• EXPANDERRR CONTAINER Documentry on “DORF TV” the Linz local Community TV

    Containerrr von Expanderrr

    A Report by

    Das internationale Kollektiv “Expanderrr” in Linz bemüht sich seit 2011 “Leerständen, zumeist in öffentlicher Hand, die ihrer Nutzung beraubt wurden, wieder einen Sinn zu geben und ein breites Feld für öffentliche und vor allem offene Kultur und Struktur zu bieten.”

    Im Dezember 2011 wurde ein Container an der Promende in Linz von KünstlerInnen und PraktikerInnen aus kunstverwandeten Disziplinen eine Woche lang genutzt um sich über “Relational Art and Open Space” auszutauschen, zu informieren und diskutieren. Ein weiterer wichtiger Aspekt von Expanderrr ist Open Source und Sharing. Die KünstlerInnen, Vortragenden und WorkshopleiterInnen arbeiten alle mit Open Source Technologien.

    Zu sehen sind ein paar Eindrücke der Woche und worum es bei Expanderrr genauer geht.

    Anmerkung der Redaktion:
    Das Interview mit Expanderrr und ist zum Teil auf Englisch sowie auch der Mittschnitt des Vortrags.


    Expanderrr’s missing in foto: Michael Schweiger, Dominik Leitner and Bomi Ahn.

    The Open Containerrr project is physically over. We would like to give special thanks to Luger & Maul Architekten and Linzer Schutzengel Apotheke for letting us use this awesome space to hold our project.

    Also very very special thanks in random order to Vesela Mihaylova, Martin Kaltenbrunner, Flavia Barandun, Michael Schweiger, Enrique Tomas, Theresa Gindlstrasser, Antonia Prohaska, Liesa Warum, Laura Mc Kinnon, Anna Moreno, Onur Sönmez, Miguel Jose Gonzalez Gonzalez, Monja Michetschläger, Costa Tonev, Stephan Roiss, Musentempel, Havi Navarro, Cesar Escudero Andaluz, Elisa Andessner, Verena Wazl, Christo Christoph, Tina from Time’s Up, Ushi from, Christian from Nomaden Etappe and the nice girls who were making tea; for sharing your time, experiences and knowledge with us.

    Thanks too to the Interface Culture Dept and “Exile Atelier” at Kollegiumgasse for loaning us lights and electric equipment, couch and chairs and holding neverending Expanderrr meetings!

    More thanks to MISSING LINK, Lessingstraße 10, for holding our end party! As well as Jules & Jim, Dj J and GRAMPAUMBRA for such a nice evening; a gift.

    Finally thank’s and greets to all those who dropped and joined the different lectures, workshops, our exhibition and party; sharing and collaborating with us, interacting and unfolding such interesting, indefinable and exciting results.





    Graphic by Havi Navarro.




    Parodierte Einlage über Casting-Show-Kultur und live gespielte Einladung zur selbigen.
    Parody Performance about Casting-Show-Culture and live played Invitation of such. 

    KünstlerInnen aller Sparten vereinigt euch!


    You are very welcome to join our Open Pecha Kucha Night (Lighting talks about your project. 5 to 15 minutes talks).

    If you want to present your project or works, please register at

    See ya at the CONTAINERRR!


    Michael Schweiger (UfG / Expanderrr) / Enrique Tomas ( “Sound workshop”, Monday 20th, 11pm till when it ends is the right time

    The Workshop is not yet closed in terms of topic, as the main approach of the whole project is relational art, the workshop will be devoted in terms of it’s directional setting to be open to be shaped, both, in terms of topics and goals and third in decision taking of the modus operandi. Short put, the participants will decide like a flock of birds the direction of the collaborative process according to  the needs and expectations of the participants and in respect of the limited given mains of production.

    Fortunately Enrique Tomas (Quique), a member of, will participate at the workshop and will offer his ideas and knowldege too, what will enrich the workshop tremendously, as he is really offering a lot of expertise in various techniques and branches, both, of open source thougt and commitment and audio-arts.

