live Battle-Ax, Jonny Hawaii & Vom Grill, Sigtryggur Berg Sigmarsson



Sigtryggur Berg Sigmarsson


Trente Oiseaux, Bawag Contemporary, Hanson Records, Ultra Eczema  /IS 

Sigtryggur Berg Sigmarsson is an visual, sound and performance artist born in Akureyri, Iceland in 1977. He studied Sonology at the Royal Conservatory Den Haag, Holland in 1997 to 1998, and received MFA at Fachochshcule fur bilende kunst Hannover, Germany in 2004. Sigmarsson exhibits his paintings & drawings internationally but is probably most known for his energetic performances at a wide array of venues.

His approach is that of the trembling artist, struggling to make sense and direction out of a creative impulse. Regardless of the medium, there is a continuous search for order and chaos throughout his body of work. For some time he has been releasing solo recordings with albums on Trente Oiseaux, ERS, Helen Scarsdale, Fire Inc., Hanson Records, Bawag Contemporary Vienna, Korm Plastics, Bottrop Boy, Ultra Eczema and De Player.

Read an interview with Sigtryggur Berg Sigmarsson on Pitchfork.

Website + Videos

Portrait (c) Tine Gunther




Beatrix Curran aka Battle-Ax works with a genealogic approach encompassing on the one hand practice, on the other theory, in order to sample a history of experimental music. With critical maneuvers of proximity and distance, substance and fantasy, she entices her audience into a research embodying a subtle silencing of the categorization of information that characterizes contemporary knowledge.’ (Julie Gufler)


(c) Bowen Arico

Beatrix Curran (Battle-ax) lebt in Wien. Konzerte (Auswahl): Creamcake, HAU2, Berlin; Insomnia, Kunsthalle am Karlsplatz, Wien; FORHAHA Fest, Muda Mura Muri, Zürich.




Dennis Tyfus draws, paints, takes photographs, makes films, plays noise music, sings, parodies, produces gramophone records and CDs, creates books and magazines, has a programme on Radio Centraal, makes collages, and lodges his oeuvre under the Ultra Eczema label.

Dennis Tyfus macht wahnsinnig viel und viel Verschiedenes und ist von dem Verschiedenen auch noch auf gleiche Weise besessen. An diesem Abend wird er als Vom Grill auftreten. Außerdem ist er Gründer und Kopf des Labels Ultra Eczema – einem Label, das MusikerInnen wie Wolf Eyes, Felix Kubin, Birds of Delay, Orphan Fairytale, Bulbul, Hair Police und belgische Soundart/Weirdo-Sachen von den 70ern bis jetzt veröffentlicht. Sein neuester Release unter dem Vom Grill Moniker erschien letztes Jahr auf Bill Kouligas Label PAN.

Tyfus ist bildender Künstler, dessen Zeichnungen und Collagen u. a. in Artzines und -books von Le Dernier Cri und The Wire veröffentlicht werden, kollaboriert mit Leuten wie Kim Gordon und Labels wie Rock is Hell und Ecstatic Peace, für das er nebenbei auch ein Skateboard-Deck designt hat, entwirft Covers, Poster, performt, dreht Videos, stellt aus, betreibt einen Offspace, hostet Konzerte, hat eine eigene Radiosendung und hoffentlich bald seinen eigenen Planeten! (Rokko’s Adventures)




drippings (selbstportrait) 2015, foto: sophie thun

Austrian based Albert Mayr’s approach is properly described as expanded sculpture, being an artist’s articulation in space, matter and form. His artistic alter ego jonnyhawaii easily crosses the borderlines drawn between spatial installation and sound. (Jakob Racek)

Albert Mayr, in an almost neo-dadaistic way, recycles the iconic fragments of our everyday, common office surroundings: computer screens, CD-drives, networks of wires are being turned into functional objects, gates and doors, fountains and showers, carpets and decorative canvases. Furthermore, Mayr as an enthusiastic and playful innovator, manipulates the sizes, blowing up the dimensions of well known objects, and bringing in an uncanniness and temporary disorientation.


w.t. (Wüstenkaktus), photocollage on paper, 2014

Here, the computer cd-drawer of our standardised reality becomes a gigantic edifice with monumental arch, thus, of course, at the first glance avoking Alice’s experience of the wonderland, but indeed, in a good sense of neopop, criticizing the technocratic hyperworld of electronics and information and a hyper-consumer society dominated by its power. Mayr points out the ambiguity and arbitrariness of things: the ordinary easily functions as extraordinary, the functional as the dysfunctional, or differently functional; the certainty of things and beliefs is suspended, or rather replaced by a will to experiment with the potentialities and flexibility of our choices. (Text by Adam Budak)