echt.zeit.festival 2001-2005
real.time.festival 2001-2005
| königswiesen | austria


The basic idea of the project echt.zeit | real.time was the creation of an 'experimental festival' dedicated to the 'art of listening'. The place choosen for to realise the project was the Austrian village Königswiesen, situated in the rural region Mühlviertel.

For several days a year, Königswiesen became a non-urban ambience for permanently changing (and sometimes even moving) stages. Contemporary music and literature was to be heard in several guest houses, at a school, a factory, a church, in busses and even in the forests, which are surrouning the village. Between 2001 and 2005, 58 artists from
Slovakia, Serbia, Bulgaria, Poland, Germany, Austria, Kuba and the USA performed at least at one of the temporary festival stages.

There were two criteria for inviting artists. One was the actuality of presented works, which means, the focus was on music and literature of the 21st century. The second criteria was the artistic authenticity of performances, which means, compositions and lyrics were presented by the creators themselves.


Aside prominent authors, echt.zeit integrated artists, which are not writing for the conventional book market, like column writers, poetry slammers and song texters, like hiphop MCs. All the textes had to be presented by the authors themselves. The only exception was Mongo Stojka. Marian Schönwiese was reading out of the book 'Children of Paper' - which was published in 2001 - and his son Harry Stoijka contributed contemporary Roma music with his band. In the end of the reading, Mongo Stojka, who had survived the holocaust as a child, stood up and held a speech, which created absolute silence. If the 'art of listening' was ever realised during the echt.zeit project, then it happend during the enigmatic moments, when Mongo Stojka was speaking about tolerance and respect.


One key innovation of the echt.zeit project was the combination of electronic music and literature. For the vast majority of participants, this was a new experience - not only for the audience, but also for authors. It must be noted, that the focus of echt.zeit was not fixed on electronic music. The range of instruments varied from Alphorn to Thermin, from Accordeon to Korg MS20 synthesizers, from brass instruments to software-based groove boxes. The criteria was neither a type of music nor a sort of instruments, but the ability of artists to perform their own compositions live.

All authors and musicians (accept the Stojka family, of course) met on a echt.zeit stage for the first time. There were no rehearsals before appearances and no rules given, how to perform. Thus, most of the artists heard their 'partners' for the first time, while they were already on a stage together. This resulted in unpredictable and funny interactions sometime. Author Franzobel, for example, started to read, while the duo Hammerling still was playing. Obviously, the three of them had a lot of fun. The KORG synthesizer trio Musikkreis MS20 faded out in the middle of one track with the argument: we can't wait anymore for to listen, how the text of Clemens Fantur might continue. Andreas Renoldner was reading nearly two hours. His stage partner Roland von der Aist switched on a small lamp several times for to signalize, that he is stille present. When they finished, the front door of the guest house was locked already.


Outstanding moments appeared also on those festival days, when the so-called 'echt.zeit culture trekking' was scheduled. Then the audience was walking for hours with artists from one performance towards the next one. Once even extreme weather could not stopp a group of enthusiastic culture trekkers. After heavy rain had turned into a snow storm, the group was rescued by a bus, which brought them back to Königswiesen. There was fine trekking weather the other years and thus allowing music and literature to breath fresh air outside ivory towers. The trail led through the pitoresque valley 'Klammleiten', which got the nickname 'canyon of sound' during the festivals.

Culture trekking was the only innovation of the echt.zeit project, which was not to be copied by urban culture institutions one by one. Other concepts became blueprinted soon, which is an evidence for the need of 'experimental festivals' like echt.zeit. Fundamental changes in media consumption need improved concepts for to connect contemporary artists and their audience.


After it was impossible to raise the budget for the artistic program of the festival 2006, the project echt.zeit had to be finished. After five years working without any financial compensation, the man behind echt.zeit stopped running in circles. On this site some photographic impressions are published as documention of the project and for to say thanks to all artists, supporters, sponsors and - not at least - to the audience. You were ingredible!