    He is involved in curation of Soundscape series of KAPU, cofounder together with laborlinz members of Sound map:, part of Labor Linz:
    and never to forget member of servus campus, a constant space for workshops:

    Check  his site: it will make you go for it!!!

    MIchael Schweiger will provide the Soundstudio’s portable Studio, Mics and Recorders, some small speakers, one or two analog mixing desks and some piezo disks (yet prepared to use and some to be soldered and coated wirh liquid ruber) and some other mains for experiments, like breadboards and some circuit schematics and literature full of playful little basic experiments…

    And of course both will share his approaches and ideas, as well as their love for audio works and audible experiments. They”d like to go for a group-work process leading to make the comtainer sound and interact with it’s surround. But this is merely a proposal.




    SUNDAY 18th 19pm




    Martin Kaltenbrunner, Professor at the Interface Culture Lab at the
    University of Art and Design in Linz, will provide a brief introduction
    into the various aspects of Free & Open Source licenses in the context
    of Media Art.

    PDF Presentation slides. Martin Kaltenbrunner

    Audio from Lecture:


    “A short look at the history of electr(on)ic music” / “Ein kurzer Blick auf die Geschichte der elektr(on)ischen Musik”

    The Lecture tries to give a short glance on the development of electric and electronic music, definitely with no demand of completeness. The goal is to sketch some of the branches of the tree of emergence and development of both, electric and electronic music.

    Die Lecture ist der Versuch ein paar Spots auf die Entwicklungen von elektrischer und elektronischer Musik zu setzen ohne jeden Anspruch auf Vollständigkeit. Das Ziel ist ein paar der Zweige des Entstehungs- und Enwicklungsprozesses sowohl von eletrischer und electronischer Musik zu skizzieren.

    One focus will be put on background principles and technical as well as societal prerequesites which fostered these processes. Further one other focus will try to put the role of nationalist competition and war technologies as both, retrading as well as speeding up circumstances.

    Ein Fokus wird dabei Hintergrundprinzipien der Technik und gesellschaftliche Rahmenbedingungen die die Enwicklung begünstigt haben gesetzt. Ein weiterer Fokus wird nationalistische Konkurrenz und Kriegstechnologien bzw. deren beschleunigende als auch bremsende Wirkung thematisieren.

    Finally a highlight will be put on electronic music as a field of different speeds and width, one in the field of very scientific and even symbolic capital enriching developments in the public and/or state driven big radio stations, research labs , in the era of the famous experimental studios and a sceocnd in the field of glam rock, psychedlic music and not to forget “kraut rock”

    Abschliessend wird elektronische Musik als Feld unterschiedlicher Geschwindigkeiten und Weiten thematisiert. Dabei wird es einerseits um die Zeit der staatlich und öffentlich finanizierten experimentellen (Radio)Studios gehen, die sowohl die wissenschaftlich als auch auf Ebene des Symbolischen Kapitals bereichernd wirkten und andererseits um Glam-Rock, psychedelische Musik und nicht zu vergessen “Kraut Rock”

    The Lecture will provide some audible and visible material and I hope that it is possible to start a discussion on contemporary electronic music.

    Hörbeispiele werden auch geboten und ich hoffe, dass sich eine Diskussion um und über elektronische Musik ergibt.

    Audio Recording of the Lecture


    Drawing by Cesar Escudero Andaluz


    “Every social relationship is mediated by artifacts or human elements intervene
    decisively in the relationship …)”2.

    So we face an interactive installation in which the user through of ludic-interface, hybrid
    of tennis racket and computer keyboard, processes by random the information stored
    in the computer, instant results in a fortuitous sequence of videos and sounds.

    (2) TIRADO, Francisco. DOMÉNECH, Miquel. (2005) “Partnerships heterogeneous actants: The post-social turn of the theory of actor-network.” In Journal of Anthropology Aibrean Iberoamericana, Electronic Ed.

    As said the great protagonist of the relational N. Bourriaud, what can not be traded is
    destined to disappear.

