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HISTORY EINS //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF

A Sauna´s Family Magazine

A Prater sauna Wien Pu bl i c a t i o n


EDITORIAL DREI //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF


Dear saunists, The original sign “Sauna infusion permitted only with scoop“ hanging in our office is a leftover from the good old sauna days of the 1960s and 1970s. In early 2009 we took it over from our predecessor and at that time tenant, Mr. Schober. He handed us the sign like a scepter with a melancholic look – and along with that also the reign of his kingdom. Hence, we dedicated the cover story to him (Pratersauna History, p. 8) in our first edition of the DAMPF magazine! Mr. Schober, who had shaped the Pratersauna being his second home every day for 15 years, controlled the fate of his naked friends: thus, he and other witnesses of that time told many and exciting stories on camera – but more on that later. Now it is up to us to maintain the myths, to honor the past with the appropriate respect and to lead the Pratersauna with visionary thinking into a new challenging future. First, let us briefly look back and tell you the story of the Pratersauna’s rebirth: Once upon a time, the European Football Championship took place in Austria… Many football fans from all over the world gathered in Vienna and rambled through the Viennese Prater, past the sauna, to the big football stadium. Fearing the destructiveness of these same ramblers, the former operators decided to close down for three weeks the already rather intimate summer activity and to close it down officially. This was the perfect opportunity for our off-location party concept “Wurstsalon”. Our recipe: youthful carelessness, a dose of cockiness topped off with a good party mood. Initial contact: two days of partying, pool, music. Non-stop. No one would have thought that this party - the 21st of June 2008 - would be the “birth” of the present Pratersauna. A 2,500 sq. m. large bottomless pit! But who needs a bottom, if it has a pool and a sauna, right? We immediately succumbed to the 1970’s charm and fell in love with it straightaway. Dingy was considered as innovative, trash as original, the

40-year-old electrics as interesting, the equally old heating was adorable and holes in the ceiling welcomed ventilation. With rose tinted glasses on, the idea of an adapted concept named “Social Life and Art Space” was born and our baby soon learned to crawl: 180,000 visitors, 1,000 national and 400 international artists, 300 events, exclusive event labels and an own festival ( All in one year. That was 2010. Nevertheless, the second place in the Central European Club Ranking of the DE:BUG poll even surprised us a little. So at this point a big thank you to all the readers who voted for us! We consider this a confirmation, and above all, a great incentive to continue and to get our baby to walk. So far, so good. Thanks to these circumstances, we can finally begin to set the foundation for the PS ArtSpace (p. 30). Thus, the year 2011 will be dedicated to art and our own publication, the “DAMPF – A Sauna’s Family Magazine” in front of you. In time for the start of the summer season we present to you the independently operating “White Cube” on the first floor, where we will initiate exhibitions in collaboration with national and international artists. The combination of a club and a gallery gives fresh impetus to both art discourses and urban life and forms the unique positioning of the PS ArtSpace. The opening will include a self-organized exhibit showing an interesting Austrian artist (p. 34). So, enough said. Have fun enjoying the content and the visual experience. Best wishes, Hennes & Stefan

CREDITS FOUR //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF


CREDITS / TEAM CONTRIBUTIONS PARTNERS Publisher Editor in Chief Creative Direction, Layout & Design Contributing Photography

Contributing Editors

Mag. Hennes Weiss & Mag. Stefan Hiess / Pratersauna Managing Directors Geronimo-Noah Hirschal / Peach Lab / Axel Walek / Transponder /

Michael Dürr / Claudio Farkasch / Lukas Gansterer / Kemi Fatoba / London Judith Innerhofer / Berlin Klaus Ludwig Clemens Mar Nadine Kreter / London


Iulia Natrapei Michael Ladner


Axel Walek / Transponder /

Advertising & Sales

Photo Models

Geronimo-Noah Hirschal Hennes Weiss

This Magazine is printed on Bio TOP 3 & Nautilus Universal 100 % Recycling Paper. Printed and friendly supported by DonauForumDruck and Mondi Paper by Antalis. We think, that is great.

JOIN THE ILY. FAM n the Get olinglist Mai

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LINK COLLECTION in alphabetical order 25 Hours Hotel/

Prater Unser Festival/

Photostory Brands Links

42 Below Vodka/

PS ArtSpace/

Acne /

Antalis Papier/


Agent Provocateur /

Bebob Rodeo/


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Urban Artforms Festival/

Florian Ladstaetter /



Gem Kingdom /


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Frequency Festival/

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Magnolias /


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Stylist´s Own /

Michael Duerr/

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The 6th Floor /


ThisNext /

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Wolford /

PoolBar Festival/



Musik und Kultur von Nischen bis Pop


Wir empfehlen: Taxi 40100


08 GLORY DAYS Pratersauna History


22 STUWER VIERTEL 6.30 A.M Photo report by Lukas Gansterer

21 WHO NEEDS SLEEP TONIGHT? Column by Kemi Fatoba




CLEMENS WOLF Deforestofences


Art Exchange with Chelsea Art College London

39 ULRICH NAUSNER Reconquistero

46 STIRNPRUMZER Desillusionation Experikrement Kretex Neperim




Labels, Brands & Rock´n Roll

DUSCHDICH Making of an eventproduction

66 WOLF & LAMB Artist Interview


CALENDER Dates & Events

COVER STORY NEUN //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF


ENDLESS DAYS OF GLORY / A Sauna´s History Lesson


ie Pratersauna war immer schon eine echte Wiener Institution. Ein Ort an dem sich früher wie heute ein Querschnitt aller Gesellschaftsschichten unserer Stadt versammelte um eine gute Zeit fernab des faden Alltags zu zelebrieren. Damals pilgerten die Leute in die Sauna um sich ihre Kleider vom Leib zu reißen und sich wieder als Mensch zu fühlen, nackt wie sie zur Welt kamen und nackt wie sie diese wieder verlassen werden, oder leider schon haben. Wer seine Kleider ablegt, streift damit auch seine gesellschaftlichen Statussymbole ab und entblößt sein wahres Antlitz. Nackt sind alle Menschen gleich – sagt man salopp – zumindest gleich nackt. Heute fühlen sich die Besucher eher von Kunst, Musik und der Atmosphäre in der Pratersauna angezogen. Sie kommen auch angezogen, um zu tanzen, zu feiern und sich genau wie die Hardcore Saunierer von damals als Mensch zu fühlen und Ihresgleichen zu begegnen. Obwohl! Wenn ich mich richtig erinnere: Selbst ich habe schon in den frühen Morgenstunden splitternackte Jungs und Mädchen gesehen, die sich ihres Lebens erfreuten – liebend, tanzend, verschwitzt.Vielleicht hat sich auch gar nicht so viel geändert. Möglicherweise haben sich auch nur die Interessen verschoben warum man die Pratersauna besucht, nicht aber wie man sie und sich selbst hier auslebt. Nackt hin oder her. Dieser Spirit, der die Pratersauna umgibt, sorgte immer schon für zahllose Gerüchte. Als ich meiner Mama erzählte, dass ich was über die Pratersauna

schreibe, meinte sie nur: „Wos? Ist das ned a bissl a anrüchige Gschicht?“ Plötzlich hatte ich ein Déjà-Vu. Nicht selten haben wir es erlebt, dass grau melierte Wiener bei ihrem sonntäglichen Praterspaziergang neugierige Blicke voller Sehnsucht durch unsere Türe geworfen und ein paar Kommentare gemurmelt haben: “Wos es hobts wieder offn? I woa früha oft do. A leiwande Zeit. Do is zua gongan, des kennts eich heit nimma vurstön!“ Genau Sätze wie diese haben uns motiviert der Geschichte dieses Hauses auf den Grund zu gehen. Und so haben wir uns mit ehemaligen Insidern getroffen, um durch ihre


he Pratersauna has always been a true Viennese institution. A place in which yesterday and today a cross section of all the social classes of our city gather in order to experience a good time far away from the bores of everyday life. Back then, the people made pilgrimages to the sauna to rip their clothes off their bodies and feel human again, naked the way they entered this world and naked the way they’ll leave it, or have sadly done so already. Whoever takes off their clothes, does away with their social status symbols and exposes their true face. Everyone is equal when nude – so they say – at least

“I have seen bare naked boys and girls – loving, dancing, sweating.” Geschichten den originalen Pratersaunageist wieder ins Hier und Jetzt zu rufen. Obwohl die „ehrenwerte Gesellschaft“ der 60er bis 90er einem Kodex des Schweigens unterliegt, haben wir ihnen doch für heutige Verhältnisse unglaubliche Anekdoten entlocken können. Namen werden keine genannt, denn ihr Vertrauen ist uns eine Ehre und bleibt gewahrt. Nach der folgenden Geschichte können wir es uns aber zumindest ein wenig vorstellen wie es hier zugegangen ist – arg. Unsere Pratersauna Geschichtsstunde wurde von vier Zeitzeugen der glorreichen Tage gehalten. Lasst mich ein paar Worte zu unseren Gastprofessoren verlieren. Der ehemalige Betreiber der Pratersauna Herr Schober war „eher mehr der Tennisspieler“. Er hat sich mit der Sauna einen Traum erfüllt und alles mit echtem Sportsgeist geleitet,

equally naked. Today visitors feel more adorned by the art, music and atmosphere in the Pratersauna. They come dressed to dance, to party and to feel just as human as the hardcore sauna-goers from back then – and to meet their peers. However! If I remember correctly, even I have seen bare naked boys and girls in the early morning hours, rejoicing in their lives – loving, dancing, sweating. Maybe things haven’t changed so much after all. Maybe it’s only “why” you visit the Pratersauna that has shifted and not “how” you act here. Naked here or there. This spirit that the Pratersauna delivers, takes care of generating countless rumors. When I told my mother I was writing something about the Pratersauna, she said, “What? Isn’t that a

bit of an infamous place?” Suddenly I had déjà-vu. Not infrequently we’ve experienced a Viennese lady or gentleman tinged with grey hair passing by on their Sunday stroll, throwing curious and lustful looks through our doors, mumbling a few comments: “What, you reopened? I used to come here often. A great time. It was completely nuts, you can’t even imagine that today!” Statements like these have motivated us to get to the bottom of the history of this house. That’s why we met with the former insiders in order to bring back the stories of the original Pratersauna spirit. Although the “honorable” society from the 60s to the 90s had a code of silence, we were actually able to unearth some unbelievable anecdotes for today’s standards. Names won’t be named, as their trust is an honor for us to keep. After the following stories, we can at least begin to imagine how it came to this. Our Pratersauna story time was lead by a eyewitness to the glory days. Let me give a few words to our guest professor. The former manager of the Pratersauna, Herr Schober, was “really more of a tennis player.” He made a dream come true with the Sauna and led everything with a true sporting spirit, and accordingly indulging in it. Frau Andrea – the rustic cashier with a golden Viennese heart – loves to use her elbow during work, and much more later on. Frau Sonja we would call girly today; she wrapped everyone around her finger with her girly charm, and still does today. And last but not least Herr Stefan – the lifeguard who came as a guest and left as the boss 40 years later. “Actually Stefan was a business man!

