This page focuses on the photographic and visual documentation of our intensive week excursion to Schrattenberg in Styria. The materials produced in the group exercises, as well as transcriptions of our conversations are found on other pages or will be added later.

A particularity of Schrattenberg is, despite the similar overall palette of greens, grays, and browns, that there is a constant change between natural elements, and remains from human work which could be cultural-utilitarian or results from previous artistic interventions.

For the first time, the wheather does not look so nice.


9 April, the day of arrival

11 April, the third day

12 April, the fourth day

13 April, the fifth day

14 April, the sixth day

15 April, the day of departure

Intensive Week

10 April, the second day

Consuelo is always among those up and outside the earliest, so there are the shots from her morning walk.

Goodbye, christmas trees.

The bulk of us arrived by car. Car unloaded and parked. We’re here!

In first part of the day, a group of three (Alisa, Daniele, Shane) are visiting “the other" castle up the mountain. Franziska left yesterday, leaving a gap, but now Daniele joined us for the remaining time here.

Goodbye, mountains.

Coldness often comes with bright sky.

Goodbye, Limoncello.

The vanguard is welcomed in the kitchen by Johanna. Coffee time.

Goodbye, Pupik.

Time is slowing down and becoming cyclic, rhythmic

First tentative movements around the Schrattenberg compound.

Goodbye, neighbours.

Consuelo keeps working on her drawing-book diary.

Everyone notices the christmas tree farm is quite dominant.

Goodbye, pieces, objects, sketches, artefacts. Well. We negotiated to take most materials with us back to Graz.

Shane is making first shots at the castle ruins.

In the first floor of the barn (storehouse), Hanns had installed light sensors in the window, recording their signal for a day. (Or perhaps it was this day that the recordings took place).

We spread our sleeping places across the different rooms of the main house.

Second kitchen round with coffee / wine (we went to the supermarket). Alisa has been picked up from the train station.

Today’s morning session is in the “concert space". It is interesting that Schrattenberg brings together visual artists in the residencies with musicians, often from improvisation context, that play during the events in summer. That is also the reason a grand piano is found in the neighbouring barn space.

Alisa was following Consuelo and Naya to the separately standing building, which we figured out was the “actual” Hotelpupik—the building used for the artist residencies, named after a Czech (?) artist who once proclaimed that this was the umbilicus (in Czech 'pupik') of the world.

Goodbye, Elvan.

Consuelo has taken over the grand piano, covering it with paper …

Johanna invites us to a memory mapping exercise. The results are shown on the common space page.

The kitchen is a common meeting place. Before we disperse, we talk about the upcoming day.

Johanna is giving us a tour around the compound.

Shane was working on long paper lanes laid out around the castle ruins, tracing the branches and shadows.

Goodbye, Schrattenberg.

… over the day, it becomes a large tableau of her drawings …

A warm and sunny day, so our morning session took place in the yard, which also became a gravitational centre for different activities during the day. We brought some yellow and green (train, plane ?) seats from the main house's storage space to the light.

Another one of the elements Shane recorded, apart from particular plant and animal details, were the root structures that prominently grew above ground.

Swap Space in-situ core team complete.

Pupik is hosting a number of print-making related facilities.

The place is also inhabited by the very friendly cat Limoni, who we rebaptised Limoncello.

Lots of useful tools to treat metal and wood …

… it also mentions the “tercas", which translates to obstinate or stubborn, referring to the kind of plants that keep growing within ruins, on top of buildings, giving also name to the text piece Nayarí is developing.

Naya became interested in the idea of using silk-screen printing in the process.

A long exploration of the castle ruins begins.

… or we revert to the basic tools, stripping plastic insulation from steel cable found in one of the sheds.

On the top floor of the shed, the recorded soundscape can now be heard through the suspended metal plate. A prominent sound landmark is the horn of the trains passing several times a day. Ultra-low frequency wind noises recorded by the microphones cause the plate to judder.

The yard installation merges with the ripping of the shed's gates.

A pleasant feature of the storehouse is that, like in the shed across, you can open the gates, let air and light in, give it a floating presence.

That steel cable is used by Hanns to hang another found object, a rusty metal plate, in one of the gates that could be opened in the wooden sheds across the yard.

