FAXEN Overhear
as part of FAXEN
tripple 10 inch record and Artistbook, 2025
Stapled binding, 76 pages, 25 x 12 cm , 25 x 17 cm , 25 x 25 cm, 40 in color, 2 ills. Includes three 10 inch vinyls, Din A2 posters, Publisher: VFMK Verlag für moderne Kunst GmbH
The publication documents the nearly twenty-year practice of the artist collective FAXEN – Clemens Mairhofer, Lucas Norer and Sebastian Six. Their artistic approach is characterised by collaborative working methods and a consistent focus on the medium of sound. This monograph traces key stages of their shared practice and offers insight into processes of collective idea development – including detours, discarded concepts, and experimental methods.
To do justice to their sound-based work, the publication is accompanied by a three-part 10” vinyl series. The six compositions featured combine field recordings, sound examples, and the artists’ reflections, functioning as audible commentaries on selected projects.
An additional visual dimension was created in collaboration with Marlies Stöger and Andre Tschinder, who designed a virtual record cover – front and back – for each sound piece. Texts by Gabriele Mackert and Anne Thurmann-Jajes complement the publication.
Edition Kunstuniversität Linz Vol. 2
The Edition Kunstuniversität Linz publishes books conceived by artists from the University of Arts Linz. The artists’ books, published in cooperation with Verlag für moderne Kunst, realize an idiosyncratic and reflexive approach to the medium of the book.
Publisher: VFMK Verlag für moderne Kunst GmbH
Concept & Editor: FAXEN
Texts: FAXEN, Gabriele Mackert, Anne Thurmann-Jajes
Design: Lucas Norer, Marlies Stöger & André Tschinder
Audio production: Sebastian Six
Speakers: Julie McCarthy, André Gegenstand, Andrew Golder
Language: English
Details: Stapled binding, 76 pages, 25 x 12 cm , 25 x 17 cm , 25 x 25 cm, 40 in color, 2 ills. in b&w
Publication date: 04/2025
Special Book Features: Includes three 10 inch vinyls, Din A2 posters
ISBN: 978-3-99153-133-3
https://www.vfmk.org/books/faxen
The Ears Have Walls
as part of bb15 collective
Soundinstallation, 2023
bb15 is pleased to be part of the exhibition series „Über das Neue“ at Belvedere 21 Museum in Vienna
The Ears Have Walls
bb15 collective uses the exhibition series “Über das Neue” to eavesdrop on the soundscape of the museum. The installation The Ears Have Walls is based on covert audio recordings that were made during all the openings of the exhibition series of 2023. The resulting sound installation unfolds like a sonic mirror, with the distant reverberating of past conversations and ambient noise. Be it as part of an opening speech, stand-alone voice fragments commenting on the art or a simple question about the buffet situation.
An echo chamber is made of walls and surfaces on which signals bounce and reflect. It is a sealed space dedicated to selective listening that amplifies and reinforces the original source. Good insulation is necessary to refrain conflicting perspectives that infiltrate and tarnish a curated vision of the world.
LUFTZUG
in collaboration with Laurien Bachmann
Video-performance, 2023
HD video, 11m22s
The darkened rooms of an old house seem to have been abandoned for a long time: only when the performer opens the blinds and windows does light slowly fall on personal objects and details. More and more, the sounds of nature penetrating from outside intensify and open up the closed space inside.
Deutsch:
Die abgedunkelten Räume eines alten, scheinbar schon länger nicht mehr belebten Hauses: Erst das Öffnen der Jalousien und Fenster durch den Performer lässt langsam Licht auf persönliche Gegenstände und Details fallen. Immer mehr verstärken sich dadurch die von außen eindringenden Naturgeräusche und öffnen so den verschlossenen Innenraum.
Shelf Life
Digital print, 2022
nails, paper objects, 110 x 140 cm
My Products
Product photographs in poster frames, 2020
Self-made instruments and sound tools, 8 pieces, each 42x30cm
Growth
graph sculpture, 2020
adhesive stickers, branches, approx. 6×3,5m
Based on graphical representations of the world-wide gross domestic product from the years 1960 – 2019, this data was transferred into physical space for „Growth“. However, the growth curve just described was turned upside down in the exhibition space, so that the current course from 2019 starts from the floor and the journey visually goes back in time to the 1960s. The respective sections were marked by means of adhesive chains as known from the sales industry.
