Dear humans, very welcome to my exhibition Die Situation der Unbestimmtheit, which would loosely translate to Situation of Indeterminacy. It's a part of an artistic research project by me, Lukas Jakob Löcker and it serves as a master project and thesis on the University of Arts and Design Linz. I will end my studies in time-based media and therefore I tackled the theme or the topic of improvisation. With this topic it comes a necessary uncertainty, for me at least, which I wanted to delve into and where I wanted to invite other artists to participate in a shared project so it's not an egocentric piece of research or art by only me but to share a certain variety in the meaning of what could improvisation possibly be in terms of life but also of making art and also thinking about life and art at the same time and to see if that term that stems, at least for me, mainly from a musical or a sonic environment, how and which translations could be found in time-based media, also within fine arts, within rap and other forms of artistic expressions. By those artists I invited to collaborate. I'm very happy that of these approximately 15 to 17 artists that I reached out to, a lot of them really took the chance and took this invitation that came on the one hand with a little survey, what improvisation means to them, and on the other hand with certain steps of how to say, not really regulation, but a layout of a main idea. Within I wanted those improvisations to take place. And with this layout I mean basically three points of interest for me that I wanted to be reflected in all these improvisations. These three points of interest would be obviously the human, secondly the space, and thirdly the medium they work with. For me, the space in which we are in now, the WAA Gallery of the Art University of Linz, represented the main focus of the thread that I wanted to have all through the works and also represented in my improvisational work, which was the conceptualization and curation, if that is a word in English, of that exhibition. So to cut a long story short, today is Thursday. Yesterday evening there was the vernissage and on Monday I started to set up this whole exhibition. With works I received one week earlier by a lot of national and international artists. The guidelines for this improvisation, as I already pointed pointed out were shared in the last three days by me so this space the VAR gallery the human which would be me and the medium in this case the different improvisations and medialities that I got from my participants and collaborators. So without any further ado, I would say we start with some of the contributions. And I will just give you a quick roundabout on how and in which form those improvisations I got, all the applications from the artists were set in the one hand in motion or were realized within that space by me. So maybe we start at the entrance. There are two things which are kind of hurled together. This is just a sticky plastic ball. These are the leftovers of the people who I invited for an improvised design of the windows and this is what is left if you take out all the different fonts. We will see this a lot of times in the exhibition. Translation, if you want to call it that way, is this little, I don't know how I want to call it, it looks like a cloud, and it's magnetic tape, and it's also plastic over here, and it's also partly cut out because I used it to form certain tape loops that we will see later and these are kind of also the leftovers. Then we come to the first real participation of one of the invited artists that's a piece of Hanna Brimetshofer, a.k.a. Piratin. Actually, those two prints on Riso and those plots and the objects over here and the sounds on the tapes are all contributions by her. For sure, those are originally originally not or were not tapes, that's my translation of her work, also to hang it that way. She improvised on four different sites in Belgrade and mainly was using this pen she found on site. You can see the same pen after the four improvisations over here. So these are the artifacts that remained at the end. The four sites where she improvised, therefore the spaces, are represented on field recordings on the tapes. So basically you can take the tape out, listen to the one or the other side, everyone represents one of the surroundings while she was doing the improvisations that are hanging over here on the found objects. And yeah, that's about it for now. Then we go over to the next big piece on that wall it's by Linda Pate and she's a fine artist and basically you can see a little bit of the process over here documented as well she was stuck with a certain artwork and took that chance to work with it in her garden of a house that she's currently renovating and improvise in a way that usually doesn't work and would cut out certain pieces and rearrange it together so we see over here also something with cutting like sampling, resampling and a new arrangement that the artist and in that case did herself in other parts that was my doing but here it's all done by the artist and for me it was just to find a certain space where to hang it. The form of how to present the documentation I designed to do risoprints and also over there we have a lot of risoprints which are samples and remixes and resampling of a lot of the images I got from the participants when they were documenting the space they were working in and improvising in. I won't go in any detail here because we will see a lot of images pop up along the way when we go through this exhibition. I just want to point out that the middle line over here, are works that were inspired by those Riese prints I did in the printing lab of the university, on Tuesday