    Cesar Escudero Andaluz

    Michael Schweiger  “Sound Instalation”

    Theresa Gindlstrasser

    Elisa Andessner

    „Shaking hands“

    Ich halte ein Tablett voller leerer Gläser. Durch das Gewicht des Tabletts beginnen die Muskeln meiner Hände, Arme und später meiner Schultern, Vibrationen zu erzeugen, welche sich auf die Gläser übertragen. Diese Vibration der Gläser ezeugt Klänge – abhängig von der Position des Tabletts, ob ich es hoch, tief, nahe am Körper oder weit weg vom Körper halte, entstehen verschiedene Lautstärken und Töne.

    Ich verwende die Gläser wie ein Musikinstrument. Mit der Zeit scheinen die Gläser immer mehr Eigenleben zu haben. Meine asymmetischen Körperhaltungen in Kombination mit den vielen leeren Gläsern verstärken für den/ die BetrachterIn das Gefühl von Unsicherheit und Angst, die Gläser würden jeden Moment fallen. Die Performance ist ein ausgeweiteter “Moment vor der Kathastrophe”.

    Gezeigt bei:

    ESC Graz 2007
    Circus Revue Linz 2009
    Navinki- Festival Minsk 2009

    Verena Wazl

    Christo Christoph



    CULTURAL EXCHANGE – dreaming, desiring and altering space – a game

    This game is about cultural space, segregation and changing the map of your city by exploring, dreaming, imagining and exchanging.

    During the game you will place different cultural activities on the map of your city, where they are now and where you want them to be. There is already a set of cards with examples of activities and spaces that you start playing with, but during the game you as a player will be invited to make your own cards. These cards can show existing, favorite places of yours or places you desire or dream about – visionary places. The game will become a container of the players ́ personal places, ideas, thoughts and dreams, giving new perspectives to the layout of your city.

    KULTURELLER AUSTAUSCH – Raum träumen, wünschen und abwandeln – ein Spiel

    Das Spiel behandelt kulturelle Räume, Segregation und das Verändern deiner Stadt indem du die Räume untersuchst, von ihnen träumst, sie dir ausmalst und sie austauschst.

    Während des Spiels platzierst du in Form von Karten verschiedene kulturelle Aktivitäten auf der Landkarte deiner Stadt, dort wo sie jetzt sind oder wo du sie gerne hättest. Du startest mit bereits existierenden Karten, die Beispiele von Aktivitäten und besonderen Räumen zeigen, doch während des Spiels wirst du als SpielerIn eigene Karten gestalten. Diese Karten können existierende Lieblingsplätze zeigen, aber auch Plätze von denen du träumst – visionäre Orte. Das Spiel wird zur Sammelbox der persönlichen Orte, Ideen, Gedanken und Träume der Spielenden, wodurch neue Perspektiven auf die Gestaltung deiner Stadt gegeben werden.


    Miguel Jose Gonzalez Gonzalez

    Das Familienportrait ist ein Bild das wir alle als Format kennen und auch so gelesen wird, dadurch das sich die Personen aber fremd sind ergibt sich eine natürliche Distanz, die auf der Fotografie sichtbar werden kann.
    Der Passant wird zum teil einer Familie und auch eines Kunstwerkes.


    Anna Moreno, 1984 Barcelona, Spain, is a visual artist we had the pleasure to meet during her Artist in Residence at Atelierhaus Salzamt (Linz, Austria) in 2011. During her time in Linz she has made a Solo Exhibition “Learn Something Useful”. At bb15 Raum für Gegenwartskunst. Linz, Austria.

    She will also take part in the Open Containerrr Project making a presentation of her work and an Open Dialogue about the Open Containerrr Project.

    Check out her web!

    Link to Audiorecording of Presenation and Talk

    All her work is under a Creative Commons License:

    Creative Commons License


    ein performatives gender – mit – mach Muschihäkelkränzchen.

    Bei einem Nomadenhäkelkränzchen, mit der Begleitung der geübten Muschihäklerin Antonia Prochaska darf sich in der Kunst des Selbermachens geübt werden.
    Mit einer feminin behafteten Handarbeit Feminismen schaffen, Muschi`s häkeln, Tabus zärtlich brechen, ohne Porno bei einer Tasse Tee.