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beziehungsweise über sich ergehen lassen. Frau Andrea - die rustikale Kassadame mit goldenem Wienerherz setzte gerne ihre Ellenbogen bei der Arbeit ein, dazu aber später mehr. Frau Sonja würde man heute als “Girlie” beschreiben. Sie wickelte mit ihrem Mädchencharme alle um den Finger, tut es auch heute noch. Zu guter Letzt Herr Stefan – der Bademeister, der als Gast kam,


und als Chef 40 Jahre später wieder ging. „Eigentlich war der Stefan Geschäftsmann. Bademeister war nur die Bezeichnung!“, meint Herr Schober mit wissendem Lächeln. Saunieren war In - Wellness, was ist das? In den 60er Jahren kam der Trend des Saunierens nach Österreich. Es war sehr chic und modern in

die Sauna zu gehen. Der damalige Fleischkaiser von Österreich, ein erfolgreicher Fleischhauer und Saunafreak, kaufte das Objekt, das ursprünglich als Rettungsstation gedacht war und verwandelte es in eine Oase für freigeistige Saunafreunde. Dieser Fleischer war damals sowas wie heute der Lugner ist, aber nur vom Promistatus, nicht von der Persönlichkeit her zu vergleichen.

Ein leiwander Haudegen der gerne mal über den Durst getrunken hat und auch den Damen nicht gerade abgeneigt war - höflich ausgedrückt. Nebenbei war er auch Millionär. „Ihr miassts eich vurstön, der is mit a poar hunderttausend Schilling im Plastiksackerl über da Schulter umanonda grennt. Amoi woarn er und seine Hawara so fett, dass des Göd an die Schweindln verfüttert

COVER STORY ELF //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF

Lifeguard was just his title!” Herr Schober says with a telling smile. Saunas were in – wellness, what’s that? In the 60s the sauna trend reached Austria. It was very chic and modern to go to the sauna. The meat king of Austria, a successful butcher and sauna freak, buys the object, that originally was conceived of as a


rescue center and was transformed into a oasis for free spirited sauna fun. This butcher was something like what Viennas Richard Lugner is today – but only in his celebrity status, not a comparable personality. A topnotch warhorse that drank away his thirst and wasn’t known to deny women – politely said. On the side – he was a millionaire. “Imagine, he would walk around with

some hundred thousand Schillings (equals some tenthousand euros) in a plastic bag over his shoulder. Once he was so drunk that he and his wife fed the money to their pigs,”. Through it’s owners local fame the Pratersauna soon became the spot for the sauna culture of that time. You could say that these ladies and gentlemen were the first to earn the name Hotvolley. Everything

having to do with status and names in the chic Viennese scene was there to make it run well. It had little to do with wellness, Andrea reports: “Wellness wasn’t there at all. There were the legendary sporty Sundays, where people did three infusions at 120 degrees and after each round chugged a beer. At 110 degrees people refused to count. The people came to drink and eat with their

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COVER STORY DREIZEHN //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF

hobn.“, merken Herr Schober und Frau Andrea an. Herr Stefan fügt hinzu: „Ich hab ma mal an goldenen Mercedes von erm ausgeborgt um auf die goldene Hochzeit meiner Eltern nach Kroatien zu fahren. Leider hob i an Unfall ghobt.“ „Oba ollas ka Problem!“ nehmen die anderen die Pointe vorweg, „er hot jo des Göd a an die Schweindln verfüttert!“. Brüllendes Gelächter. Durch seine Lokalberühmtheit wurde die Pratersauna schnell zum Szenetreff der damaligen Saunakultur. Man könnte sagen diese Herren und Damen haben den Namen Haute Voleé am ehesten verdient. Alles, was Rang und Namen in der Wiener Schickeria hatte, war da um es sich gut gehen zu lassen. Mit Wellness hatte das aber wenig zu tun, weiß Andrea zu berichten: „Oiso Wellness woa des kane. Es hot gebn den legendären sportlichen Sonntag, wo’s bei 120 Grad drei Aufgüsse gmocht hobn, und noch jeder Runde a Seidl owe gstessn hom. Bei 110 Grad hätten die si gweigert zu zahlen. Die Leit san kumman, damit’s mit ihre Hawara saufen und fressen hom kennan. Oder is des a Wellness, wennst beim saunieren zehn Krügerln trinkst?“ Herr Schober und Herr Stefan erinnern sich: „Unsa Koch damois woa da spätere Koch vom Hotel Sacher. Des muass ma si amoi vurstön. Der Fleischkaiser hot des Fleisch zum Okkasionspreis bekumman. Wir hom anahoib Quadratmeter Schnitzel ghobt!“ Die Leute damals waren anscheinend aus einem anderen


Holz geschnitzt. Wenn man das auf heutige Maßstäbe umlegt, würden unsere Fitnesspropheten ganze 10 Minuten die Gangart dieser Kaliber überleben. Hochachtung, Freunde! Saunieren mit allen Extras Wo sich so viel nackte Haut trifft wie in der Sauna, da entsteht auch schon mal ein wenig zärtliche Spannung. Da gab es die Frau Helene. Bei ihr gab es die beste Maniküre der Stadt. Sogar die Super-Machos von damals ließen sich ihre Arbeiterpranken von Helene aufpolieren. Manche sogar zweimal am Tag, so charmant und begabt war Helene. Sonja und Andrea erzählen: „Die Helene war scho damals a bissl reifer, aber die Männer san Schlange gstanden bei ihr. Schließlich woar sie drei Mal verheirat und hot olle Männer im gleichen Grob beerdigt, damit’s nur amoi giaßn geh muass.“

friends. Or is it wellness when you drink 10 half-liter beers?” Herr Schober and Herr Stefan remember: “Our chef those days later became the chef at the Hotel Sacher.You have to imagine, the meat king got the meat for a very cheap price. We had 3m2 schnitzel!” People those days seemed to be made of a different material. If you translate that to today’s standards, our fitness prophets would survive a pace of this caliber for 10 minutes. Friends, respect! To sauna with all the extras When so much bare skin meets in the sauna, a little bit of affectionate tension exists. There was Frau Helene. She gave the best manicures in town. Even the super machos would let their worn paws be polished up by Helene. Some even did it twice in one day; that’s how

“Wo sich so viel nackte Haut trifft, entsteht schon mal zärtliche Spannung.” Ein anderer sympathischer Filou, einer der größten Schmuggler der Nachkriegszeit, gab dem Bademeister ab und zu einen „Fleck“, also etwas Schmiergeld, um das Dampfbad vorübergehend „wegen Reparatur“ zu sperren, erzählt Herr Schober. Frau Andrea kann sich auch noch an ihn erinnern: „Do is amoi a Dame zur Rezep-

charming and skilled Helene was. Sonja and Andrea explain: “She had been married three times and buried all the men in the same grave so that she only had to water the flowers once.” Another nice rogue, a big post-war smuggler gave the lifeguard a “spot” (a little bribe) once and a while to temporarily close the steam room “for repairs,”

tells Herr Schober. Frau Andrea can remember him well: “Once a woman came to the reception and said she wanted to pay the masseur. –We don’t have a masseur – But of course! He massaged me so well. Take the money, thanks!” Then Andrea got it. Later they hired real masseuses. All five were booked everyday. Only one of them took his job a little too seriously and earned the nickname “corpse washer. “He made some women very happy” our storytellers say with a smirk. What they mean with their running joke “funny thigh,” we don’t really want to know. Naked integration Where politics fail today, the Pratersauna in its golden days was regulated by the invisible hand – integration through nudity. Here the rich met the poor, the academics met street smarts, the losers met the winners. They came to the sauna from all classes and nationalities. A beautiful mishmash – the Viennese. Herr Stefan is from the former Yugoslavia. When the by now cultish integration campaign was placarded throughout the city, a little kid said to a guest worker: “My name is Kollaritsch, your named K., why do they say “Yugo” to you? But when Herr Stefan was insulted again about his background, he would always say dryly, “I didn’t come to Austria to work, I came to amuse myself. Furthermore my mother is a gypsy and my dad is Yugoslav – I’m truly Viennese.” It doesn’t get any

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tion kumman und hot gsogt, sie wü den Masseur zahlen. – Wir hom kan Masseur – Oba jo! Der hot mi grod so guad massiert. Nehmans‘ des Göd, danke!“ Dann war Andrea alles klar. Später hatte man auch echte Masseure eingestellt. Jeden Tag waren fünf ausgebucht. Nur einer von ihnen nahm sein Handwerk ein bisschen zu ernst und bekam den Spitznamen „Leichenwäscher“. „Er hat ein paar Damen sehr glücklich gemacht“, schmunzeln unsere Geschichtenerzähler. Was sie mit ihrem Running-Gag vom „lustigen Oberschenkel“ meinten, wollten wir aber dann doch nicht so genau wissen. Die nackte Integration Wo die Politik heute versagt, das hat die Pratersauna in den goldenen Zeiten durch eine unsichtbare Hand total natürlich geregelt – Integration durch Nacktheit. Hier trafen die Reichen auf die Armen, die Akademiker auf die Straßenwissenschaftler, die Verlierer auf die Gewinner. Aus allen Klassen und unterschiedlicher nationaler Herkunft kamen sie um zu saunieren. Ein schöner Mischmasch - die Wiener halt. Herr Stefan ist aus dem ehemaligen Jugoslawien gekommen, als die mittlerweile kultige Integrationskampagne der Stadt Wien plakatiert wurde, bei der ein kleines Kind zu einem Gastarbeiter sagt: „I haß Kollaritsch, du haßt Kollaritsch, warum sogn’s zu dir Tschusch?“ Wenn der Herr Stefan aber doch mal wegen seiner Herkunft verarscht wurde, meinte er immer trocken: „I bin ned zum Hackln noch Esterreich kumman, sondern zum Amüsieren! Außerdem, mei Mama is Zigeina, mei Papa a Tschusch – I bin a echter Wiener!“ Besser geht’s nicht. Frau Andrea und Herr Stefan erzählen weiter: „Do san de Fußballer von Rapid und Austria neben dem Kickboxmeister gsessen. A Polizist neben an Strizzi, der wiederum neben dem Vizepräsidenten der größten österreichischen Bank. An Plotz weiter is da Gefängnisdirektor neben seine ehemoligen Häftlinge mit dem nocktn Orsch am gleichen Holz gsessen. Es hot nie Probleme gebn! Wir hom richtig schwere Jungs a do ghobt. Grod de wo’s das ned glaubst, hom si do wie die Chorknaben benommen – Bitte, Danke, Grüß Gott – ollas!“ Auf die Frage ob sie damals Türsteher gehabt haben, fangen alle zu lachen an und raunen: „Naa! Wir hom jo die Andrea ghobt, die hot schlimmsten Falls aufpasst bis die Polizei kumman is, owa sowas is all die Jahre so gut wie nie vorkomman. Do hots ghaßn – Gusch - und Schluss woa!“

better. Frau Andrea and Herr Stefan further explain: “Soccer players from Rapid and Austria would eat next to the kick boxing champions. A police officer next to a pimp, who sat next to the vice president of the biggest Austrian bank. One seat further was the prison warden next to a former inmate with a bare ass eating on the same bench. There were never any problems. We had genuine gangsters there. Even those that you would never believe, they behaved like proper choir boys, please, thank

