Elisabeth Schimana
Instrument: theremin, vocals, electronics

Photographer: Reinhard Mayr ©

Schimana Elisabeth

Compositions

# Title Year of Originsort icon Duration Instrumentation Category
1 1001 Nadelstiche 2017
2 Der Gedächtniskanon - interactive media installation 2014
3 Ätherwellen 2014
4 freitag & klingt 2013
5 7 Tage und 7 Nächte Odessa - Radiokunst 2013
6 Virus #3 2013
7 Membrane 2013 - 2014
8 Virus #2 - Composition for live generated electronic resonating body, 2 percussion sets and 5 brass instruments 2012
9 Auf und Zu 2012
10 Good News im QuotenJournal - Radiokunst 2011
11 Virus #1 2011 - 2012
12 Höllenmaschine 2009
13 Sternenstaub 2009
14 Le midi alla turca 2009
15 Taktfrequenz 2009
16 composition 2008
17 on tesar 2006 - 2008
18 Moskwa - (M)eine (O)hnmacht (S)endet (K)alte (W)ärme (A)us 2005
19 die große partitur - bud-mosk-new-teh-beij-sao-berl-grz 2001 - 2006
20 sitting in my chair 2001
21 Wiencouver - Arts Birthday Party 1999
22 Drachenzeit 1999
23 Touchless II - Konzertante Installation 1998
24 Ströme 1998 20m
25 Musik zum Tanzstück "brainers" - (Tanz*Hotel Wien) 1997 ~ 1h
26 aus den Tiefen von Sinnen - Audiovisuelle Komposition 1997 ~ 50m
27 Touchless - Live Radiokonzert mit ThereminspielerInnen in Moskau, Madrid und Wien 1997
28 Die vier Kinder der Erde - Elektroakustische Komposition 1996 7m 18s
29 Obduktion - Intermedia-Installation 1996 21m
30 . txt - Elektroakustische Komposition 1996 6m 59s
31 . wasser - Elektroakustische Komposition 1996 6m 58s
32 . öffnung - Elektroakustische Komposition 1996 6m 52s
33 Softporno - Radiositcom 1996 5m
34 Der Tod - Radio-Sitcom 1996 5m
35 Anrufbeantworter - Radio-Sitcom 1996
36 Berührungen - Audiovisuelle Komposition für den Raum der Minoritenkirche in Stein (Kunst.Halle.Krems) 1996 42m
37 Die Fuge - Radio-/Internetprojekt 1996 25m
38 Angelo Soliman - Musik und Klang zum Tanzstück von Tanz Hotel 1996
39 Unterwassermusik und Fischstimmen - Hörspielmusik 1995
40 Die Stimme des Flusses - Hörspielmusik 1995
41 Weib - Elektroakustische Komposition 1995 4m 30s
42 Weave - Musik zu acht Märchen Grimms 1995 10m 30s
43 Musik zu acht Grimmsmärchen 1995
44 Die Bärenfamilie - Hörspielmusik 1995
45 Klänge aus Zinn und Kupfer - Akustische Expeditionen 1995 14m 40s
46 Das ständige Wasserrauschen am Seziertisch oder Alltag in der Pathologie - Akustische Expeditionen 1995 14m 55s
47 Der Vogelchor in der Hölle - Akustische Expeditionen 1995 14m 55s
48 Heimat - für Chor, Ensemble und Lautsprecher 1995 ~ 15m
49 Heimat - für Vokal- und Instrumentalensemble und Lautsprecher 1995 ~ 15m
50 Drachenreise - Hörspielmusik 1994
51 Der Wettstreit der Tiere - Hörspielmusik 1994
52 Papier - Akustische Expeditionen 1994 14m 50s
53 Die Wünsche - Hörspielmusik 1993
54 Spurensicherung 1992 30m
55 Attacken - Ein Stück Körper für's Radio 1992 35m 20s
56 Himmel und Erde 1992
57 Stimme der Angst und ihre Verbündeten - Hörspielmusik 1992
58 Melodie der menschlichen Stimme - Hörspielmusik 1992
59 Das Lied vom Meerweibchen - Hörspielmusik 1992
60 Melodie der bösen Hexe - Hörspielmusik 1992
61 Die böse und die gute Hexe - Hörspielmusik 1992
62 Billy's Blues - Hörspielmusik 1992
63 Das Kratzbürstenlied - Hörspielmusik 1992
64 Der Klang der Helden - Hörspielmusik 1992
65 Attacken 1992
66 O. T. 1992 20m
67 Peter - Elektroakustische Komposition 1991 3m 4s
68 U-Boote - Elektroakustische Komposition 1991 3m 27s
69 Ton & Ton - Performance 1991 - 1992
70 Zum Ofen - Elektroakustische Komposition 1990
71 Tot zu sein ... - Elektroakustische Komposition 1989 2m 4s
72 Bach - Elektroakustische Komposition 1989 12m 30s
73 Sirenen 1989 12m
74 A-le-lu-ja 1988 20m
75 Zustände - Musikstück in 7 Bildern für Stimme, Klavier, Monochord und Tonband 1988 35m
76 Zustände - Performance 1988 ~ 1h
77 The good Samaritan - Musiktheater 1987 15m
78 Hautkörper

General Information

Year of Birth:  1958
Date of Birth:  15. March 1958
Place of Birth:  Innsbruck
Region of Birth: 
Country of Birth: 
Nationality: 

 

Has been working as a composer, performer and radio artist since 1983.
Her work concentrated for many years on space / body / electronic.
She has ongoing cooperations with the Austrian Kunstradio and the Theremincenter Moscow. She also put a focus on research in the field of woman, art and technology and founded the Institut für Medienarchäologie (IMA).