Up there, behind the metal plate, in the space that is used as sleeping place for additional artists during Hotelpupik’s festival, we gather for today’s meeting.

Human made pattern.

We pass the hand held scanner around to capture some of the surfaces and elements around us.

A recording from Through Segments (2020) is used as a “test signal" to project sound via transducer on the metal plate. Another set of Pi and amplifier is placed here, the small tools are moved forth and back between the two buildings, and so is the small white Internet cube, as the Wifi signal from the main building is too weak here.

Alisa is mostly invisibly behind the camera(s).

Animal made pattern.

While our eyes adapt quickly between the brightness of the yard and the more dim light inside …

The yard installation is now completed with a sound layer, using voice recordings of the text “tercas” written by Nayarí. The voices of Naya and Hanns are heard simultaneously from the rake and from the wooden plank. We recorded the text in Spanish, English, and German; for now, we decided to stay with the Spanish version.


Naya began assembling found materials. We brought down the large rake, which was combined with a round wooden object and a wooden box as base. The transducer was still attached to the rake, the cable now running down from the first floor storehouse, and getting repainted in red.

She started to built a dialogue with a round wooden disc object that could serve as a support for a long wooden plank.

… leaving the camera on manual exposure settings shows the contrast in illumination.

Something not well reflected in the photo documentation is that we took quite a number of books with us, and especially Shane was reading a lot during the week.

We are exchanging our thoughts on this installation.

We decided to move our group meetings to a new space every time. After trying to improvise in the “cinema” space, lack of cables and unsuitable projector distance made us quickly set up in the barn, throwing the image of Jackie, connected via Jitsi, on one of the walls.

Meanwhile, the axis through the buildings is completed by picking up the sounds from the yard (the mix of the “tercas" and the field recordings emitted from the metal plate) using a small microphone placed in the window.


Looking down on the compound.

Windows separate, connect, and overlay inside and outside.

The picked up sound is run through a set of band-rejection frequency filters tuned according to the different signals of the light sensors mounted in the window frame. This signal is amplified and sent through a cable to the other side of the room, running through a transducer on the metal bar that is now suspended in the opened gate.

In an alternative version, the wooden plank was replaced by a long rusty saw blade.

This day, our group gathering ended in a group exercise instructed by Consuelo—drawing, with both hands and two colours, a soundscape of the environment, with eyes closed.

Franziska has also focused on the yard.

The yard is quite spacious, you can observe the installation from a distance.

Trees and plants are reclaiming the built spaces.

Shane has evaded Alisa’s viewfinder, but captured traces – in this case, mouse droppings – on his own camera.


Tonight is the night we are making a wood fire in the yard.

Shadows sink …

An extension of this activity was, after reflecting on the drawings, to continue working them out using a water based blurring technique.

… covering a dead bird in the grass (perhaps a victim of the cat?)

The sunflower captures more than one pair of eyes.

Back on the main storehouse, Hanns is turning the visual line across the yard into an acoustical line, trying to pick up the remote sound via a microphone placed in the window frame.

Recovered transducers from the shed. It still has to be tested if they work.

Apart from the 24 hour recording of light sensors, Hanns also set up a 24 hour sound recording in the upper shed. Meanwhile, Shane was experimenting with long term exposure of photography, returning to the surroundings of the castle ruins.

The garden is full of metal.

Franziska is mapping the place on paper.

Shane is exploring a terrarium of acrylic glass.

Shattered window glass means cold air is flowing into the storehouse. We are not sure whether it was smashed by a storm or by kids throwing stones.

Hanns is unpacking the container we brought in the storehouse.

Connecting a Raspberry Pi with sound amplifier on a window sill.

Exploring objects in the space suitable for transducer vibration (bottom of piano)

A found metal bar is vibrating with an attached transducer.

Franziska wanders the premises with her sketch book.

Trying the transducer on a huge rake brought from the sheds.

The (ground floor) barn.

Past interventions everywhere.

In the evening, we start gathering in the kitchen again.

The main house stays warm thanks to a pellet oven.

Adults and the kid making music.

Returning to the storehouse for a final recapitulation. It is quite cold by now.

Last image of the day: our gathering.