    Eine Bewegungsstunde in der mit den Möglichkeiten und Grenzen von Körpern experimentiert wird. Wenn wir tanzen können wir vielleicht erfahren was uns gut tut.
    Vorkenntnisse aus dem Bereich Tanz sind nicht unbedingt erforderlich. Eine bequeme Hose aber schon.


    Laura Mc Kinnon is a professional fashion photographer.

    Her concept is a workshop where you don’t have to attend to take, it’s going to be like an instructable somehow , step by step to take the specific style of photography.

    Check out her web:

    Untitled from Laura McKinnon on Vimeo.

  • “Brain Interface” Lecture

    (picture taken from the Ars Electronica archive under creative commons license)

    Saturday 17th, Containerrr 2

    Onur Sönmez will do a presentation about the research he’s been doing the past few years, which is linking the brain with computers, controlling the ars electronica facade with his brain and so forth.


    YOGA in OPEN SPACE with Flavia Barandun.

    Thursday 15th, 19:30pm.

    A short introduction to yoga and asanas, more focused into physical work and in the end Relaxation practice to digest the movement and relax the muscles worked before.

    A bit of yoga knowledge would be good, it will be a bit challenging, although she will adapt to the group.

    Please bring confortable training clothes and a mat. Something to drink it’s always good.


    “Make your own thumb wrestlig costume” and contests 

    Vesela Mihaylova, Tim Devine 

    Download Thumb Fu! technical specfications


    Download our schedule

    We keep developing our concept based on crowd sourcing, focused in a Open Space for interaction and exchange, discussion, collective learning and download.

    Therefore we keep an open call and invite you to join us. We are interested in curating one exhibition under the topic “Relational Art & Open Space”, workshops, talk sessions, lectures, performances, one Pecha Kucha night and anything you could think of and we didn’t mention. Please send photos or videos of your project as well as a description of what would you like to do during the time the Open Space is available.

    EXPANDERRR is a collective formed of individuals coming from different fields of study and united by the common goal of open information and creation. The collective is focused on adapting empty public spaces which have been abandoned of human activity to host an array of public open culture events and structures under these conditions:

    * All activities are to be carried out and offered for free, albeit there will be costs for material (for “external participant e.g in workshops and only for material costs, which directly derive from the participation in the workshop)

    * All production will be developed under Free licenses.

    * It is a condition to participate in the dynamics of the Project as a whole, participating in a regular way in the different work schedules, maintenance and attention to public.

    * If you find yourself in any situation where you are neither learning nor contributing: Give greetings, use your two feet, and go do something useful. Responsibility resides with you.


    During this week we will carry out:


    – Peter Kubofsky “Drawing workshop”, Montag 19th, 17pm

    – Vesela Mihaylova “Thumb-Fu!” (Game Design), Thursday 15th, 14pm

    – Michael Schweiger “Sound workshop”, Friday 16th, 14pm

    – Theresa Gindlstrasser “Experimental Dance workshop”, Saturday 17th, 14pm

    – Antonia Prohaska “Muschihäckel workshop”, Tuesday 20th, 18pm

    – Liesa Warum ” Das WakaDu Prinzip “, Wednesday 14th, 14pm

    – Laura Mc Kinnon “Take away Photoworkshop”


    – Maximillian Luger, Tuesday 20th, 17pm

    – Martin Kaltenbrunner “Free Licenses”, Thursday 15, 12pm

    – Michael Schweiger “A short look at the history of electr(on)ic music”, Thursday 15,     18pm

    – Anna moreno – Artwork presentation – √

    – Hans Kropshofer “Transpublic” – Stadtraum – pending

    – Onur Sönmez “Brain Interface”, Saturday 17th, 16pm


    Open Space:

    Everyday we will Open the Containerrr for two to three hours to host interesting activities proposed by anyone who is keen to use the space we offer.

    Available hours:

    Thursday 15th: 18:00pm to 20:00pm

    Friday 16th: 10:00 am to 12:00 pm, 18:00pm to 20:00pm

    Saturday 17th: 11:00am to 13:00pm

    Monday 19th: 11:00am to 16:00pm

    Tuesday 20th: 11:00am to 16:00pm.