 

Education

PeriodEducationInstrumentTeacherEducation OrganisationLocation
1983 - 1985

private lessons

1986 - 1988

basic research studies in harmony

1987

two-month-stay as visiting student at the music-department

1987 - 1989

electroacoustic music studies

1989

musicology and ethnology studies

1990

grant for compositon studies abroad (University of Keele and Royal College of Music, UK)

2010

Bachelor of Arts

2011 - 2014

master-studies for computermusic, composition

Activities

PeriodActivityOrganisationLocation
1998 - 2001

director for the region of Lower Austria

2000 - 2005

board member

2003

voluntary service

2003

formation of salon elise and visiting artist

2003

visiting composer

2005

founding and ever since artistic director

2006 - 2007

jurymember for Prix Ars Electronica digital music

2007 - 2009

conception and realisation of the exhibition "Magical Soundmachines"

2012

contribution to the booksprint "On Turtles & Dragons and the dangerous quest for a media art notation system", organized by Time's Up

2012

artist in residence ATELIER NORD

2012

mentor in the mentoring-programme for female artists

2013

concept for the exhibition "IMAfocus Max Brand" in cooperation with Christian Scheib and the Max Brand Archive, IMA Institut für Medienarchäologie

2014

residency at CONA

2014 - 2015

worklab at NOTAM

Performances (Selection)

PeriodPerformanceCompositionOrganisationLocation
2007

improvisation "Moskau mit Peter Herbert oder Elise on Peter Herbert"

Commissions (Selection)

PeriodCommissionCompositionCommissioner (Organisation)Commissioner (Person)

several commissioned works for the "Kunstradio" series

Awards

PeriodAwardCompositionAwarding Organisation
1990

scholarship in Great Britain

1998

recognition award for music

2001

post-graduate scholarship for the Theremin Center Moscow

2011

publicity-award

2012

state scholarship for composition

2013

award of recognition in media-art

Description of Style

Where is the beginning? I do not know where it should be set, maybe already in my mother's womb, or only in the cellar of different rehearsal rooms? Improvisation was always important to me; the interplay of chaos and order, or as it is often called, structure. In any case it means ordering, sorting out, structuring, layering, varying, destroying, until an audible structure appears. I work on my own now, first in groups, mainly with men. Not understanding technical language motivated me to learn it, so I studied electro-acoustics and experimental music from 1987 to 1989. Then I did two projects ('Zustände', 'Bach') with Katharina Klement. My first contact with fundamental harmonics research was with Prof. Rudolf Haase in 1986. Now, I am on my own. 'A-le-lu-ja' was the first attempt of a greater form; the band plays adamantly, the voice is free and slowly finds its structure here, in the performance. My voice, body, is the starting point, I cannot sing, I have received private singing lessons, the voice, my very personal form of expression, it is always with me. Counter point is studio work, working through sound material aided by analogue and digital equipment. Space, sounds in space, the space in sound, space and situational work. The production of a preserve, an own story. Transparency, a demand for myself. Whether I ever compose for someone else? Now I create my own instruments for myself, the orchestra. A new challenge, being involved with performers, the attempt to note down an idea in order to recostruct it. Every attempt gets stuck in my thoughts, clueless, how do I find the adequate sign language, the depiction of such a complex structure, only in writing? The culture of written language, ethnology, a challenge, working with other thought structures. For music? Recognising ones own tradition. "I was foreign as I moved out, and am foreign as I return home". All have been excursions, musicology, ethnology, studies. All separate? Family (three children), studies, work, managing - creating. No, not separate, complex, complex structures.

 

Elisabeth Schimana, 1995

Press Reviews

5. December 2001

For almost every piece, every composition by artist Elisabeth Schimana, it is true that the centre of interest is the body and physicalness. This is definitely not obvious in the case of an artist who works with electronic means and media often and happily. It is also not correct to say that the central theme in Elisabeth Schimana's is the body and physicalness, as her themes are always about the relation of physicalness to specific situations, specific contexts.

Skug (Nina Ross)

Discography, Projects

Projects:

  • 2013: Hautkörper [Live Electronic & Acoustic Instruments]
  • 2012: Auf und Zu [Live Electronic & Acoustic Instruments]
  • 2012: Virus #2 [Live Electronic & Acoustic Instruments]
  • 2012: You Never Know [Interactive Media Installation]
  • 2011-2012: Virus #1 [Live Electronic & Acoustic Instruments]
  • 2011: Good News im QuotenJournal [Radioart]
  • 2011: Modells [Interactive Media Installation]
  • 2011: vibrate space [Sound Installation]
  • 2009, 2012: Dope Beat Rosengarten [Live Electronic & Visuals]
  • 2009: Taktfrequenz [Acoustic Instruments]
  • 2009: Le midi alla turca [Max Brand Synthesizer]
  • 2009: Sternenstaub [Live Electronic]
  • 2009: Höllenmaschine [Max Brand Synthesizer]
  • 2006, 2008: on tesar [Live Electronic & Acoustic Instruments]
  • 2005: Moskwa [Radioart]
  • 2003: Gewebe 03 [Live Electronic & Visuals & Acoustic Instruments]
  • 2002, 2006: Schatten [Interactive Media Installation]
  • 2001-2006: die große partitur [Live Electronic & Visuals]
  • 2001: sitting in my chair [Live Electronic & Visuals]
  • 2001: patriarchal poetry - dance for daisies [Radioart]
  • 2000-2001: ein dorf tut nichts [Art in Social Space]
  • 1995: Weave [Radioart]
  • 1989: Sirenen [Tape & Performance]