“The Pratersauna was there for everyone! There were no conflicts because of that rule” you, everything!” To the question of whether there were any bouncers back then, everyone starts laughing and then they whisper: “No! We had Andrea. In the worst-case scenario, she would watch out until the police came. But over the years something like that practically never happened. It would have just been – shut up – and that’s it.” Andrea remembers another funny anecdote: “Once a fat Russian Mafioso swam by a high-ranking Viennese tax collector and asked him if he wanted to buy cheap cigarettes or caviar. He said he’s the last person to be asking.” The crazy atmosphere brought everybody together and made them all satisfied. This social diversity would on the other hand generate a lot of rumors. “Red-light milieu, mafia, gay sauna, sex orgies” you would hear the honest folks whistling from the roofs. “No, no, no!” our four veterans respond. “The Pratersauna was there for everyone! There were no conflicts because of that rule,” the tenor says. Herr Schober believes that rumors always exist. Mostly from people that had nothing to do with it and were jealous that they weren’t able to be there, “or who were too shameful.” Today isn’t different. “A guest is a guest! And if a lady came, who also worked in the trade, it doesn’t mean that this is a whorehouse.” Herr Schober is right. Handshake of a generation It’s important to us to continue today with this integrative spirit. The way young people speak may have changed a bit and the audience too. But we want to maintain the feeling

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Andrea fällt noch eine witzige Anekdote ein: „Amoi is a blader russischer Mafiosi beim Wiener Steuerinspektor vorbei gschwomman und hot erm gfrogt, ob er ned bülliga Tschick oder Kaviar braucht. Der hot drauf gmant, dass er erm besser ned frogn sollt – Olle hom glocht. Do is da Schmäh grennt und olle woarn zfrieden!“ Diese gesellschaftliche Vielfalt war andererseits auch Auslöser für so manche Gerüchte. „Rotlichtmilieu, Mafia, Schwulensauna, Sexorgien“ hörte man die biederen Spatzen von den Dächern pfeifen. „Nein, Nein, Nein!“, wehren sich unsere vier Veteranen. „Die Pratersauna war für alle da! Mit dem Gesetz kamen wir niemals in Konflikt.“ lautet der Tenor. Herr Schober meint, dass Gerüchte immer entstehen. Meist von Leuten die damit gar nichts zu tun haben und neidig sind, dass sie nicht dabei sein zu dürfen oder “zu gschamig sind“. Heute ist es nicht anders. „Gast ist Gast! Und wenn eine Dame kommt, die nebenbei dem Gewerbe nach geht, haßts no long ned, dass do a Puff is!“ Recht hat der Herr Schober. Handschlag der Generationen Uns ist es wichtig diesen integrativen Geist auch heute weiter zu führen. Die Sprache der Jungen hat sich vielleicht ein wenig geändert und auch das Publikum. Doch dem Schmäh und dem Gefühl der Gemeinsamkeit wollen wir weiterhin


ein zu Hause sein. Anfangs haben sich viele von den alten Saunierern auf den Schlips getreten gefühlt, dass ihre geliebte Pratersauna nun ein Club ist. Sie fühlten sich gewissermaßen vor die Tür gesetzt und ausgeschlossen. Umso wichtiger war es für uns diesen Dialog zu suchen, um Missverständnisse zu beseitigen und ein Gefühl zu finden, dass wir alle Figuren in einer langen, schönen Geschichte sind. Unsere vier Interviewpartner freuen sich heute darüber und sind froh, dass in der Pratersauna noch das pure Leben tanzt. Eigentlich wäre es ja fast zu Ende gewesen, weil niemand mehr eine Vision für die Pratersauna gehabt hat. Der bloße Saunabetrieb wäre heute nicht mehr leistbar und das Geld für eine Renovierung wäre auch nicht da gewesen. Herr Schober meint dazu: „Sowos wos wir ghobt hom, wird’s nie wieder gebn. Owa wir hättn ned so weita mochn können. Wenn i heit do bin, donn hob I a lochendes und a wanendes Aug. A lochendes weil ihr des auf eure Art weiter belebts und a wanendes wegen unsere gonzn schenan Erinnerungen und Erlebnisse, die nimma zruck kumman. Des is wie wenn ma a Frau verlosst, do waanst weil’s da leid um sie tuat, owa lochst weil vielleicht a bessere kummt.“ Andrea quietscht vergnügt dazwischen: „Jo owa bei dir hot’s a Weiba gebn, wo ma mit beide Augen glocht hom, dass‘ endlich weg woa!“

of togetherness in the house. In the beginning, many of the old sauna crowd felt like we were stepping on their feet, that their beloved sauna was not supposed to become a club. They felt excluded and left out to an extent. All the more important for us to seek out this dialogue, to dispel any misunderstandings and to create a feeling that we’re all characters in a long and beautiful history. Our four interview partners are happy about that and like the fact, that the Pratersauna still celebrates raw living. It actually had almost come to an end because nobody had a vision for the Pratersauna anymore. A real sauna wouldn’t be financially viable today and there wouldn’t be money for a renovation either. To that Herr Schober says: “What we had, will never be again. But we couldn’t have continued with it. When I’m there today, there’s both laughter and tears in my eyes. Laughing because you guys live it out in your own way and crying because of all our beautiful memories we can’t relive. It’s like when you leave a woman, you cry because it hurts and laugh because maybe you’ll find a better one.” /// Original History Photography by Michael Dürr Interview Video stills by Markus Gasser


// May – September

// Wednesday – Sunday // 13.00 – 21.00

// Every Saturday & Sunday // DJ LineUp & More


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VJ LAB NEUNZEHN //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF


lichterloh VJ Lab Men On The Moon.

Visionairs of visual. Ein Interview mit dem kongenialen Visualistenduo lichterloh.

Visualisierungen bestehen immer aus der kreativen und der technischen Komponente. Könnt ihr euch für eine Lieblingskomponente entscheiden? Ja, das ist leicht. Klar, unsere Arbeit ist ohne Technik nicht zu machen, das ist allerdings eben nur Bedingung für das, was wir machen. Am Ende zählt immer nur der Output; nicht die Verkettung von Technik, die dazu nötig ist. Wir mögen es auch nicht besonders, wenn wir als Techniker verstanden werden, nur weil wir wissen, wie man einen Projektor zum Laufen bringt. Trotzdem sind wir aber immer auch auf der Suche nach neuen technischen Möglichkeiten, experimentieren viel, und das macht Spaß. Neue Lösungen zu suchen kann sehr spannend sein- das ist wie Lego Technic für Erwachsene. Ausserdem nährt das unseren eigentlichen, kreativen Prozess.

Der Spieltrieb dient also als Katalysator für kreative Prozesse. Womit spielt ihr außer mit Lichtinstallationen noch gerne? Die meisten wissen davon nichts, auch weil wir noch nie wirklich gut darin waren uns selber zu verkaufen, aber unser Arbeitsbereich erstreckt sich von Illustrationen, Musikvideos über interaktive Installationen bis hin zur eigens gelöteter Elektronik. Live Visuals, projiziertes Licht und Lichtinstallationen sind dabei nur das Zentrum, um das wir kreisen. So gesehen sind wir wohl der Hans-Dampf-in-allen-Gassen digitaler Medien; zum Spielen gibt’s also genug. Im Moment arbeiten wir an einer interaktiven Installation mit der XBOX Kinect.

Wie steht Ihr zu der ständigen Veränderung, die in der Location die Ihr hier fix bespielt, stattfindet? Für uns ist das ideal. Sicher, nicht jede Veränderung im Haus spielt automatisch in unsere Arme; manchmal werden dadurch vielleicht auch von uns bereits geplante Projekte verhindert oder müssen verschoben werden...aber jede Veränderung bringt auch neue Möglichkeiten Ideen zu finden, also weiter zu spielen. Da kommen wir kaum nach, so muss das sein!

Habt ihr schon Pläne für den PS ArtSpace? Nein, nicht konkret. Wir freuen uns, dass es endlich los geht und werden uns so weit einbringen, wie wir können bzw. es von uns gewünscht wird. Eigene Arbeiten von uns wird es geben, vorerst sehen wir uns allerdings mehr als Support im Hintergrund. Abseits davon wird es, sozusagen als kleine Schwester des Artspace, ab hoffentlich Mitte des Jahres regelmäßig Workshops geben, mit Schwerpunkt digitale Kunst, wo wir für die Konzipierung und das Programm mitverantwortlich sind und auch den ein oder anderen Workshop halten werden.

Gibt es etwas, von dem ihr sagen könnt “das wollen wir einmal bespielen”? Den Mond, das macht am meisten Sinn.

Visualizations always have both a technical and a artistic component. Do you guys prefer one? That’s an easy one. Surely, our work needs technical approaches, but only as a basic prerequisite for the things we are about to do in the end. What counts is the final output; it’s not about the technical solutions that take us there. So we dislike being held as engineers, just because we know how to handle a projector. On the other hand, there’s the constant search for new technical solutions, doing experimental stuff, which is a lot of fun. It’s like playing around with Lego for adults. And it also fuels the main, creative process.

So playing around seems to be a catalyst for the creative process. Besides of visual installations, what else do you like to play with? Most people do not know, also because we’re not really into that selling ourselves thing, that our field of work includes illustration, music videos, interactive installations and custom-made electronics. Live visuals, projected lights and lightinstallations are just the center, but we work with digital media generally. And there’s enough to play around with for sure. This very moment we’re working on an interactive installation using the XBOX Kinect device.

As residents of the Pratersauna, how does it feel to work in a steadily evolving location? It’s perfect. Event though not all of the changes comfort our work; from time to time things we’ve been planning end up foreclosed or there are delays… but every change brings new opportunities for new ideas. That’s how it’s supposed to be!

Are you having any plans for the new PS ArtSpace? Nothing precise. We’re happy for it to finally start and to play a part in it. There will be works of ours exhibited, but until then we will be more of a background support unit. Beside of all this we will host and co-host regular workshops starting in summer, main topic digital arts.

Is there something you would absolutely love to project something onto? Like the screen of your dreams? This would be the moon. That makes sense.

UPCOMING PROJECTS: 06.05. - Bauchklang a/v Show, Fete de la Musique (Luxembourg) 04.06. - Live Visuals, Spring Festival, Postgarage (Graz) 16.06.-18.06. - Live Visuals, Urban Artforms Festival (Wr. Neustadt) 20.06.-21.06 - Bauchklang a/v Show, Designers Day (Paris) 24.06. - Live Visuals, Pratersauna World Tour (Moscow) 30.06.-01.07. - Bauchklang a/v Show, Fusion (Mecklenburg) 30.06.-04.07. - Video Installation, Prater Unser festival (Vienna)

