Instruments &”
for saxophone, piano, percussion, water, membranes (2006)  12‘


Haydn, Mozart, Beethoven, Schubert, Bruckner, Mahler (1986,96), 4′
for tape

Voices and Piano – John Cage And Morton Feldman

for piano and tape (2018) 8’

Verdopplung 4.03
(“Der Papagei”/”The Parrot”) (world premiere)  4‘ 28‘‘


for 6 percussions (1993), 20′

chamber music

In Conversation – Voices and Piano
Ein Live-Hörspiel


22.Apr.2023 // 19:30
Künstlerhaus Wien, Factory
Bösendorferstraße 10

2.Dec.2018 // Wien, MUMOK

SolistInnen von PHACE

Mathilde Hoursiangou, piano
Berndt Thurner, percussion

Reinhold Schinwald, electronics
büro lunaire, concept

Eine Produktion von büro lunaire in Kooperation mit dem Künstlerhaus Wien und PHACE

Morton Feldman: John, wouldn’t you say, that what we are depended on, we call reality and what we don’t like, we consider an intrusion on our live. Consequently, I feel that what’s happening is that we are continually being intruded upon.

 John Cage: But that would make us very unhappy, hm-mh?!

John Cage and Morton Feldman held four open discussions between July 1966 and January 1967, which were recorded in the studios of the WBAI radio station in New York. Both had arrived at this point at turning points in their artistic work. In these relaxed conversations between two old friends, the two smoked and laughed a lot and the talk was full of warmth and moments of thoughtfulness. This unique document gives deep insights into the notions of music, art, society and politics, which were already influential in their time. At the same time one becomes a silent witness of the unique friendship of two outstanding personalities.

The live radio drama In Conversation – Voices and Piano seeks to work out the issues of the two artists in terms of the relationship between reality, art and everyday life in conversations and to explore the extent to which they are valid for our contemporary society as well as current art discourses. Works by Morton Feldman, John Cage and Peter Ablinger will be performed, with Peter Ablinger’s works especially dealing with the relationship between art and reality.


Peter Ablinger

Morton Feldman
nature pieces for piano
(1951) für Klavier

Peter Ablinger
Weiss / Weisslich 17a
(1994) für Klavier und Rauschen

John Cage
Child of Tree (1975) for percussion solo
für Percussion solo mit verstärten Pflanzenmaterialien

Peter Ablinger
The Vertical Unthought ( 2017) für stereo-soundfile










Dance Theatre

H / A / U / T

Musiktheatertage Wien, 9. & 11.09.2016
Transart 20.09.2016

eine Produktion von PHACE und Cie. Off Verticality, in Koproduktion mit Musiktheatertage Wien, mit Unterstützung des BKA Kunst & Kultur, Stadt Wien, Land Oberösterreich und Stadt Linz. Mit freundlicher Unterstützung der Anton Bruckner Privatuniversität.

Jagoda Szymtka


Rose Breuss


Cie. Off Verticality


Reinhard Fuchs

SOUND Design

Christina Bauer



Sylvie Lacroix, flute
Yaron Deutsch, electric guitar
Mathilde Hoursiangou, piano/sampler
Berndt Thurner, percussion
Ivana Pristasova, violin
Sophia Goidinger-Koch, viola
Roland Schueler, cello

In H / A / U / T , Rose Breuss, Jagoda Szmytka and PHACE play with sounds, images and noises and examine the materiality of sound. „Sound touches the skin, penetrates cloth, gets into the bones. It’s intermediate. Bodies immersed in sound are not only touched; they coalesce with the sound“.

Jagoda Szmytka

Born in Legnica (Poland) in 1982, Jagoda Szmytka studied art history, philosophy, music theory and composition in Wrocław, Graz, Frankfurt/Main and Karlsruhe. Her music has received international recognition through numerous features at festivals and institutions such as Warsaw Autumn, Wien Modern, Lucerne Festival, Huddersfield Contemporary Music Festival,  Ultraschall Berlin, ECLAT Stuttgart, Ferienkurse Darmstadt, Tonhalle Düsseldorf, Deutschlandfunk Cologne, Royaumont Paris, Polish National Opera Warsaw and many others. Among other things she received Staubach Honorarium and the Stipend Prize of the Darmstadt International Summer Course for New Music, scholarships from the DAAD, the Art Foundation Baden-Württemberg, residencies at Herrenhaus Edenkoben  and La Muse en Circuit Paris. In 2017 artist in residency at Villa Serpentara. Many time artist-in-residency at ZKM|Centre for Art and Media Karlsruhe. In 2015 WERGO/EZM released her portrait CD “BLOODY CHERRIES”. Jagoda Szmytka composes “for people”, “about people”, “with people”. Szmytka’s “social composing” examines social and interpersonal processes such as communication and identity often in relation to phenomena that influence modern life or referring directly to the social dimension of making music. Szmytka’s “intertextual music” is written for ear, eye and thought – incorporates mixed-media, trans-media and cross-genre formats – her compositions are mixture of texts, images and sounds that build dense structures in reference to high & pop culture, philosophy, or reality (music theater projects: LIMBO LANDER – social-media music theatre, LOST – trans-media music theatre, LOVE LABEL – mass-media music theatre). Jagoda Szmytka is a founder and leader of two projects: PLAY – Platform for art and culture social initiatives & ENTER – Collective specialized in performing Referential Music.

