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audio visual performance kunst performance multimediale werke performance mit musik performances social composing solowerke mit Elektronik werke für ensemble


for performer, piano, drumset, video & electronics (original version)

premiere: 1.12.2017 Elbphilharmonie Hamburg
ensemble: Decoder Ensemble, performer: Carola Schaal
duration: 13 min
technical data: 16:9 projection (flushfloor) / stereo tape / amplification of piano/drumset /  voice-effekct device for the performer.

Our present is characterized by a call for declaration and confirmation of self that triggers an almost perverse attitude of sending individuality through all channels of our communication network.
In our digital-real continuum the existence and „raison d’être“ is constituted by visibility – while invisibility is equivalent to non-existence. In „As#presentAs#possible #solo“ the clarinet player defines her presence by a vanishing self, enters the stage without her instrument and explores the space between defining and being defined, between projecting and being projection.


#AsPresentAsPossible (2017)

performer, piano, drumset, video & electronics (original version) – premiered by Decoder Ensemble

#AsPresentAsPossible SOLO (2017/18)

for performer, video & electronics – premiered by Carola Schaal

#AsPresentAsPossible TWO (2017/19)

for two performer, piano, drum set, video & electronics – premiered by Ensemble Garage


All photos by Gerhard Kühne:


Concert #AsPresentAsPossible“ Decoder Ensemble / curated by Brigitta Muntendorf

The piece #AsPresentAsPossible was premiered at a concert program with Decoder Ensemble of the same name at the Elbphilharmonie Hamburg. A special concert that explores possibilities to share music in the middle of the audience – enjoy our trailer!

#AsPresentAsPossible – an homage to the “Bang”!  With a glimpse from the Elbphilharmonie, the Decoder Ensemble and Brigitta Muntendorf invite all to a transmedia happening, where the significance of corporal presence intertwines with concepts of physical and virtual existence in the events occupying all areas of the concert room.  With the music of Michael Beil​, Jessie Marino​, Brigitta Muntendorf (WP), Fat Boy Slim, Josh Spear and interludes drawing upon the Youtube/street musicians “Too Many Zooz”, #AsPresentAsPossible is constantly exploring the space between music, theater, and video amidst real and virtual “thereness”.  Through the collaboration with the choreographer Miriam Heinrich Horwitz​, one witnesses how the Decoder Ensemble encounters a new side of performance culture.  Here, physicality and reality, and the perception of those, confronts the musical interpretation.  How present can we, and do we want to be?  When do we transcend into presence through the very mediums that should make us invisible?

audio visual performance installation kunst performance multimediale werke performance mit musik performances

Public Privacy #shift_ctrl | audio visual surveillance sculpture

Brigitta Muntendorf | Thomas Bismarck

PUBLIC PRIVACY #shift_ctrl 
audio visual surveillance sculpture with live pop-ups
for live-video, pre-recorded video, tape and live musicians
Premiere: 22.04-24.04: Town hall tower Witten with Nico Couck (e-guit), Till Künkler (trb), Sonja Horlacher (fl), Sergej Maingardt (electronics)

Gallery | Photos by Thomas Bismarck


audio visual performance installation kunst performance multimediale werke video

Public Privacy #instant – Voices I’ve heard

audio/video installation for 6 surveillance monitors

music / video: Brigitta Muntendorf
protagonist: Malgorzata Walentynowicz
duration: 5 min (loop)
premiere: Museum Moderner Kunst Wörlen | Passau | curator: Hector Solari
commissioned by: Europäische Festpielwochen Passau



audio visual performance installation kunst performance multimediale werke video

Public Privacy #shift_ctrl | Audiovisuelle Überwachungsskulptur

Brigitta Muntendorf | Thomas Bismarck

PUBLIC PRIVACY #shift_ctrl 
Audiovisuelle Überwachungsskulptur mit Live Pop-ups
für Live-Video, pre-recorded Video, Zuspielung und 3-5 Musiker
Premiere: 22.04-24.04: Rathaus Turm Witten | Wittener Tage für Neue Kammermusik

Performer: Nico Couck (E-Gitarre), Till Künkler (Posaune), Sonja Horlacher (Flöte), Sergej Maingardt (Elektronik)

Gallery | Fotos: Thomas Bismarck


audio visual performance kunst performance performances

FREE PLAY | English Version

audiovisual performance for three composers

debut: 25.07.2015 | TAG DER PERFORMANCE | Skulpturenpark Bernd Wagenhäuser / Bamberg
performer: Die BismarX & Brigitta Muntendorf
duration: 15 min
technical setup: 3 LED-Buzzer, Stereo-PA, Sampler/Max-Patch controlled by a midi footswitch
performance venue: public space



Is free play a game? What kind of questions are we allowed to ask, which conventions are prescribed? free play let the performer act, but it doesn’t let them speak. free play is a non human entity and asks questions regarding freedom and individuality. free play doesn’t know conventions, political positions, doesn’t know polarization. free play is just there, in our minds, in our bodies. We all play free play, sometimes we know, but most of the times we don’t know.