COLUMN TWENTYONE //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF


WHO NEEDS SLEEP TONIGHT ? / A Column by Kemi Fatoba

Manchmal weißt du selbst gar nicht mehr wie es dazu kam, dass du wieder mal im Club gelandet bist aber eines weißt du ganz genau: du willst hier nie wieder raus. Alles ist nur noch magisch, sogar das Schlange-Stehen auf der Toilette. Du steigst auf euphorische Endlosgespräche mit Leuten ein, die du sonst nicht mal ignorieren würdest. Deine Laune kann durch nichts verdorben werden, auch nicht durch Menschen, die unter normalen Umständen Übelkeit bei dir hervorrufen würden. Fast schenkst du ihnen sogar ein Lächeln. Aber nur fast. Du bewegst dich in einer Parallelwelt, in der nichts, Zeit am allerwenigsten, eine Rolle spielt. Wer ausgeht, ist auf der Suche. Heisst es. Stimmt ja auch meistens. Nach jemandem, etwas, sich selbst oder einfach nur einer Fluchtmöglichkeit. Wenn du mit dem Ziel ausgehst, auf jemand bestimmten zu treffen, stehen auch die Chancen, dass die Nacht gut bis großartig verläuft bzw. ist das Risiko, dass alles schlecht bis total beschissen verläuft, um einiges höher. Aber Risiko ist gut, und aufregend. Besser ausgehen und auf der Suche nach jemandem zu sein, als auf der Suche nach dir selbst andere mit deinem Seelenstriptease zu nerven.Vor allem in jungen Jahren begibst du dich oft und gerne auf alle Zeit und Energie konsumierende Missionen. Deine Gedanken kreisen nur noch um diesen göttlichen Auftrag. Mit der Zeit wird alles, auch private Liaisons ,etwas pragmatischer und fokussierter gesehen. Das Ausgehziel wird zu einer ergebnisorientierten Kraftanstrengung, ein zeitlich und finanziell begrenztes Projekt.Wenn nach 10 Minuten nichts geht – Ciao! Wesentlich entspannter ist es natürlich mit Freunden auszugehen und einfach nur eine gute Zeit zu haben, dich also hemmungslos abzuschießen. Egal, wie viel Spaß du mit diesen Menschen hast, die dich sexuell kaltlassen, S o m e t i m e s nicht wahrnehmen, manchmal sogar abstoßen, irgendwann, meistens in den unmöglichsten Momenten, mit schaum in den Mundwinkeln you don’t even und nachdem du dich öffentlich mehrfach gedemütigt und entwürdigt hast, bekommst du plötzlich doch noch Lust auf Sex. Wenn du zu remember how dieser Erkenntnis gelangst, was in der Regel kurz vor Sperrstunde der Fall ist, sind entweder nur noch Restposten im Club anzutreffen you endend up in oder deine Freunde müssen jetzt herhalten. Oder du lässt dir einfach den Rest deiner Würde als Takeaway einpacken und gehst nach the club yet again but Hause. Wenn du schon alles gefunden hast, was du gesucht hast bzw. aufgegeben hast, zu suchen oder etwas finden zu wollen, ist there is one thing you ein ganz anderes Level von Ausgehen erreicht. Das Erbärmliche. Das, bei dem jeder dein Gesicht kennt und sich fragt, was du know for certain – there is hier immer noch machst, man dir Depressionen und Verlorensein unterstellt und dich als Verlierer abstempelt. Das, bei dem es no way you are leaving. Eve- dir eigentlich ganz gut geht, du aber plötzlich Rechtfertigungsdruck aufgrund deiner ständigen Anwesenheit verspürst. Der rything is magical, even queue- größte Fauxpas, den du in dieser Position begehen kannst, ist auf die Frage, wie es dir denn so geht, eine positive Antwort ing for the toilet. You engage in zu geben. Nein, es kann dir natürlich nicht gut gehen. Du tanzt, lachst, bist fröhlich aber dir geht es schlecht, das sieht endless euphoric conversations with man doch. Denn du bist schon wieder unterwegs, alleine natürlich (niemand liebt dich, du Arsch), hast offensichtlich people you otherwise wouldn’t even viel Freizeit (keine Karriere), aber nie Geld (fiese Garderobe). Die Sache ist nur, gerade dann, wenn man dir den ignore and not even those who, under Titel Clubinventar verleiht, hast du den meisten Spaß. Die Spekulationen über deinen mentalen Zustand sollten normal circumstances, would evoke feelings dir noch mehr Spaß bereiten. Das Gras auf deiner Spielwiese wird nie grüner sein als jetzt, also tanze, tanze, of nausea can spoil your mood.You’re close to bis die Zeit im Takt deiner Füße geht. Irgendwann ist es vielleicht soweit, dass nach all den Jahren des giving them a smile. But just close. You move in Feierns eine gewisse Sättigung einsetzt und die Verbitterung sauer in dir aufzustoßen beginnt. Du hast a parallel world in which nothing, least of all time niemanden gefunden, nicht mal dich selbst. Weder im Club, noch sonstwo. Was aber nicht bedeutet, plays a role. Going out means being on the search. It dass du mit dem Ausgehen aufhörst. Grießgrämig stehst du mit verschränkten Armen abseits der says. Which is true, too often. For someone, something, Tanzfläche und schenkst der feiernden Masse Blicke der Verachtung. Die Musik ist scheisse, die or simply a possiblity to escape. If you go out with the aim Leute sowieso, früher war alles besser. Der Gedanke, nach Hause zu gehen, erscheint dir jedoch to see anyone in particular, the chances that the night is go- weiterhin völlig absurd. Der Vorteil, den du ganz klar in dieser Position hast ist, dass dir die ing to be good or even great are a lot higher, as is the risk that ganze Welt so sehr am Arsch vorbeigeht wie du ihr. Du hast nichts mehr zu verlieren und everything is going to be bad or even completely crap. But risk is bist zu allem bereit. Ein falsches Wort und du flippst aus, bekommst möglicherweise good, and exciting. And it’s better to be on the search for someone einen touretteartigen Tobsuchtsanfall, bis dir schließlich nahegelegt wird, die Locathan looking for yourself and annoying others with your emotional tion zu wechseln. In zwei bis drei Wochen ist jedoch alles vergessen und du wieder striptease. Especially at a young age you often happily put yourself on ein gerne gesehener Gast. Alles kein Problem. Wenn du an diesem Punkt angemissions which consume all your time and energy. Your thoughts revolve langt bist, idealerweise schon kurz davor, ist es vielleicht das beste, die Tanzonly around this divine order. In time everything, even private liaisons, are schuhe für eine Weile an den Nagel zu hängen. Zeit, all die Ziele wieder ins seen somewhat more pragmatic and focused.The target is turning into a resultsAuge zu fassen, die du aus den Augen verloren hast. Für manche auch der oriented effort, a project of limited time and financial resources. If after 10 minAnlass, solide und erwachsen zu werden. Den nächtlichen Ausflügen utes nothing happened - Ciao! It is, of course, much more relaxed to go out with und Exzessen den Rücken zu kehren, bis die Realität dich voll und friends and simply have a good time – in other words, shed all your inhibitions and get ganz wieder hat. Es ist aus, vorbei, für immer. Wobei, für immer completely wasted. No matter how much fun you have with these people who sexually ist schon eine lange Zeit. Und noch bevor du diesen Gedanken either leave you cold, don’t perceive you at all or you sometimes even find repulsive, at some fertig gedacht hast, stehst du wieder auf der Tanzfläche und point, usually in the most unlikely moments with foam at the mouth and after you’ve publicly hast keinerlei Ambitionen, nach Hause zu gehen. Egal in humiliated and degraded yourself on several occasions you get a sudden urge to have sex. If you welchem Stadium du dich gerade befindest, im Club ist come to this realization, which is usually just before closing time, only leftovers are to be found in für alle Platz. Für die Suchenden, die Fliehenden, diethe club or your friends have to serve now. Or you can pack up the rest of your dignity as a take away jenigen mit Party-Tourette, die Verlorenen und die and go home. If you already have found everything you were looking for or have given up searching or Gefundenen. /// finding something, you have reached a very distinct level of going out. The pathetic one. The one where everyone knows your face and asks themselves what you are still doing here, the one where it is presumed that you are depressed, lost, and you end up being labeled as a loser.The one where you’re actually quite conent with yourself but you suddenly feel under pressure to justify your constant presence. The biggest faux pas you can commit in this position is giving a positive response to the question “How are you doing?” because it is blatantly clear that you’re not alright. You dance, laugh, and you’re cheerful but it’s obvious that you’re not alright. Because you are on the road again, alone of course (no one loves you, you arse), it is evident that you’ve go a lot of spare time (no career), but no cash (nasty clothes). The thing is, just when you are awarded the title of club inventory, you are having an absolute blast. The speculations about your mental condition have no influence whatsoever on your state of well-being, on the contrary.The grass on your playing field will never be greener than now, so dance, dance until time goes by to the beat of your feet. At some point it may happen that after all these years of partying a certain saturation kicks in, followed by sour burps of bitterness.You haven’t found anyone, not even yourself. Neither in the club nor anywhere else. But this doesn’t stop you from going out. Grouchily and with your arms crossed you stand aloof from the dance floor and give the party crowd looks of contempt. The music sucks, so do the people, everything was so much better back in the days. Still, the thought of going home seems completely absurd to you. The advantage of being in this position is that you don’t give a fuck about the world and the word doesn’t give a fuck about you either.You’ve got nothing to lose and you’re game for anything. One wrong word and you flip out, may get a tourette-like fit of rage until you are strongly advised to consider a change of location. In two to three weeks it will all be forgotten and you will be a welcome guest again. No problem. If you have reached this point, ideally shortly before that, it might be best to hang up your dancing shoes for a while. Time to refocus on all the targets you’ve lost sight of. Some might find this the right occasion to become a solid citizen, grow up, and turn their backs to the nocturnal excursions and excesses. Reality has you back, it’s over, history, forever. However, forever is a long time. And before you even finish this thought you thought, you’re back on the dance floor and have no ambition to go home. No matter what stage you are in, there’s room for everybody in the club. For the ones on the search, the fugitives, those with party-tourette, the lost and the found ones.

PHOTO STORY ZWEIUNDZWANZIG ////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF




A photo report by LUKAS GANSTERER



















Raum f 端r Kunst.

Loft Room 130qm White Cube

Project Space 95qm White Cube

Staircase Wall 40qm Hanging Space

Club-Space, Pool- & Garden-Area, Outdoor Walls

ART THIRTYFOUR //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF




Border Liner

Im kleinen Land Österreich ist die Grenze ein zentrales Thema der gesellschaftlich-politischen Auseinandersetzung. Einst war das nunmehr an die nördlichen Alpen geschmiegte Land Zentrum eines bedeutenden expansiven Vielvölkerstaats, von dem nach zwei zumindest mitbegonnenen und daraufhin maximal verlorenen Weltkriegen nur mehr ein vergleichsweise winziger Rest übrig blieb. Sei es ein daraus resultierender Minderwertigkeitskomplex samt diffuser Paranoia, die politisch instrumentalisierte Angst vor Fremdem, kollektives schlechtes Gewissen oder eine pikante Mischung dieser Ingredienzien – Österreich reibt sich an seinen Grenzen ab, wie ein verlauster Igel an der perfekt getrimmten Hecke einer Kleingartensiedlung. Je dichter die Maschen der Grenzzäune gewebt, je besser die Schlagbäume bewacht, desto ruhiger der Schlaf an der östlichen Mark.

The border is a central theme in the socio-political discourse in the small country of Austria. Once the country nestled on the Northern Alps was a center of a significant, expansive, diverse state. After at least helping to start and ultimately loosing two world wars, there remains only a comparatively tiny remainder. Whether it’s because of the resulting inferiority complex together with diffuse paranoia, the politically instrumented fear of foreigners, collective guilty conscience or a potent mixture of these ingredients – Austria is rubbing itself against its boarders like a lousy hedgehog on the perfectly trimmed hedges around a little garden. The thicker the knitting on the border fence is woven, the better the boarder control guards, the more peaceful they sleep on the eastern border.