Rose Breuss

Born in Vorarlberg, Austria
Studies: Hochschule für Musik und Darstellende Kunst Wien, Theaterschool Amsterdam, Temple University Philadelphia USA, University of Surrey, Labanotation Institute.
Choreographed for a number of theatres and festivals pieces with her own company and with the support of Stadt Wien, Stadt Linz, Land Oberösterreich und Bundesministerium für Unterricht und Kunst: Niederösterreichische Donaufestival, Wiener Festwochen, Kammeroper Wien, dieTheater Künstlerhaus, Österreichische Galerie Belvedere, Ballettschule der Wiener Staatsoper, Posthof Linz, Staatsgalerie Stuttgart, szene bunte wähne, Jeunesse musicale, Wiener Konzerthaus, Klangforum Wien, Tanzquartier Wien, Grand Theatre Luxemburg und Philharmonie Luxemburg, Festspielhaus St. Pölten, Bregenzer Festspiele, Odeon Wien, Berliner Sophiensäle. Together with Johannes Randolf she founded  2009 the Dance Company Cie. Off Verticality C.O.V in Linz.From 2010 – 2011 residency for choreography  in Wiener Odeon.

Prizes: Max Brand Preis for experimental music, Theodor Körner Preis for Science and Art, Prämie des Bundeskanzleramtes for the choreography “Drift”
Since 2006 Director of IDA – Institute for Dance Arts at Anton Bruckner Privatuniversität in Linz, habilitation 2005.
Guest teaching: u.a. Ballettschule der Wiener Staatsoper, Universität Salzburg Musik- und Tanzwissenschaft, Hochschule für Musik und Darstellende Kunst, Frankfurt, CEFEDEM Bordeaux, Academy of Performing Arts Bratislawa.

Ensemble – Electronics


17. Oct.2012 // 19:30
Wiener Konzerthaus, Berio-Saal
PHACE Series 12/13 – N°1


Simeon Pironkoff



Sylvie Lacroix, flute
Reinhold Brunner, bass clarinet
Mathilde Hoursiangou, piano
Berndt Thurner, percussion
Ivana Pristasova, violin
Roland Schueler, cello
Maximilian Ölz, double bass
Alfred Reiter, sound
Gerhard E. Winkler, live electronics


Edgar Varèse
Poème électronique für Tonband (1958)

Iannis Xenakis
Charisma für Klarinette und Cello (1971)

Magnus Lindberg
UR (1986) für Klarinette, Klavier, Violine, Cello, Kontrabass und Elektronik

Gerhard E. Winkler
Bikini . Atoll (Les arbres VIIb) für Klarinette(n), Klavier, Percussion und interaktive Live-Elektronik (2009)

Yan Maresz
Entrelacs für 6 Instrumente (1998)

Francesco Filidei
I funerali dell’anarchico serantini für sechs Ausführende


Im Anschluss an das Konzert feiern wir gemeinsam mit WIEN MODERN die Eröffnung unseres Zyklus und den Kick-off zur 25.Saison von WIEN MODERN im Café Heumarkt.
Feiern Sie mit uns!


Todo el cielo sobre la tierra: El síndrome de Wendy

Der ganze Himmel über der Erde: Das Wendy-Syndrom

Angélica Liddell / Cho Young Wuk

a PRODUCTION by Iaquinandi, S.L. IN COPRODUCTION with Wiener Festwochen, Tanzquartier Wien, Festival d’Avignon, Odéon-Théâtre de l’Europe, Paris, Festival d’Automne à Paris, deSingel, Antwerpen, Le-Parvis Scène Nationale Tarbes Pyrénées
IN COLLABORATION WITH Teatros del Canal, Madrid
SUPPORTET BY Comunidad de Madrid y Ministerio de Educación, Cultura y Deporte – INAEM & THANKS TO Centro Cultural Coreano en España, Biblioteca Miguel de Cervantes, Consulado de España en Shanghai, Maria José F. Aliste


Angélica Liddell


Hong Dae Sung, Jung Hyung Soo, Sok Seung Hui, Lee Ji Yoen


Carlos Marquerie


Félix Magalhães, Antonio Navarro


Mamen Adeva, Gumersindo Puche


Wenjun Gao, Fabián Augusto Gómez Bohórquez, Xie Guinü, Lola Jiménez, Angélica Liddell, Zhang Qiwen, Lennart Boyd Schürmann, Xu Tianda



Much of Angélica Liddell’s work deals with the fear of abandonment. The extraordinary Spanish performance artist now imagines Anders Behring Breivik as a radical Peter Pan and mixes Shanghai street waltzes, the music of a Seoul film composer, love and pistols in a personal exploration of the Peter Pan and Wendy syndromes.

Wendy sings for Yohei the waltz of things I would do for you, „so that you don’t leave me“. Many works by Spanish artist Angélica Liddell are about abandonment, about the fear of being left alone and the pain it causes, about loneliness in the midst of plenty. Modern psychology views Peter Pan and Wendy as coupled syndromes that are increasingly common in western societies and describe adults who act out their emotional immaturity either by continuing their adolescent behaviour or by excessive mothering, by refusing to embrace adulthood (and, consequently, assuming responsibility) on the male side and by panicking at the idea of being left alone (and, consequently, assuming all responsibility) on the female side. Yet how can humanity coexist in a world where the mere attempts of a single individual to live together with another individual already trigger such painful and pathological conditions?

Walking through Shanghai, Angélica Liddell organised a casting for Chinese street waltzers, hunted down the greatest-ever waltz composer for movies in Seoul, identified the most radical Peter Pan conceivable at Utøya in the person of Anders Breivik and his envy and hate of all that is youthful – and finally found the musicians and the right atmosphere for blending this collected input into an artwork in Vienna.


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