- Thanksfully, Josef Gaffl -

echt.zeit 2001 - 2005


dorit chrysler | theremin & vocals
lyrics: doris mitterbacher a.k.a. mieze medusa
J.C. | vocals (new york | u.s.a.) & anphibius | piano ( new york | u.s.a.)
lyrics: robert schindel

additional festival program
aleksandra savic | poster exhibition (novi sad | serbia)
karo szmit (poland) & barbara musil | video screaning 'NÖ-SW 2004'
mobile lyrics: mieze medusa & markus köhle
karlheinz essl
| live electronics @ church
doris mitterbacher | voice @ visualised reading (church)

interview with slobodan misailovic (novi sad | serbia)
impressions | echt.zeit.festival 2005 | mp3 | 195 kb |10:05 min.
recorded for radio FRO & crossradio | languages: english & serbian


lyrics: franzobel
HAMMERLING (munich | germany)
- fritz mooshammer | harp, alphorn, fuajara, pocket trumpet
erwin rehling | drums, percussion
& marimba

michael stavaric
- werner puntigam | trombone
- hans-georg gutternigg | tuba
- günther schmidhuber
| clarinet
experimental lyrics: markus köhle

additional festival program
hartmut meyer | glass objects
hannes thauerböck | exhibition: photo-scratching
josef gaffl | video screaning 'citizens of kingdom of illusions'

>> indoor event |
franzobel | hammerling
>> indoor event | michael stavaric | markus köhle | die punte


lyrics: robert menasse
bernhard fleischmann | live electronics
lyrics: florian kamp a.k.a. kamp mc
herbert weixelbaum | live electronics
lyrics: dimitre dinev (ruse | bulgaria)
russi mikov
| vocals & guitar (bulgaria)
plamen samandshiev
| accordeon (bulgaria)
lyrics: mongo stojka read by marian schönwiese
- harry stojka
| guitar
- eva berky | vocals (slovakia)
- ivan ruiz-machado
| double-bass (kuba)

additional festival program

speech by mongo stojka | surviver of the holocaust
speech by stefan zweig | surviver of the holocaust
roland bindreiter a.k.a. RVDA
| live electronics
performing with werner puntigam | trombone & shell

thomas diesenreiter a.k.a. dj delophe | turntables
marian schönwiese | voice @ visualised reading (church)

>> indoor event | dimitre dinev | mikov | samandshiev
>> indoor event | harry stojka band
>> indoor event | mongo stojka & stefan zweig
>> indoor event | marian schönwiese reads mongo stojka
>> indoor event | florian kamp | herbert weixelbaum

>> indoor event | robert menasse | bernhard fleischmann
>> indoor event | audience & ambience
>> culture trekking | roland von der aist & werner puntigam
>> culture trekking | marian schönwiese | church


lyrics: andreas renoldner
roland bindreiter a.k.a. RVDA | live electronics
lyrics: rainer nikowitz (profil)
klaus tschabitzer a.k.a. der schwimmer | live electronics
clemens fantur a.k.a. manuva | total chaos
- hans holler | Korg MS20
- wolfgang kopper
| Korg MS20
- chrono popp
| Korg MS20 & MS10 Vocoder
lyrics: nadja niedermair
patricia enigl a.k.a. irradiation | live electronics & vocals
- roland cresnar | guitar & vocals
- jürgen plank | guitar & vocals

additional festival program
wolf wolf | exhibition: paintings
peter huber | trumpet @ culture trekking
werner puntigam
| sound installation '48 schlagorte'
marian schönwiese | voice @ visualised reading (church)
harald pozar a.k.a. dj spook | turntables

>> indoor event | clemens fantur | musikkreis ms20
>> indoor event |
nadja niedermair | irradiation | lassos mariachis
>> indoor event | rainer nikowitz | der schwimmer
>> culture trekking | performance peter huber
>> culture trekking | sound installation werner puntigam


lyrics: sven gächter (profil)
franz reisecker a.k.a. lichtenberg | live electronics
lyrics: christian futscher
bernhard fleischmann
| live electronics
lyrics: harald renner a.k.a. huckey mc | texta
herbert weixelbaum | live electronics
- lyrics: franz adrian wenzl a.k.a. austro fred
- martin max offenhuber | add. sounds & live electronis

additional festival program
sven gächter | turntables
josef gaffl a.k.a. dj acid buzz | turntables
werner puntigam | trombone @ culture trekking
heidi gassner | voice @ visualised reading (church)