(Mark, fränkisch für Grenze, Grenzgebiet. Das Wort Grenze stammt vom polnischen granica ab.) Der Wiener Künstler Clemens Wolf hat das Thema „Grenzen“ seit geraumer Zeit im Blickfeld wobei das Spiel mit den Grenzen der Wahrnehmung seine Arbeit inhaltlich maßgeblich bestimmt. Zaunstrukturen dienen ihm als bestimmendes Element seiner Installationen und großflächigen monochromen Gemälde. Motive seiner Bilder sind verfallende Bauten in urbanen Gebieten, die der Wahrnehmung von Passanten üblicherweise durch Maschendrahtoder Bauzäune entzogen werden. Der Zaun bildet dabei sowohl eine physische als auch visuelle Grenze und löst einen für die Alltagswahrnehmung normalen Prozess aus: das dahinterliegende Bauwerk wird einfach weggefiltert. Wolf behält den Zaun aber im Blick, schaut durch ihn durch und integriert ihn, verbindet ihn mit dem dahinterliegenden Motiv zu einem dichten visuellen Erlebnis.

The Viennese artist Clemens Wolf has had the topic “borders” in his gaze for a fairly long time; the play on the boundaries of perception significantly define the content of his work. Fencing structures serve as the main element of his installations and big areas of his monochromatic paintings. Decayed buildings in urban areas, which typically avoid the attention of pedestrians through barbed wire or construction fence, are motifs in his images. In doing so, the fence creates both a physical and a visual border and disengages a normal process from everyday perception: the structure behind it is simply filtered out. But Wolf keeps the fence in view; he looks through it and integrates it, connecting it with the motif behind it – creating a dense visual experience.

Als Eröffnungsausstellung des PS ArtSpace realisiert Clemens Wolf eine raumübergreifende Installation. Der Club Pratersauna und die damit einhergehenden wirtschaftlichen Realitäten als Fundament für den neuen Artspace im Obergeschoss, bilden den gedanklichen Nährboden für Wolfs kritische Auseinandersetzung mit dem von ihm eingenommenen Raum in der geschichtsträchtigen Location. Auch wenn das Konzept der Pratersauna von freier Entfaltung geprägt ist und den Besuchern als Raum für ihren persönlichen Ausdruck offen steht, kann ein Club immer als große Ansammlung von Grenzen verstanden werden. Begonnen bei dem Türsteher, bis zur Backstageabsperrung oder dem Security-Mann an der Schwelle zu den „VIP“-Räumen. Mit der Installation von Fragmenten bearbeiteter Bauzäune und in schwarze Ölfarbe getauchter Einkaufswagen, die als konsumkritische Statements gedeutet werden können, kontrastiert Wolf zudem die von ihm ausgestellten Gemälde. Was die Adresse Waldsteingartengasse 135 und ihre variabel nutzbaren Räumlichkeiten für Nachtschwärmer aus aller Welt seit der Eröffnung vor zwei Jahren so interessant macht, nutzt Wolf ebenfalls für seinen Schaffensdrang. Ausgehend von seiner Installation im neuen White Cube, drängt er im wahrsten Sinne des Wortes durch die Wände in die Clubräumlichkeiten und darüber hinaus in den Garten.

For the opening exhibition of PS ArtSpace, Clemens Wolf realizes a spatially comprehensive installation. The club Pratersauna and the accompanying economic realities as a foundation for the new art space upstairs have created a thoughtful matrix for Wolf ’s critical discourse with the space he occupies in the historical location. Even if Pratersauna’s concept is defined by free evolution and the space is open for guests’ personal expression, the club can still be understood as a giant accumulation of boundaries: from the bouncer to the backstage barrier, from the security guard in the crowd to the VIP rooms. Wolf contrasts the installation of a rendered construction fence and the shopping carts dipped in black oil paint with his exhibited paintings. Wolf uses the address Waldsteingartengasse 135 and its varying practical spaces, which has made it so interesting for partiers from around the world since its opening two years ago, similarly for his creative drive. Departing from his installation in the new White Cube, he surges in the truest sense of the word onto the walls in the club space and beyond into the garden.


ART SECHSUNDDREISSIG //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF

DAMPF: Wo liegt die Spannung im räumlichen Konzept des PS ArtSpace? Clemens Wolf: Primär ist es die unmittelbare Nähe zum Club – besser gesagt, dass der Ausstellungsbereich räumlich fast nicht vom Club getrennt ist. Clubkultur trifft Hochkultur. Es besteht zudem immenses räumliches Potenzial, da die beiden White Cubes sehr ähnlich sind. Die Grätsche zwischen Clubkultur und ernstzunehmenden Austellungsbetrieb ist natürlich gewagt. Die Frage ist nämlich wo sich die zwei Begriffe treffen. Treffen sie sich beim Begriff Freizeit? Erholung? Kultur? Es verschmelzen verschiedene Komponenten. Meiner Meinung nach gibt die örtliche Abgeschiedenheit der Pratersauna die Stärke. Und die Überlegung ein möglichst vielseitiges Programm zu haben, indem nicht nur der Abend bzw. die Nacht bespielt wird. Die Pratersauna mit dem ArtSpace ist zum angrenzenden Vergnügungspark noch dazu ein arger Kontrast. Die Lage ist sicher auch für lokale Künstler interessant. Man hat viele konzeptionelle Möglichkeiten, auch im Bezug auf das Publikum. Denn ich finde, dass vor allem die “Gelegenheitsbesucher” für einen Kunstraum wichtig sind.Vielleicht schafft man eine Grätsche die sehr gut funktioniert, weil die Hemmschwelle sehr gering ist.

DAMPF: Durch die Verortung fallen einige Barrieren. CW: Ja, genau. Es ist hier eher eine Kommunikationsschnittstelle als ein Buch zum Durchgehen. Ich glaube, dass es auch dann besonders spannend wird, wenn Dinge da bleiben. Sprich das Mitwirken der Künstler an der Pratersauna. Man arbeitet mit einem Raum und man verändert ihn und schaut dann, auf längere Zeit gesehen, wie die Hinterlassenschaft auf das Publikum reagiert bzw. wie sie mit anderen Künstlern reagiert. Dass ich dabei der Erste bin, ist für mich natürlich super. Das ist auch ein Ansporn etwas ganz Anderes zu machen.Vielleicht auch etwas nur für dort zu konzipieren, wobei man leicht mit dem Raum und der Aufgabe spielt ¬– mit dem Durchbrechen der Grenzen, dem Hinausschauen über den Tellerrand und dem Vermischen von Inhalten. So gesehen freut es mich sehr, hier etwas machen zu können. Außerdem ist es ein kleiner “work in progress”. Es ist sehr kommunikativ. Und es ist auch eine Aufgabe der Kunst diese Kommunikation hervor zu rufen.

DAMPF: Es wird sicher auch Interaktion stattfinden. CW: Ja, Interaktion besteht ja immer. Es gibt ja immer eine subjektive Erfahrung, sei es das Sehen, Riechen, Schmecken... Und weil der Raum eine gewisse Nutzung hat durch die Besucher, vor allem die Clubbesucher. Die Interaktion des Publikums wird das Herumgehen und sicher auch das Angreifen sein. Ich bin mir sicher, dass die Leute alles angreifen wollen. Die Frage ist auch, ob wir nicht irgendwann eine blaue Papierrolle aufhängen, weil das Angreifen passieren wird und dann irgendwann vielleicht sogar die Farbe von den Objekten weg ist. Das würde ich nett finden. Kommentarlos unten beim Aufgang eine Rolle mit einem Mülleimer.You never know. ///


ART THIRTYSEVEN //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF

DAMPF: What’s suspenseful about the spatial concept of the PS ArtSpace? Clemens Wolf: Primarily the immediate proximity of the club – better said, that the exhibition space is spatially hardly separate from the club. Club culture meets high culture. An immense spatial potential exists in that both white cubes are very similar. The balancing act between the club culture and an earnest exhibition operation is obviously bold. Do they meet through the concept of free time? Recreation? Culture? Different components are fused. In my opinion the remote location of the Pratersauna is its strength. The consideration to make as diverse a program as possible in that it isn’t just an evening or night space. The Pratersauna with the ArtSpace is in high contrast to the bordering amusement park. The location is definitely interesting for local artists.You have many conceptual possibilities, also in relation to the audience. Because I feel like “chance visitors” are the most important for an art space. Maybe a good straddling will exist because the inhibition level is very low.

DAMPF: Some boundaries break down due to the location. CW: Yeah, exactly. It’s more of a communication interface here than a book to go through. I think it will be particularly exciting if things stay here. The effect of the artists on Pratersauna speaks.You work with a space and you change it and then you see, in the long run, how what’s left behind reacts to the audience or with other artists. It’s obviously great for me, being the first. It’s also an incentive to do something totally different. Perhaps also to conceive of something just for that space, where you lightly play with the location and the art – breaking down borders, looking beyond the edge of the plate and mixing contents. With that in mind, I’m very happy to be able to do something here. Additionally it’s a little work in progress. It’s very communicative. And it’s also the challenge of art to induce this communication.

DAMPF: An interaction will definitely take place. CW: Interaction always exists. There’s always a subjective experience, whether it’s looking, smelling, tasting… And because the space has a certain use through the visitors, especially the clubbers. The audience’s interaction will be moving through, and also definitely the touching. I’m sure that everyone will want to touch everything. The question is also whether we shouldn’t hang up blue paper roll at some point, because touching will happen and then eventually even the paint on the object will be gone. I would like that. Down by the staircase a roll with a trash can –no comment.You never know. ///


HISTORY EINS //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF


ART NEUNUNDDREISSIG //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// DAMPF


ULRICH NAUSNER / Reconquistero


lrich Nausner ist ein beschriebenes Blatt. Im Zuge der großen HipHop-Ära ab dem Ende der Neunziger als Protagonist der qualitätsbewussten Linzer Szene an vorderster Bühnenfront aktiv, zeigte er früh großes Interesse an poetischen Formalitäten und komplexen Textstrukturen. Sein Weg führte ihn sodann über ein Diplomstudium an der Universität für Kunst und Design in Linz, wo er sich visueller Kunst widmete, bis in die Textabteilungen der Werbeindustrie. Als freischaffender Künstler sitzt er mittlerweile außerhalb der Glastürme seiner ehemaligen Auftraggeber, das Gewicht der Textbau-Steine in seinen Händen genüsslich abschätzend. Das Vergnügen, das ihm das Spiel mit sprachlichen Mustern, feinsten Bedeutungsnuancen, textlicher Dekonstruktion und Restrukturierung seit jeher bereitet, spiegelt sich in seinen Arbeiten stets wider. Zudem kann seine kulturelle Sozialisation immer wieder zur stringenten Erklärung seiner künstlerischen Standpunkte herangezogen werden. So steht die Methodik Ulrich Nausners in direkter Verwandtschaft zu den taktischen Techniken, anhand derer Subkulturen sich die nur bedingt offenen, da oftmals kommerzialisierten urbanen Räume wieder aneignen. Ähnlich einem Skateboarder, der den architektonisch sterilisierten Vorplatz eines Konzerngebäudes durch den vermeintlichen Akt des Vandalismus wieder einem organischerem Sinn als dem der selbstbezweckenden Repräsentanz zuführt. Seine erste Publikation stammt aus dem Jahr 2006 und trägt den Titel Free Poetry. Claims und Slogans als Ausgangsmaterial nutzend, arrangierte er diese zu Gedichten, welche dann plötzlich völlig neue, durchwegs positive Bedeutungs- und Interpretationswelten eröffneten. Auch bei einem aktuellen Projekt schöpft er aus dem schier endlosen Fundus der funktional perfekten Werbesprache, wobei er in diesen Reclaim-Serien noch einen Schritt weitergeht und sich mittels Mutation an die – wie der Titel schon sagt – Rückeroberung der Botschaften heranmacht. Während Werbung auf Auffälligkeit setzt, wählt Ulrich Nausner für seine Reclaims eine monochrome Farbsprache kombiniert mit zurückhaltender Schriftsetzung. Er reduziert aufs Maximum. Einen weiteren Bruch stellt die Präsentation der Reclaims dar, sie werden zu großformatigen Teppichen gemacht und damit – zumindest sybolisch – einer Alltagsnutzung zugeführt.