actually, and I invited Mahmut, which is a street artist from Linz, and also a fine artist apparently, but he used to be a long time street artist from Linz and also fine artist apparently but he used to be a longtime street artist and yeah he used a lot of those prints that I gave to him and made his own take on that kind of idea of remix and sampling. And I used six of his works to start that cluster over here that I just used those Riso prints where a lot of the different surroundings of the artist would come together and create that kind of interaction and coexistence in space of the different areas. For example, we have here Graz, this is Linz, this is Graz again, this is Lower Austria. And I have no idea how to call the river in English, but it's a side arm of the Euphrates. When we are already dealing with this work, this is by Hassan Olu Kiza. He is a photographer and media artist that I invited as well. He tackles a lot of social and political issues and he was investigating and dealing through his photos with or was tackling the Armenian genocide and some of this happened in that Valley so the photo was the starting point for his improvisation where he basically came out with the idea to have that 2D photo in a 3D manner. And that's how he came up with that relief, basically, which is some kind of a silicon I think. It's the first time that he experimented with the idea of turning a photo into a 3D object. Then we maybe take it from the 3D object, which we see in the middle three of them, but also one, the stone on the very left, is used for certain improvised little sculptures like here and like we see on those two small pictures over there. It's a contribution by Hubert Ebenberger who also contributed that stone over here. So the first thing that I got from his whole improvised settings was that stone. And it actually stems from the same hometown as me and Hubert. So for this little arrangement in the middle, that was the starting point, which basically inspired me to find a stone within Linz, because we both moved from that very little town, which is Schrambach,bach to Linz and for all of those who are currently living in Linz is the noise and the way people work on the main square quite, how to say, forcing if you go through the main square because a lot of the rails basically they get renewed and in the middle all those cornerstones are forced to get out so it's very loud and there is a certain pattern and rhythm and I grabbed one of those stones from the main square and decided to from the main square and decided to present it the other way around, bottom up and to have that as a counterpart but also accompanying the stone from the countryside where I used to grow up and the stone of the city where I live now. The can in between is on the one hand a sonic object because it contains the improvisation and also composition of Joachim Choreff. He is a composer and sound artist from Israel and he did a piece in Tel Aviv with trumpets and balloons....... I built somehow a sonic triptychon with the three pieces she gave me or the three improvisations. It's three different improvisations that have a certain length of the tape loop that I created and therefore the intercollide and I am playing those three at the same time and so a whole new piece kind of is created. Every of the speakers looks in a different direction, so if you move around in space it always changes also a translation of the image by Hassan Olu Kiza that I described earlier already and that he had the idea that he would give me not only that plastic but also to provide that overhead. That was an initial inspiration to craft somehow a setting with analog media. One is already working over there. It's a projector that has slides from photos that were, I think, basically taken originally with a smartphone and I translated them to have it as a slide. And over there it's two pieces that are combined on a little presentation, which I find interesting. On the one hand, you don't see the artist, on the other page you only see the artist. The right video is by Katharina Clement, an Austrian composer and improviser. And the left one is by Felix Schage, also known as Def Ill. And from left to right, we have Felix doing freestyles and rapping without really thinking about the concept. You see him also drawing while he is trying to turn off the process of thoughts and just putting out whatever comes in mind. The drawings you can see also on the wall over there and here we see a little glimpse of the artist on the right monitor. Katharina puts and removes certain things on the space that she decided to improvise on. Most of them are sounding but not all of them are and it's a free improvisation with a lot of different tools. Both improvisations are in a private space in contrast to those we already saw and headphones are provided to give the private and intimate setting the mediality it needs or I thought to design. Talking about headphones and intimate setting, that piece over here is from Melody Chua, a Swiss improviser and instrumentalist who provided that piece that is also on tape and is running in a loop over here, so you can just jump in and out in a certain time of that tape as you feel in terms of the whole experience in the exhibition. And to conclude in that room here is a counterpoint to Felix Schager's freestyle improvisation because this and these are collected lyrics that he wrote 15 years ago and I stored and collected the freestyle that is straight from the head in contrast to the process of writing and having a concept and putting down words instead of the way that the pen moves in that video and creates just only pattern or graphics. Talking about pattern and graphics, over here