1974

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The artists’ group pool, which included Horst Gerhard Haberl, Karl Neubacher, and Richard Kriesche, were seeking increased contact to politics and business, and so established the performance and exhibition space known as poolerie in a vaulted cellar in the historical center of Graz in 1974. The exhibition Kunst als Lebensritual (Art as a Life Ritual), which Haberl curated, took place at poolerie that same year in conjunction with steirischer herbst. Following Körpersprache—Bodylanguage (1973), the exhibition examined the use of the body, even as far as the total merging of art and life, based on artists such as Vito Acconci, John Baldessari, Lynda Benglis, Chris Burden, Takahiko Iimura, Shigeko Kubota, Les Levine, Karl Neubacher, Dennis Oppenheim, Friederike Pezold, and Hannah Wilke. The pool group also organized an event on the related topics of the penal system and steirischer herbst as well as models for socializing prisoners, leading to the attempt to draft posters for steirischer herbst ’74 in cooperation with ten inmates of the Karlau male penitentiary in Graz.

musikprotokoll increasingly expanded its didactic aspirations beyond the borders of Europe, for instance, with a concert evening of Neue Musik from Brazil. Zygmunt Krauze invited visitors to a Fête galante et pastorale composed specifically for the Baroque architecture of Schloss Eggenberg, in which thirteen recording media filled thirteen spaces with sound via twenty-six loudspeakers. In 1974, free jazz concerts were also added to musikprotokoll for the first time. The theater program was flanked by the Austrian premiere of Peter Handke’s Die Unvernünftigen sterben aus (They Are Dying Out), as a guest performance by the Junge Burg theater company from Vienna, and Benjamin Britten’s opera adaptation of Thomas Mann’s Death in Venice.

Program