lrich Nauser has been around. Being part of the great hip-hop era of the late nineties as a protagonist in the quality-conscious scene in the Austrian city of Linz, in the very front of the stage, he showed a great interest early on for poetic formulations and complex text structures. His path then led him to a masters program at the University of Art und Design in Linz, where he applied himself to visual art and then worked as a copy writer in the advertising industry. By now, as a self-employed artist, he sits outside the glass towers of his former employers, assessing with pleasure the weight of textual building blocks. The pleasure that playing with linguistic models, the finest nuanced meanings, and textual deconstruction and reconstruction have always brought him is continuously mirrored in his works. Moreover his cultural socialization is always drawn out into stringent statements of his artistic standpoint. That’s why Ulrich Nausner’s method stands in direct relation to the tactical techniques. With the help of its sub-cultures that are only conditionally opened, they then often appropriate commercial urban spaces. It’s similar to a skater who gives organic sense to the architecturally sterile area outside a concert arena through the supposed act of vandalism as a self-intended representation. His first publication came out in 2006, carrying the title Free Poetry. Claims and slogans are the materials he uses to arrange these poems, which then suddenly open into totally new, throughout positive worlds of meaning and interpretation. With his current project he also creates drawing from an endless pool of functionally perfect advertising speak. In the Reclaim series, he goes a step further and by way of mutation – as the title says – has a go at reclaiming messages. While advertising goes for conspicuousness, Ulrich Nausner chooses a monochrome palate combined with a low-key typography for his reclaims. He reduces to the maximum. A further break constitutes the presentation of the reclaims; they are made into large-format rugs and thus – at least symbolically – gives them an everyday function.

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Ulrich Nausner, born 1980 in Oberndorf near Salzburg, lives and works as a fine artist in Vienna. In his conceptual works and installations he focuses on models of perception and contexts of meaning in the information and language of various media. He will be featured artist in the PS ArtSpace this fall. Opening: 6.10.2011


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C uc u m b e r C olli ns T he C ol l in s may be the most ve r satile of all cocktail f a mi l i e s, a n d w h e n ma d e we l l , it s s im pl e bal anc e of

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p l e a s e eve n t he m os t jaded p al -

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f a il e d to be del ight ed by a s im p le

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i l y h a s f a r m ore appl ic at ions , e s-

pe cially with those b a r te n d e r s l u ck y

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bar that focuse s o n ‘ cu l i n a r y co ck -

ta il s ’. F re s h c uc um ber juic e will

really make this d r i n k sp e ci a l , i f yo u

h ave a j u ic er or bl ender in your

bar, other wise pee l a n d d i ce l a r ge

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c h u n k s o f c uc um ber, peel ed a nd

dice d. Cucumbe r p e e l to ga r n i sh . I n a

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cucumber chunks , i f u si n g ch u n k s.

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juice s, and simple syr u p, a n d f i l l w i th

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some str ange reaso n , th e h o n eysu ck l e

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swe e t l i g ht fl avour of t he fl ower is

indelibly associate d w i th ch i l d h o o d .

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ey. 15 mls (1/ 2 oz ) ½ p a r t f re sh l i me

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and juice s in a co ck ta i l sh a ke r, a n d

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str ain into a chill e d Co ck ta i l gl a ss.

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f o r g o tt e n c l as s of c oc kt ail , from a

more simple time. I t i s a stro n g d r i n k

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DISTORTIONS / Artist Exchange Program


The Chelsea College of Art and Design was established in 1895 and originally taught classes in maths, science, music and art. In the twentieth century Chelsea slowly transformed into a specialised college, joining with the University of the Arts London. Prestigious alumni of Chelsea include Turner Prize winners Anish Kapoor, Chris Ofili and Mark Wallinger. Today, the university has relocated from its original site in Chelsea, London and currently between the Tate Modern and Millbank, both of which have been sites for controversy over education cuts this year, creating a gloomy forecast for students. Despite this, five of this summers graduates from Chelsea will be travelling to Vienna to take part in an exhibition at the PS ArtSpace.

Organizing the exhibition, Nadine Kreter, 24, is one of these five students. She says, ‘ The special thing about Chelsea is there is no specialisation in painting, sculpture and multi-media.’ Although this is unusual for art colleges around the country, Kreter insists this is an advantage, ‘it gives us the opportunity to mix in a variety of media and diversifies our practices.’ This diversity will be reflected in the exhibition. The project was initiated in 2010. The Theme of Distortion emerged through collaboration with Chelseas Jessica Mairs. After a call for submissions on this theme, three other fine artists on their course were selected to participate; they are Eleanor Ingemann, Takeshi Shiomitsu and Annie Strachen.

The exhibition titled ‘DISTORTIONS’ is set to run in early August.

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Stirn Prumzer is an art machine in production frenzy; there is only one way to experience this many-sided art figure: direct confrontation. The goal is to unmask a desolate reality, which has lost any claim to truth. Permanently challenging the boarders between reality in general and art in particular. An absurd societal analysis is transformed and manipulated by artistic means, allowing mixed-media strategies, in which dynamic processes unfold that could not be possible on their own.

Stirn Prumzer ist eine Kunstmaschine im Produktionswahn, um die vielschichtige Kunstfigur zu erfahren gibt es nur einen Weg: die direkte Konfrontation. Das Ziel ist die Demaskierung einer desolaten Realität, die jeglichen Anspruch auf Wahrheit verloren hat. Ein permantentes Infragestellen der Grenzen von Wirklichkeit im Allgemeinen und Kunst im Besonderen. Eine absurde Gesellschaftsanalyse mit malerischen Mitteln wird transformiert und manipuliert, so entstehen medienßbergreifende Strategien die dynamische Prozesse entfalten, welche im einzelnen nicht mÜglich sind.

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Zwei Jungprumzer beim Kampftanz / C-Print / 100 x 70 cm / 2010

Desillusionation Experikrement Kretex Neperim It’s the attempt to compose a dense Gesamtkunstwerk that connects various media and also integrates the beholder into the artwork. This complex mode of reception is primarily made possible through the excessive desire for formal freedom. The strengths of the most contrasting art forms actually catch fire in the multi-dimensional exhibition. Works aren’t just shown; they’re pushed into new contexts by a crude mixture of performance, concert, exhibition, fashion show and orgy happening in front of, behind

and next to theming. In this overboarding form of communication Stirn Prumzer’s art leaps over the visitors, unsettling them, without being didactic or narrowmindedly hitting them in the head. The exhibition guests are witnesses of an all-encompassing process; they take part in the happening without pathos or the empty promises of the hippie generation. It’s a dance on the edge of a razor; the visitors find themselves in a freefall reality, which nobody else can offer. Stirn Prumzer reveals that the reality of today may not be reality tomorrow, but perhaps it will be the day after, or maybe not…

Es ist der Versuch ein dichtes Gesamtkunstwerk zu komponieren, das unterschiedliche Medien miteinander verbindet und auch den Betrachter ins Kunstwerk integriert. Möglich wird diese vielschichtige Rezeptionsweise erst durch die exzessive Lust an der formalen Freiheit. Die Bemächtigung unterschiedlichster Kunstformen fängt in den mehrdimensionalen Ausstellungen tatsächlich Feuer: Dabei werden die Werke nicht nur gezeigt, sondern davor, dahinter und daneben in einer kruden Mischung aus Performance, Konzert, Ausstellung, Modeschau und Orgie in neue Kontexte gerückt. In dieser überbordenden Kommunikations-

form springt die Kunst von Stirn Prumzer automatisch auf die Besucher über, verstört sie, ohne sie besserwisserisch zu belehren oder sektiererisch vor den Kopf zu stoßen. Die Ausstellungsgäste sind Zeugen eines gesamtkunstwerklichen Prozessierens, nehmen Teil an einem Happening ohne Pathos oder die leeren Versprechungen der Hippie-Generation: Es ist ein Tanz auf dem Rasiermesser, die Zuschauer befinden sich im freien Fall einer Realität, die keine mehr anbieten kann. Stirn Prumzer offenbart: Die Wahrheit von heute ist vielleicht nicht die Wahrheit von morgen, aber übermorgen eventuell doch wieder, oder auch nicht...

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Zu Handeln ist Sache der Chaoten / Mixed Media on Canvas / 150 x 150 cm / 2010


Gigantic houses are strewn about the floor. The yellow sky shines in the gloomy blackness. Dead fish float over the city; their tentacles move magically; a lust for fresh milk flashes in their eyes. The frenzy happily swells in glorious breasts. White dogs with horned noses scamper through the sunny night and remember that once they were wonderful strawberries. Horses hang naked on walls, like pigs. The hammer tenderly smashes its eye and wades through the marsh in deserved freedom. Thistles as big as locusts dance uninhibitedly. When the tree tumbles a second time, it forgets its shoes and begins to melt. Seemingly inexorably the canary remembers its blue adventure with the elephant. The phone book vomits despite its seat belt. The high security door happily cackles from excitement; miserable little cats wallow in its pearls.


Riesenhafte Häuser sind am Boden zerstreut. Der gelbe Himmel strahlt im düsteren Schwarz. Tote Fische schweben über der Stadt, magisch bewegen sich ihre Tentakeln, in ihren Augen blitzt die Gier nach frischer Milch. Fröhlich schwillt der Wahn in herrlichen Brüsten. Weiße Hunde mit Hörnern auf den Nasen hetzen durch die sonnige Nacht und erinnern sich, dass sie einst wunderbare Erdbeeren waren. Pferde hängen nackt an den Wänden, wie Schweine. Zärtlich zerschmettert der Hammer sein Auge und wartet durch den Morast in die verdiente Freiheit. Disteln so groß wie Heuschrecken tanzen hemmungslos. Als sich der Baum zum zweiten mal überschlägt, vergisst er seine Schuhe und beginnt zu schmelzen. Scheinbar unaufhaltsam erinnert sich der Kanarienvogel an sein blaues Abenteuer mit dem Elefanten. Das Telefonbuch muss sich trotz Sicherheitsgurt übergeben, fröhlich gackert die Hochsicherheitstür vor Erregung, in ihren Perlen suhlen sich elende Kätzchen.

Upcoming Exhibitions: April 28th 2011, Galerie Kunst und Handel // June 10th 2011, Ausarten Zentrale // June 28th 2011, Galerie Feichtner

Erreckungszustand / C-Print / 100 x 70 cm / 2010

12—15 MAY 20 11


VIE NNAF AIR Messe Wien, Messeplatz 1 1020 Wien, Eingang A U2: Messe-Prater Do 11.00—19.00 Fr 11.00—21.00 (Performance Nite ab 18.00) Sa 11.00—19.00 So 11.00—18.00



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Labels, Brands & Rock´n Roll

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E- NIX No room for m ass-processi ng, a space for exper t s and connoi sseur s: i t alo, di sco and ot her t i m eless elect roni c musi c i s offered t o qui ckly and aut om at i cally occupy t he ni che of ext ravagance. It i s just r i di culous t o t r y t o creat e an adver t i si ng t ext for t hi s range of par t i es, si nce i t doesn’t need any at all. B acked by t he creat ive com muni t y, t he host s Wolfram /D i skokai ne – Aust r i a’s probably m ost popular dazzli ng per sonali t y and super st ar m odel - and Feli x know exact ly what t o do. Not hi ng else needs t o be sai d.