    We will hold a curated exhibition under the topic: Relational Art & Open Space. Opening Exhibition on the 17th of December at 19pm.

    Open distribution of exhibited and generated material.

    15% comission of the art sales will go towards the working costs of Expanderrr.


    Special Events:

    * Christoph Herndler Piano Concert, Friday 16th from 17:00 pm

    * Tee Salon

    * We will hold a Pecha Kucha Night. Topic: CATALYZER, Monday 19th, 19pm

    * Project presentation (CATALYZER Association, ENDOSKOP Magazine) on Saturday 17th, 11am

    * Discussion Round.

    The project will take place in the three containers in Promenade, Linz. From the 14th to the 21th of December 2011.

    To anyone interested in participating, Hello world!

    Mail us to

    See you at the containerrr,



    Project 14th Dec to 21st : Open Containerrr


    Our starting point is the praxis of Relational Art and Open Space where artist, artwork and public loose their meaning towards an unpredictable happening.  

    The CONTAINERRR project is not only about art and openness, but moreover a project with unfold and not yet definable results, which will emerge from the processes which will take place according to the principles of sharing and collaboration. A process that uses the sphere of human interaction as a place where a workshop and a lecture become an artwork itself, where dialogue and discussion contributes to a reflection about our present sociocultural environment.

    It is what springs from this practices what will make the proposal useful and meaningful.  



    Read the book

    Text by Ludmila Ferrari (Universidad Javeriana de Colombia)

    Set of artistic practices that set out as his means and purpose of social and human relations, rather than the production of objects in a private art space. Relational Art creates and problematizes the relationship instead of focusing on art objects, seeking to create a “utopia of proximity” (Bourriaud). For this, he uses strategies, disciplines and areas outside the field of art. Also, the Relational Art questions the uniqueness and authority of the artist in the production of artistic truth.

    Somehow all art is relational, as any art form starts from the premise of the relationships between the author, the work of art and the public. This ratio exceeds the traditional circuit-message communication-channel transmitter-receiver, and is located more in the Encoding-Decoding structure of Stuart Hall. In this model, the message is always reinterpreted, appropriate and broadcast by a receiver-transmitter. Thus, the relational always existed in art. However what is delimited within the Relational Art specifically addresses those practices that make the link its essence.

    The notion of relational art emerges from the book of Nicolas Bourriaud Relationnelle Esthétique (1998). In this work Bourriaud compiles a series of articles published during the decade of the 90 on the art scene at that time. The author, now curator of the Palais de Tokyo in Paris, identified a change in the artistic expressions of the 90’s, a conspicuous change in the flow of visual productions that rely strongly on the generation of space-work, happening-work and time-work, in which the relationship between art, the artist and the public are crucial.

    Bourriaud identifies Relational Art in response to late-capitalist society in which what he calls “the highways of communication” restrictes society to paths only designed to ensure consumption without losses. In this way, society flows through the constant craving, generating an individual-consumer consumables which interacts in a standardized space fetishized relations. As resistance to this paradigm, the ultimate intention Relational Art is to transform this parade and space buying and selling in a political space.

    Relational artists (cited by Bourriaud): Rirkrit Tiravanija, Mauricio Cattelan, Christine Hill, Nirotoshi Hirawaka, Felix Gonzalez-Torres.

    However, the concern for the replacement of centralized political space, on the other purely commercial schizophrenic, was perceived by various artists from the 60’s. So, their strategy of resistance was also relational and collective practice. Artists like Helio Oiticica, Lygia Clark, Cildo Meireles, Studio Orta and the Fluxus group, the performances of Chris Burden and works of Victor Grippo and Alfredo Jaar, belong to the first current-named Relational Art.

    The relational art emerges as opposed to the various standards of modern art, to know: the figure of the individual author, the work of art as object of immaculate creation and those spaces which have been naturalized as spaces for art (the museum and gallery). In summary, the relational practices resist to macro-narrations of the avant-garde art, to the ornament proposal of a radical art that is stored in an isolated sphere of worldly society. Relational, built with contemporary art, distrust on the one hand, the great avant-garde art missions and on the other, the division between art and life with the gradual closure of the first.