>> indoor event |
all artists
> culture trekking |
performance werner puntigam


1.000 roses for your altruistic support of the echt.zeit project
heidi gassner | werner puntigam | roland bindreiter | manuel gaffl | marian schönwiese slobodan misailovic | thomas diesenreiter | heinz puchberger | philip diesenreiter markus reindl and all artists of the backlab collective


echt.zeit 2001 - 2005 | real.time 2001 - 2005
idea & conception | programming | public & private sponsoring | stage design | technical realisation | graphical art work | promo photography | public promotion  | event moderation | project documentation by josef gaffl
festival photographers:
werner puntigam | gina yang | thomas diesenreither | josef gaffl


the project echt.zeit | real.time was dedicated to the Serbian artist and composer Mitar SUBA Subotic (+ 2.11.1999, Sao Paulo, Brasil) - the first festival started on 2nd November 2001 with his composition 'Voce Gosta'.



Most of the images promoting the echt.zeit | real.time project displayed an old radio, produced under the trademark HORNYPHON. His name came along with his Hungarian ancestors to Austria. The company was founded in Vienna by the inventor Horny in the early 1920ies, radio production was stopped in the 1960ies.

What's the connection between echt.zeit and hornyphon? Well, when the echt.zeit project started in 2001, a web domain for a hompepage was needed. The domain(s) for the name 'echtzeit' (realtime) were all in the hands of domain grabbers and therefore too expensive for this non-budget project. Thus the festival was promoted on the domain - as there was the hope, radio could be a strong symbol for the 'art of listening', which was the intention of the project. This hope gave echt.zeit a nice spin: instead of reporting about contemporary music and literature, media reported about the 'art of listening'. The message was simple and promised: in this project the audience is given a unique status - the status of artists. The only thing to be done is ... to listen!

Promotion images were needed for transporting this up-side-down idea and an old-fashioned radio was casted as 'top model' for this purpose. Thus an HORNYPHON ATACHÉ became a little media star in 2001, which appeared not only in regional newspapers, but also in Austria's top magazin Profil. One of these images became a classic - although the 'top model' as stolen the show by a goose - and it came like this: 'I placed the HORNYPHON on the ground infront a farm house for to catch the traditional stone pattern of the wall in the background. Then I moved backwards and focused the setting from different angles, when - out of the blue - a goose came along from the left side. It ignored me, but started with impressive movings and strange sounds to frighten the unknown object. After a while the goose was totally exhausted. To tell the end of the story: before it disappeared, the goose was pissing on the radio. And what was I doing during this funny clash of cultures? Of course I pressed the trigger, yes, but I was so frightend by this unilateral conflict escalation, that I was not able to move my right pointing finger more than two times.

The HORNYPHON radio became a constant 'visual element' during the echt.zeit project. All temporary stages of the festivals were designed in different ways - but from each stage the little HORNYPHON was watching the audience with it's wonderful 'magic eye' switched on ... until the little radio disappeared mysteriously during the festival 2004. Soon later also the domain disappeared, as it was blocked frequently by internet providers, most probably for misinterpretation of the honourable Hungarian family name 'Horny'.

Finally the project echt.zeit disappeared, after the search for financial support for a festival in 2006 became too exhausting. Already fixed were performances of the Austrian quartet Amarcord and the Serbian pianist Branka Parlic, amongst upcoming authors, the plan was to invite Imre Kertesz from Hungary, Bogdan Bogdanovic (the former mayor of Belgrade, who settled down in Vienna) and the Austrian authors Eugenie Kain and Peter Handke. The intended program was a result of long and joyful discussions with Milo Dor, the Austro-Serbian author and president of the Austrian PEN-Club. Milo Dor was looking forward to read at the echt.zeit festival 2005, but his heart problems erased all common plans forever. Our dreams were too big ...

But now let's watch the little HORNYPHON and - of course! - the crazy goose :)

Here they are!