AU FG US S (l i t . “ s a u n a i n f u s i o n ” ) The sel f -p ro c l a i m e d f l a g s h i p s ta g e s ever y 1 st F r id ay o f th e mo n t h . To p - c l a s s t echno act s o n t h e m a i n f l o o r tog e t h e r w it h t he invo l ve me n t o f i n c u m b e n t p l at f o r m s and n e two rk s , eve r y t h i n g from el ect ro t o tra s h : w h i l e p e o p l e a re d ancin g o n t h e bu n ke r f l o o r t o th e sound o f in t e r n a ti o n a l h e a d l i n e r s , t h e crow d l it er ar i l y l e ts o f f s o m e s t e a m i n t h e h o t sp a are a . Fo r a l l th o s e me e t i n g t h e “b at h ro b e ” d re s s c o d e, a f u n c t i o n i n g 9 0 °C (1 9 4 °F )- S a u n a , a s te a m b a th a n d a p ool guar an t e e a n e x t ra o rd i n a r y p a r t y ex p er ien ce in t h e m i d d l e o f t h e P ra te r.

H A RT A B E R H E R Z L I C H A vexed “p or n p a r ty ” , a mu c h - d i s c u s s e d b ouncer -p ol ic y, a mu c h - d e b a te d mu s i c ar r ay. Ar t p er f o r m a n c e s i n a g l a s s h o u s e, a m el o d ic p rog ra m f o r f r i n g e g ro u p s o n t h e second f l o o r, i n t e g ra t i o n o f th e p re v iousl y by cl o s e d b o o ke r s ’ c o m mu n i t i e s ex cl u d ed – t h u s u n k n ow n – a r ti s t s a n d cl ub crew s fo r m e rl y re p u l s e d by e s ta b l ish ed cl u b s. P re mi e r s i n A u s t r i a /V i en n a of int er n a ti o n a l h o u s e a n d t e c h n o DJs/ l ive act s: p u r i s m , n o p h o tog ra p hy, no vid eo, su p e r- 8 - p ro j e c ti o n s , i n f l a ti o n , sex .

QUE PASA In Febr uar y 2010 we bro u gh t f o r th e fi r st t i m e a m i xtu re o f h igh ly qu a lita t ive i ng redi ent s to th e Pr a ter s a u n a : t echno-house – in s pired by tro pic a l afro-lat i n – m eets prog res s ive a n d dis c o, dub or funk. Twic e a mo n th , th ree of t he m ost ver s a tile per s o n a lities o f Vi enna’s ni ght lif e – DJ Bewa re a ka Mr. FM 4 U nli m i t ed, th e A u s tro - Br a zilia n Joyce M uni z an d Co s mic Spa c e’s bo s s ‘ D er Lust i ge Astro n a u t’ ( lit. “th e f u n ny ast ronaut ” ) – o f f er a n extr ava ga n c e consi st i ng of a da r in g a u dien c e mix a n d of passi onat e sou n d- exper imen ts ( previous guest s: Tegma , So lo, Oliver $ & DJ Slat er) – all t ha t u n der a predef in ed eveni ng t hem e, in c lu din g a n a ppro pr iat e dress code.

CL UB POMPAD OUR For four year s i n busi ness – and not a bi t older. C lub Pom padour, i ncludi ng all i t s proponent s (resi dent D Js Phi li pp B lecha and Prat er sauna allst ar Thom as Grün & t echnoboard. at m ast er Aleks Gav r i c), i s undoubt edly a par t y-fi xt ure i n t he Aust r i an dance-scene. To m ount such a hi gh-class musi c prog ram and at t he sam e t i m e t o uphold t he banner of i nnovat i ons deser ves t he hi ghest respect .

L OVE + HAT E A Thur sday under t he banner of heav y elect ro. Wi t h passi on for det ai l, t he i n t he end of 2010 i ni t i at ed ser i es of event s br i ngs represent at ives of t he rougher elect roni c musi c t o t he Sauna once a m ont h. Away from old, wor nout locat i ons, guest s li ke D r um s of D eat h, The Sneeker s or D esi gner D r ugs show t he audi ence const ant ly t hat hard doesn’t necessar i ly have t o be unpleasant .

PRAT EREI “ Educat ed U nd er g ro u n d Da n c e Mu s ic ”: a clai m whi ch th is gu ys pu t in to pr a c t i ce ever y m on th with h o u s e mu s ic a n d affi li at i ons. The c o nven ien t bo o kin g li ne (from Theo Pa r r is h to G.I . Dis c o to D er r i ck M ay and th e Mo to r City Dr u m Ensem ble) combin ed with a u n iqu e flyer and ar t wo r k des ign , a n o ptimized resi dent and loc a l c u ltu re ( BNCKD, wi llFli ng, Rai n er Kla n g, Kido So o n ) and respect ively a dec en t a dver tis i ng presence, ma ke th e Pr a terei o n e o f t he m ost cont empo r a r y a n d impo r ta n t per i odi c event s in Vien n a . I n A u gu s t 2010 a label with th e s a me n a me wa s founded – wi t h th ree limited a n d h a n dnum bered relea s es to da te, it is a lrea dy a gold m i ne for rec o rd- digger s , a ll Ja c k arounds and old s c h o o l f etis h is ts .



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D U SC H D I CH G ood Lo o k in g E l e c tro. Fo u r ti m e s a year t he new f l a g s h i p o f P ra t e r s a u n a “ El ect ro m ee ts F a s h i o n ” t a ke s p l a c e und er t he sel f - c re a t e d g e n re “ G o o d Look in g El ec t ro ” a n d i s b r i n g i n g u p music p osit io n e d b eyo n d t h e p o p u l a r/ wel l -k now n m a i n s t re a m e l e c tro a c ts à l a Boys Noiz e o r S teve A o k i i n t h e m e l od ic und er g ro u n d o f b e a u t i f u l e l e c tro. Thus, in Ap r i l 2 0 1 1 , n o th i n g l e s s t h a n a S ound Pel l eg r i n o L a b e l N i g h t m a d e th e ver y f ir st st ar t. T h i s c l u b - p a r t y b r i n g s t oget her t he re l eva n t p l aye r s i n th e c i ties el ect ro-sc e n e.


T HE L OUD MINORIT Y H i p-hop, soul, di sco, dubst ep, beat s and all t hi s broken st uff: t he TLM crew wi ll hopefully be held responsi ble for t he f act t hat t he st r i ct ly defi ned genreboarder s i n t he Vi ennese club- and event -scene wi ll go down t he way of t he dodo. Si nce 2003 we have spread a spi r i t -lov i ng approach t hrough radi o shows, par t i es and a g reat label, wi t h a guarant eed i nt er nat i onal suppor t of t op act s li ke H udson M ohawke, M ark Pr i t chard or M achi nedr um . St ay fresh & open-m i nded!

ST ROM.CL UB Well-t ravelled ( with in Vien n a & o u ts ide St yr i a), much p rog res s ed. Fo r mo re th a n t hree year s t he mo s t ec o - f r ien dly ( s o lar only! ) ser i e s o f even ts in town h a s caught our at t en tio n with tremen do u s nam e-droppi ng ( f ro m Fea dz to Su r kin , from Erol Alka n to A lex Go ph er ) – a n d all t hat wi t h ver y s u s ta in a ble s u c c es s . O ne of t he few Vien n es e elec tro c lu bs wi t h st yle and a c lea r ly rec ogn iza ble i dea: i t cannot be den ied, th a t th e pa r ty f act or i s hi gh ever y time. A tten tio n : cont ag i ous!

STAD T PARK NACHT St adt park M usi k M ast er m i nds M arkus Li ndner and Johannes Lam per t uphold t he Vorarlberg banner i n Vi enna – wi t h a bi g pi nch of ease and funki ness, wi t h one of t he m ost ar t i st i c i nst i nct s for booki ng i n t own or m aybe wi t h t he pret t i est audi ence t hroughout . Whenev er t he fox com es out of hi s bur row and sunli t deepness m eet s erot i c-offensive darkness, i t i s labeled wi t h St adt park. Si nce 2007.

D IE ZWEI “ Genres are dea d”? Po la - R io t + WR ED = elect ro and tec h n o pa r exc ellen c e. A sucker-punch a ga in s t th e Vien n es e r i g i di t y, a chee r f o r lo o s en in g th e h ips and get t i ng lost in th e c rowd. “Bu t i t has t o go on with ‘Sta dl’ vs . s tyle fet i shi sm and c a ro u s el vs . gen re pref er ences” .

YACHT NACHT It m ay be t r ue t hat Vi enna i s by t he sea – t he Lake Neusi edl – but t he ci t y of “ St r i zzi s” can pi t i t self agai nst t he t i t ans wi t h cash t o bur n and flaunt à la Por t ofi no, Sai t -Tropez and C annes only once a year : at t he “ Yacht Ni ght ” wi t h a “ black t i e” dress code, you can put out your sui t s and gowns for a change. Especi ally i n t he cour se of t he Garden-Pool-Regat t a, where our t eam of organi zer s and/or select ed Fr i ends can show t hei r abi li t i es i n nav i gat i ng t hei r cust om i zed rem ot e-cont rolled luxur y yacht s. A capt ai n’s cabi n aft er par t y & t easi ng guarant eed.

SAUNIEREN STATT STU DIE R E N Whi le t he t er m “s tu den t c lu b“ is a n u lt i m at e i nsult herea bo u ts , th e “Sa u n ieren st at t St udi eren”. Crew tr ies ( a lmo s t) ever y m ont h on a T h u r s day to pu t a n end t o t he di scu s s io n over th e r a is o n d’ et re for t he clic h é o f bein g a pic kup par t y i n a villa ge dis c o with c h ea p dr i nks. H ow? With th e ver y o pen SSSconcept t opped o f f with s tr a igh t venu e booki ngs (wi t h th e res iden ts Ger a ld va n der H i nt & Fr i eda P.) , a c h ea per a dmis si on fee adapt ed to s tu den ts ’ bu dget a n d t he li m i t ed or – in ter ms o f gen der – perfect ly balan c ed s pa a rea , in c lu din g a heat ed sauna.


NAC H T SC H W I M M E R The Wed n esd ay C l u b The P r at er sau n a ’s a tt e m p t to p u t t h e Wed n esd ay as a p o s s i bl e ‘ p a r t y d ay ’ o n t h e V ien n ese p a r ty ma p wa s ve r y s u c cessf u l in 2 0 10 : sw i mm i n g l a t e a f t e r m id night in t h e o u t d o o r p o o l to t h e music of gues t s l i ke G u i B o ra t to, Jay H az e o r Bod y c o re a n d e n j oy i n g a f te r wo r k co ck t ail s o n t h e t e r ra c e i n th e l a s t sunl ight – ava i l a bl e d u r i n g th e s u mm e r m o n t hs in 2 0 1 1 ( May t o S e p te mb e r) and ex p and ed by s o m e s p e c i a l s .

