Since the mid-90s, Guenther Auer has been working with media and space in diverse architecture, from the cellars of discarded official buildings and disused mining halls to former customs office canteens and dilapidated large-scale cinemas. His sound works are musical spatial choreographies that span entire buildings and larger areas. He is interested in the given conditions of architecture, with the traces of its use, its acoustic distortions and the setting of sound in the ruinous. He sees the signs of architectural decay as aesthetic potential exposed by time, which can be used with sound and its movement in space.
In the compositions for Claudia Bosse’s performance productions and for the international company theatercombinat, which preferentially take place in vacant buildings that were once built for other purposes, the focus is on the interweaving of acoustic and musical aspects of space with the movements of speaking bodies and the nature of sound in the traces of what remains. In this constellation he was able to train his understanding of space-choreographed music in different buildings in various cities such as Vienna, Cairo, Alexandria, Tunis, New York, Beirut, Brussels, Bucharest, Athens, Düsseldorf, Essen, Bochum, Jakarta, Zagreb, Krems and so on.
Out of this work manifested the movement and location of sound as a fundamental compositional parameter, especially in composition with sonic and non-sonic source materials such as bodies, speech, movement trajectories of the performers and paths of the audience in the midst of the performers.
In his own works he makes no distinction between sounding and non-sounding material. Sound, video, computer animation, digital image, text have all their potential to transform into materials of equal importance in space and time.
it may well be that he starts with a sound composition which then results in a digital image, and vice versa.
His instrumentation includes a pluralistic loudspeaker ensemble of about 70
different characters, multi-channel interfaces for up to 60 individual channels, several computers (PC and Apple), remote controls via OSC, midi controllers, software and scripts for the movement….
selected works 2020 – 2017
Oct 2020 – Oracle and Sacrifice – Forum Freies Theater FFT (composition, live-electronics) – Dusseldorf2020 Sept – Oracle and Sacrifice – Tanzquartier (composition, live-electronics) – Vienna
2020 Feb – the last IDEAL PARADISE Jakarta – PFN (composition, live electronics, videos) – Indonesia
2019 Nov – dialogue on difference – Kosmos Theater (comp, live-electr.) – Vienna
2019 Oct – THYESTES BROTHERS! CAPITAL – Kasino am Kempelenpark (comp, live-electr.) – Vienna
2019 Sept – THYESTES BRÜDER! KAPITAL – Embassy Worringer Platz (comp, live-electr, videos) – Düsseldorf
2019 Apr – dialogue on difference – downton contemporary art festival (comp, live-electr.) – Cairo
2019 Apr – dialogue on difference – theatre is a must festival (comp, live-electr.) – Alexandria
2018 Sept – POEMS of the DAILY MADNESS – favoriten festival (comp., live-electr.) – Dortmund
2018 Mar – the last IDEAL PARADISE – dance platform Germany (composition, live-electr.) – Essen
2018 Feb – VzV,vK! a noise happening – Kunstpalast (composition, acting, live-electr.) – Düsseldorf
2017 Oct – POEMS of the DAILY MADNESS – Nordbahnhalle (composition, live-electr.) – Vienna
2006 Austrian State Award for Multimedia (for the Magic Flute show in the Mozarthouse Vienna)
2003 Austrian Pfann-Ohmann-Prize (for Project ID- Dornerplatz)
2001 Austrian Museum Award (for sonosphere in Haus der Musik Vienna)