FREE PLAY is another work dealing with the terms „public“ and „privacy“. Full body veil contrasts transparency – but isn’t full body veil in the same way relevant for the freedom of expression and for religious freedoms as the right of anonymity and the rejection of suppressive transparency by monitoring and data collection?
What does the appeal of the International Federation for Human Rights mean (June 2014): „To look at another person as a fellow citizen, witness or contractual partner and to recognize emotional states like happiness, worries and grief are counted among civilized manner/peaceful cooperation in our society“? Why did the University Gießen forbid an muslim woman to wear a full body veil  – in times of Skype-lessons, distance learning-courses, teleconference, radio, telefon and avatars in Social Media that are all parts of building communication and infrastructure? Is anonymity no fundamental right? And how do we define freedom in a capitalist and consume-orientated system, that is determined by economy and media propagation? With the possibility of the free will and the free choice to escape from the play of manipulation on the basis of inviolability.

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FREE PLAY Performance by Brigitta Muntendorf

kunst performance multimediale werke video

Piano Cover (Public Privacy #2)

for keyboard, video and tape

Public Privacy #2 Piano Cover

premiere: november 23th 2013 | piano plus Festial | ZKM Karlsruhe
Piano: Sebastian Berweck
duration: 8 min

technical rider: keyboard with local amplification, sampler (for example Kontakt) and laptop, screen/any wall and video projector. Please ask for the Kontakt-instruments the composer.

Every live performer get’s his or her own video. Parts as the beginning or the end and also significant scenes in the middle of the piece should be recorded by the live performer with a camera or webcam or by the composer in a Skype session. All live performer are represented in the following videos as „Youtuber“ and replace by and by the youtube performer.

score piano cover

program notes

The concept of Piano Cover is based on the same structure as Flute Cover with the difference, that the live pianist shows another dimension of covering by covering performer playing another instrument (e guitar). The video is made by a Collage of different e guitar players, covering different songs. On the surface the pianist seem to cover the e guitar players but only on a visual layer. The keyboard by itself doesn’t represent an independently sound object, it’s used as a sampler reproducing e guitar sounds and transformed fragments of the songs, the e guitar player played on youtube.  Visually it’s a cover but the music is made by the same material and is generating it’s own process – like a cover band or like a playback.

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audio visual performance kunst performance multimediale werke public privacy social composing solowerke mit Elektronik video

Public Privacy #1 Flute Cover (2013)

erstes Stück der Reihe Public Privacy für Flöte, Video und Zuspielung

Flute Cover Score

Public Privacy #1: Flute Cover

UA: 27.06.2013 Deutzer Zentralwerk der Schönen Künste
Flötist: Daniel Agi
Dauer: 5 min


Flute Cover ist das erste Stück meiner meiner 2013 begonnenen Werkreihe Public Privacy für Soloinstrument, Video und Zuspiel, bei denen ein Live-Performer mit Youtube-Instrumentalisten in einen Dialog tritt. Die Reihe setzt sich mit der von mir als Social Composing bezeichneten Form auseinander und der damit zusammenhängenden Frage nach der Grenzziehung zwischen dem Privaten und des Öffentlichen.

Für Flute Cover habe ich verschiedene Youtuber angefragt und aus deren Flute Cover eine visuelle Collage angefertigt, die – im Gegensatz zu einer Konzertsituation – Abläufen und Verhaltensweisen einer Videopräsentation in Social Media folgt.  Flute Cover (oder auch andere Cover) sind Covermodelle, bei denen Laienmusiker oder Profis die Melodiestimme beliebter Songs durch eine (in diesem Fall) Flötenstimme ersetzen und das Resultat bei Youtube hochladen.Spannend ist dabei einerseits, wie mit Vorstellungen von Virtuosität und der Verwendung klassischer Instrumente im heutigen Alltag umgegangen wird. Gleichzeitig geben die Videos aber auch Aufschluss darüber, wie die Begriffe des Privaten und des Öffentlichen definiert werden, wieviel ein Spieler über sich und seinen Lebensraum erzählt, über Ästhetik, über die Form der Präsentation und deren Rückwirkung auf die Musik und über das Gegenwärtige und das Abwesende einer musikalischen Performance. Jeder Performer/in erhält für die Aufführung ein eigenes Zuspielvideo mit Aufnahmen des oder der Performers/in in einem privaten Umfeld. Nach und nach werden somit die Youtube-Videos verdrängt und statt dessen Fake-Youtubevideos der Interpreten collagiert.

Geplante Instrumente

public_privacyPublic Privacy #2: Piano Cover (für Sebastian Berweck)
Public Privacy #3: Trumpet Cover
Public Privacy #4: Leap in the dark for E-Guitar
Public Privacy #5: Trombone Cover
Public Privacy #6: Saxophone Cover

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