there is a pattern that everyone works within design might know from certain applications. And as a reminder there is a counterpoint to Hubert Ebenberger's work with the stone. This is a work that stems from a very first exhibition I curated in 2014. And it reminds me constantly of the awareness to be in the now, which is one of the main tropes within improvisation as such. The next piece is especially designed for that room by Polina Katzenka. She recorded all the sounds in here, prepared them for improvisation and improvised over there in front of that window with those two speakers you see in the corner and that's exactly the way how it is projected into the room and the documentation I did of her performance is running in that very screen behind me. So her piece is happening once every one and a half hours and just appearing in the room as an immersive sonic event and is projected in the room by those speakers she also had and used for her performance. During the vernissage yesterday we had over the same speakers a performance by Marie Vermont who performed live over here in front of that canvas that used to be white actually yesterday when we started the vernissage. I just put a marker over there and wanted to see what happened and you see what actually came out of that. On top there is a little photograph of a tractor which I think my dad took in the month I was born. So that over here is corresponding with the three objects in the middle. And therefore you see like repetition and axis throughout the whole exhibition in a way that are connecting the certain pieces and the certain attempts to deal with and tackle improvisation. The next piece or installation is the work here, a translation and so to say a resampling of the improvisation by Tomas Gobbins. He's a Chilean artist and composer and improviser who is currently living in Denmark. And the pictures over there are the documentation of his work, which I tried to translate into the room. So you see the guitar on top of an air condition and the guitar has a certain tuning and is in front of the window. So with some other technical stuff behind that. My translation is the guitar in front of the window. Behind that we have the technical stuff which is an amplifier that is connected to a transducer that excites the body of the guitar and on the one hand projects the sound which is actually happening right now and on the other hand maybe also getting the strings to resonate in the same tuning as Tomas. I tried to translate his work in a setting and installation that fits for me inside the space of the gallery together with all the other works and is somehow a connection to the sonic piece in the middle. And behind there, talking about connections and diagonal shapes, over there behind is another stone in the corner which is also from the main square in Linz but it's basically just cement in contrast to that headstone over there. To conclude this little tour through the exhibition Situation der Unbestimmtheit I want to come back to the very beginning of this little insight that Dorf Tiefau provided. Much appreciated and thank you for that opportunity by the way. In that way I can share the experience of the exhibition with these international artists who took part in the exhibition in that place, which would be the WAAG gallery in Linz, Austria. research for sure. I also was engaged with theory and with literature about improvisation so the main six books I was interested in you see over here and I used the same method for crafting my theoretic thesis like I did with the practical for crafting my theoretic thesis like I did with the practical project in that space. So I used those six books to find certain parts that speak to me and would try to remix it and set it in context to each other and tackle certain themes that I realized were important for me and obviously also in the literature regarding improvisation. And these experiments and improvisations I did with those texts containing to copy certain pages to underline in the books to underline the pages I copied and to cut them out resampling to 12 different topics I came out with 12 pages which you see six of them on the wall behind me and each of those pages represents one of the topics and those different colors represent the different books and all of these little pieces I used to create a certain narration within a topic therefore kind of creating a remix and every page, so every remix was later shuffled into a narration within those 12 pages so you could read very free and improvised and personal attempt to grasp the theories and experiences of those authors who published those books. And that would run into my theoretical thesis and also an artist book you can see over there. But it is as undefined as it could be, so it's blank. And will be filled over the course of that exhibition until the final exam basically. And beside a little working room, because I'm always in that space giving context, giving insight for people who are interested in the contributions and my work here and the artistic approach or the research I'm doing. So during the opening hours I'm always here and giving tours like these, usually not in English, so I hope everything kind of worked out at the end. A huge shout out and very deeply felt gratitude to all the artists that participated because every one of you showed so much, I don't know how to put it, faith and also interest in my work and I'm really honored and deeply touched that I was allowed to work with all your contributions. about the exhibition and the contributions and about the feature on Dorf TV. My name is Lukas Jakob Löcke and that was the exhibition Situation der Unbestimmtheit. Thank you very much. Jesus, Lord.