Langsamdreher
solo exhibition at Eboran Galerie in Salzburg / AT, 2022
In the multidisciplinary spatial installation Langsamdreher (Slow-moving goods), Sebastian Six transforms the Eboran Gallery into a seemingly absurd shopping world with the help of sound, sculpture and video. Rotating shelf walls, flickering screens, a dense sound atmosphere and elaborate individual pieces presented as promotional goods question our society, which is steeped in consumption and production.
Slow-moving goods (Langsamdreher) are goods with a low product rotation, so that they represent an increased storage and sales risk and more frequent shelf gaps occur.
Deutsch:
In der multidisziplinären Rauminstallation „Langsamdreher“ verwandelt Sebastian Six die Eboran Galerie mithilfe von Klang, Skulptur und Video in eine absurd anmutende Shoppingwelt. Drehende Regalwände, flackernde Bildschirme, eine dichte Klangatmosphäre, und aufwendige Einzelstücke, die als Aktionsware präsentiert werden, hinterfragen unsere von Konsum und Produktion durchdrungene Gesellschaft. Langsamdreher bezeichnet Waren mit einer geringen Warenrotation sodass sie ein erhöhtes Lager- und Absatzrisiko darstellen und häufiger Regallücken entstehen.
Works:
The Customers / sound installation, 2020
Growth / graph sculpture, 2020
L Love myself / photograph, 2020
Screens 1–3 (Flag of Advertising) / 3 HD video loops, 2020
MY Products / product photographs in poster frames, 2020
Stock Office / mixed media assemblage, 2020
Shelf-ready packaging / HD video, 2020
Shelf Life / Digital print, 2022
Coat / Digital print, 2021
Warenrotation / Installation, 2022
Irlichs Weh
in collaboration with Mathias Müller
radio-piece, 2020
05:00 min, stereo
Immer schon waren alle Sätze Anagramme. Unaufhörlich brechen sie auf und sind beständig zu neuen Konstellationen fähig. Was wirklich geschah? Im Nachhinein kann das niemand mehr sagen. Drei Menschen sprechen miteinander. Sie bilden aus den Buchstaben immer neue Silben und Wörter. Sie wiederholen sich, aber antworten einander auch, bis sie gemeinsam beginnen zu singen.
Anagramme von Mathias Müller
Sounds und Arrangement von Sebastian Six
Gesprochen von Laurien Bachmann, Sam Bunn und Sebastian Six
TRACK 5 – Ö1 Kurzhörspielwettbewerb: Die TOP 10 der Jury
SPERRZEIT
as part of bb15
Installation and Performance in public space, 2021
wood, color, 3x4x2 meters
To commemorate their jubilee anniversary in 2022, the University of Natural Resources and Life Sciences (BOKU) focused on the coming 150 years, i.e. they look edahead to the long term. BOKU’s research into sustainability, resource management and the preservation and protection of the environment and our quality of life forms the starting point for the program series Elementarereignisse.
This artistic concept of the bb15 curatorial team, which was realised on BOKU’s anniversary year on behalf of BIG ART, revolves around the concepts of disruption, blockage and disaster. Three temporary artistic interventions will be implemented on the university campus. These elementary events are intended to create irritations within everyday structures, thereby generating attention around BOKU’s socially relevant research interests.
The Sperrzeit intervention developed by the bb15 team is the connecting element and central theme of their overall concept. It is a mobile sculpture based on the prototype of a so-called Stahlschneebrücke (steel snow barrier) used in avalanche protection. At first glance, this element might seem out of place in urban space. However, whilst being performatively carried through the Türkenschanze Campus, this context provides new meaning to the problem of the fragmented campus and inner-city traffic (the ‘metal avalanche’). These processions cross the streets around the university campus, disrupting the urban space for a moment.