    From these points, Relational Art proposes a collective creation, a community exercise in the construction of truth, replacing the “work of art” for practices, tactics and devices that revolve around an event, in terms Foucault: “an event, not a decision, a treaty, a kingdom or a battle, but a balance of power that reverses, a seized power, a vocabulary taken up and that turns on its users (…) something different that appears in a scene “.

    Relational category allows to name the practices that go beyond objectual and move towards questioning and critical processes. It is important to remember that this nomenclature introduced by Nicolas Bourriaud, comes from a very specific context that is the artistic productions of the 1st world. Therefore it is pertinent to ask: how appropriate the term “Relational Art” in Latin America, and what meanings are applied?

    As explained above, various relational practices carried out by Latin American artists from the 60’s. Ethics and aesthetics of the performances and installations of Grippo and Oiticica respond directly to a motivation of this type. However, in Latin America Relatonal Art had a radical cut, different to the European or North American, this is an emphasis on the community component, public and confrontational that exceeds the scope of aesthetic pleasure by the way.

    This position marks a political-public facing direction towards the examples that Bourriaud slogans in his book. The artists described by the author work in and from the space of the gallery, their works are framed in a theory- artistic discussion refered constantly to the field of art: installations,happenings and performances orchestrate the artistic code and modify it in the museum space.

    The Latin American case is interested in breaking this naturalized space for art, and the code that describes it, by setting up new spaces and interaction techniques. Additionally, the community component works directly on the notion of author as an exponent and creator of the work. The power of the production of truth is split between the different members of the projects, be they artists or not.

    Here we find a major division between both production spaces. If in the first world context, the role of Relational Art is doomed to gather, to meet to resist the anomie of a developed world, consumerist, post-capitalist and virtualized in their relationships. In the Latin American juncture, the conditions of social inequality, and socioeconomic status of the continent, make the relational aesthetics, not from the hegemonic title of “Art” but from the noun praxis of art practices.

    Moreover, Relational Art not only seeks to bring together citizens forced to route and consume. Spatial heterogeneity and promiscuity of our cities is relational in itself. What matters to relational art practices in Latin America is the inclusion of artistic devices already established in society. The instinct is to undermine relational relations and representations established between culture and power.

    Article Source:


    Wikipedia Source

    Open-space technology (OST) is an approach for hosting meetings, conferences, corporate-style retreats, and community summit events, focused on a specific and important purpose or task—but beginning without any formal agenda, beyond the overall purpose or theme.

    Some Guiding Principles (which describe the process of the meeting):

    Whoever comes is [sic] the right people …reminds participants that they don’t need the CEO and 100 people to get something done, you need people who care. And, absent the direction or control exerted in a traditional meeting, that’s who shows up in the various breakout sessions of an open-space meeting.

    Whenever it starts is the right time …reminds participants that “spirit and creativity do not run on the clock.”

    Wherever it happens is the right place. …reminds participants that space is opening everywhere all the time. Please be concious and aware. – Tahrir Square is one famous example.

    Whatever happens is the only thing that could have …reminds participants that once something has happened, it’s done—and no amount of fretting, complaining or otherwise rehashing can change that. Move on.

    When it’s over, it’s over …reminds participants that we never know how long it will take to resolve an issue, once raised, but that whenever the issue or work or conversation is finished, move on to the next thing. Don’t keep rehashing just because there’s 30 minutes left in the session. Do the work, not the time.

    and One Law:

    Law of two feet or the law of mobility, as follows: If at any time during our time together you find yourself in any situation where you are neither learning nor contributing, use your two feet, go someplace else. In this way, all participants are given both the right and the responsibility to maximize their own learning and contribution, which the Law assumes only they, themselves, can ultimately judge and control. When participants lose interest and get bored in a breakout session, or accomplish and share all that they can, the charge is to move on, the “polite” thing to do is going off to do something else. In practical terms the Law of Two Feet says: “Don’t waste time!”