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A PrAtersAunA gAy night next 15.10.2011

– WALDsteingArtenstr Asse 135 – 1020 Wien – WWW.Pr –

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V I N TAG E & DE S I G N E R S A MP L E SAL E Yo u wan t t o s e l l yo u r s o u l ? Or h ave j ust t o o much s t u f f i n yo u r c l o s e t t h a t you want t o g e t r i d o f f a s s o o n a s p o s sibl e? Th e w h o l e a re a w i l l tra n s f o r m in t o a shop p i n g a n d s e c o n d h a n d o p e ra t ional z o n e eve r y Ju n e, w h e n d o z e n s o f ex h ib it or s, d e s i g n e r s o r p r iva t e s e l l e r s com e t oget h e r f o r th e s a l e. Yo u wa n t t o w it ness t h e e x te n s ive a r t e x h i b i t i o n s and sh ow s, t h e p o o l a c t i o n a n d b a rb eq u e, l ist en b e f o re h a n d to i n t e r n a t i o n al DJs, j oin t h e va r i o u s d e s i g n e r s a m p l e sal es for a w h o l e we e ke n d a n d wa l k o f f w it h so m e v i n ta g e t re a s u re s ? A f t e r p a r t y in cl u d ed . Yess i r.


FSK – A Prat er sauna Gay Ni ght We t hi nk a club needs a relevant gay ni ght – t hat ’s t he way i t goes! The par t y t hat t akes place t wi ce i n 2011 (next one: 10/15) wi ll g ive gays, queer s & fr i ends t he possi bi li t y t o dive i nt o a m ag i c ni ght full of sur pr i se, excess, hi de-and-seek and i nt o-t he-pool act i on along wi t h ot her t hi ngs. FSK – t he abbrev i at i on for t he Prat er sauna’s gay ni ght – st ands for m any t hi ngs and can be i nt er pret ed freely. Those ver y cur i ous ask t hei r par t y host of choi ce – m aybe he knows what t he abbrev i at i on really st ands for (For Scenest er K i ds? Fei st y Sex K i t t en? ). The FSK welcom es all open-m i nded people, who want t o par t y wi t h us – doesn’t m at t er i f you’re st rai ght , gay, lesbi an, queer or undeci ded. No phot og raphy – t hat ’s selfev i dent .


5 - U H R- T EE W hat t o d o o n a b e a u t i f u l S u n d ay a f t er noon? Visi t yo u r p a re n ts a n d re l a t ives, go f o r a wa l k i n t h e p a rk w i t h a fr ien d ? Bor in g ! We f i n a l l y ma d e i t , t h e concep t in a nu ts h e l l : S u n d ay a f te rnoons w it h m e g a b o o k i n g s , s ta r t: 2 p. m. The fin an cial r i s k o f g o i n g d ow n d u e t o b ad weat he r i s s i mp l y c o m p e n s a te d by t h e su b seq u e n t f a i r we a th e r- eve n t. We al l ag ree: V i e n n a n e e d s a d i f f e re n t, new “ Lo rd ’s D ay “ .

FUNDAYS The new Prat er sauna advent ure-ent er t ai nm ent -park Sunday. Fr ui t st unt m en m eet i nt eract ive t heat er and decorat i on ecst asi es, ar t i nst allat i ons on playg rounds, an “ open t ypewr i t er“ just around t he cor ner, caught playi ng i n t he “ t i t t i ng zoo” . Them e floor s and publi c gam es clash wi t h B erli n-i nspi red house t unes (curat ed by t he C lub der Vi si onäre-Grand D am e Rebekah Aff) i n t he garden- and pool-area, whi le glasshouse resi dent C hi co M ar t i nez shows t he ot her si de wi t h ult ra quali t y v i nyl of t he 1950s, 1960s and ot her project i on surf aces. Ever y last Sunday of t he m ont h, from July t o Sept em ber.

MINIMIX Si nce early 2010 th e Pr a ter s a u n a ’s C hi ldren’s D i sco h a s been en o r mo u s ly popular am ong th e bigger a n d s ma ller par t yi ng folk. A pla c e f o r th e s ma ll o n es t o express t hei r c rea tivity, th e ba bies area fi t t ed out with c a r pets , a nu tr itio u s buffet wi t h all s o r ts o f h o me- ma de food, sweet s & f res h f r u its , c h ildren ’s m ake-up, t he pres en c e o f tr a in ed tea c h er s, dance works h o ps a n d a va r ied mu si c prog ram (t he vo lu me is a dju s ted to chi ldren’s ear s) o n th e ma in f lo o r – th is i s t he foundat i o n f o r pro ba bly o n e o f t he m ost m i xed - a ge even ts a ro u n d: th e appli ed school o f to mo r row’s da n c in g generat i on.

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MAKING OF / DUSCHDICH Behind the scenes of an eventproduction

DUSCHDICH - Good Looking Electro. Four times a year a new club-brawl takes place under the self-created genre “Good Looking Electro” as a charming pastiche of labels such as Louis Vuitton or Gucci. In addition to one of the most important underground fashion magazines in Austria (presented by INDIE), eight local electro communities come together on three floors for a shower party. A lavishly produced video art campaign and probably the world’s only shower room filled with DJ sounds are distinguishing features. Instead of popular mainstream electro acts à la Boys Noize or Steve Aoki, the melodic underground of beautiful electro is played. Thus, in April 2011 nothing less than a Sound Pellegrino Label Night made the very first start. And it rocked! “We have never had such a long lead time and period of intensive thoughts in the design phase of a party. In the end, we wanted to launch a flagship label – that’s what we internally call events that differentiate from others in terms of creativity, size and ultimately also budget– which should fill the last remaining conceptual gaps in our event portfolio. The combination of fashion and electro, edited and virally distributed via a specially lavishly produced shortfilm, was ultimately worth an extra “making-of ”-story, also to reward the crew…” Hennes

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with director Marie A. Brandner-Wolfszahn

What was the concept behind the DUSCHDICH video? I was asked to produce a visually appealing high-gloss video shot which has something to do with showers and fashion. So I came up with the idea to use three models that get glammed-up to subsequently party all dressed-up in the shower. I deliberately exaggerated their characters and tried to incorporate some scurrility into the scenes. Their inaccessibility, the clean and luxurious setting and the logo-branding on their bodies at the end should emphasize the satiric exclusivity of the party line. However, the elderly gentleman who watches TV commercials in his living room breaks the detached atmosphere, thus bringing a little irony to the whole story.

What inspired you? On the one hand, some fashion videos from various labels, Clouzot’s “L’Enfer” with Romy Schneider from 1964 and “The Stepford Wives” (Bryan Forbes, 1975), but also the charming desolate mood from Roy Andersson’s films (e.g. “Du Levande”, 2007).

ARTIST BIO Marie Alice Brandner Wolfszahl: studied film at the Edinburgh College of Art, lived and worked for four years as a filmmaker and freelance artist in Berlin and returned last fall to her home town Vienna, where she works as a director and attends the “TransArt” class at the Institute for Sculpting at the University of Applied Arts. Besides a few experimental short films she shot several music videos for artists such as Jazzanova / Universal, Bomb The Bass / !K7, Dima & Miss Sunday Luv / Bar25 Label, Myriad Creatures etc., but also fashion videos, which strike by their bright colors, aesthetic imagery, elaborate sets and fancy costumes. Her installation-works and photographs revolve around the topics of transience and perception. In her work, she is dealing with parallel realities and picks up sinister topics, which she packs into cynical high gloss, or invites you to join her on cranky-imaginative journeys into her head.

How was the shoot? Great. It was an intense 14-hour-day of shooting but everyone had a lot of fun and went home satisfied. The challenges were, on the one hand of course, the pressure of time, since we had to shoot partly parallel at two sets, but also the water games – as we know electronics and water don’t really get along – and the light experiments. We’ve been working with strobe lights and it felt like getting your brain sucked out through your eyes after a while. However, the energy on the set was more than balanced – everyone did their best and so everything went smoothly. We didn’t have a single argument the whole day – something I have never seen at a shoot before. What a team! I would like to thank them all again. YOU WERE AMAZING!

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CREW Drehbuch, Regie, Schnitt Regieassistentz Aufnahmeleitung & Produktion Assistenz Produktion Assistenz Cinematography 2.Kamera Operator & Visual Effects Fokus Puller Ober-Beleuchter Grip Best Boys Casting Styling: MakeUp & Haare Catering Carpenter Music Sound-Editing Beamer Set-Photographen

SPECIAL THANKS to: PH MODELS: Marta Nogolica, Maja Ritter GLIMBERGER KUNSTSTOFFE: Martin Hirsch LOMOGRAPHY: Isabella Händler TATENDRANG: Sammy Zayed Charlie Drechsel

Hennes Weiss Nane Murer Lisa Huebner Deniska Mlyneková Milena Cichecka Karl Diwisch Andreas F. Lindermayer Marie A. Brandner-Wolfszahn Natascha Khakpour Nora Miksch Bruno Scherr Matthias Meissl Christoph Tilley / MXR Camillo Foramitti Johann “Zazl” Raunig Josef Brezina (über Matthias) Thomas Klein David Freund Sammy Zayed / TATENDRANG Yasmin Pirouzi / MAKING OF Verena Rabl / TATENDRANG Moritz Stibernitz Florian Simonis Harald Wild The Dance / Zombie Disco Squad Minimood / Solo / Round Table Knights Remix Flo Scheibein Clemens Gürtler / LICHTERLOH Claudio Farkasch / BELICHTEN Lukas Spitaler

Max Pauen Sophie Hirsch Robin Slama Gucki Schächter Cristina Brandner Wolfszahn Fam.Stibernitz Fam.Khakpour Katharina Husslein Julian Zanzinger Dickon Stone / Jackmode

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FLASCHENDESIGN: DIE ÖFFNUNG. . Erfrischend Erfrischend Ottakringer.


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Do it deeper and slower

Verbal Ping-Pong with Wolf and Lamb by Judith Innerhofer in Berlin on the 13th of April 2011. For anyone involved in the international electronic music scene, it has been nearly impossible not to have heard about Wolf and Lamb over the past year: slow and deep basslines, “crew love” and sex on the dancefloor. Starting in New York at the now world famous Marcy Hotel, the two men behind the act and label – Gadi Mizrahi and Zev Einsenberg – over the years built a strong following of like-minded music and party lovers in New York, transforming their studio into a dance floor for some memorable underground parties. Whilst they began with minimal techno, their musical tastes soon developed and evolved into a unique form of slow bpm House and Disco, which is their trademark music style of today. In 2005 they started a net label ‘Wolf and Lamb’, which they have since used to release music of this particular style from artists who are simultaneously close friends and part of the Wolf and Lamb family. In 2009 they released their first vinyl, the ‘Brooklyn EP’, and artists that they were working closely with started to grow, including the shooting star of 2010 Nicolas Jaar. What once started in the small living room of their hotel, is now a worldwide phenomenon with a huge following and their latest release, a Wolf and Lamb vs. Soul Clap edition of the DJ Kicks !K7 compilation series, demonstrates new heights in their ever growing discography. Until the end of this month they are staying in Berlin, making the most of their downtime in the local clubs in between a heavy European touring schedule. Our reporter Judith Innerhofer met them in their studio at Prenzlauerberg to interview them and ended up having a ping pong match at the Michelburger Hotel.

Do you know Vienna? Gadi: Oh, they emailed us today from a club there, and Nicolas Jaar was telling me about the club a few months ago when he played there and he said it was amazing. Sauna, or how is it called?

Pratersauna. But what about Vienna? Do you know the city Vienna? Gadi: I don’t. I have never been there. Zev: I have heritage from there. Someone from my family used to live there, I don’t know who, but someone.

Do you have any image or picture about the city in your mind? Zev: Every time I think about Vienna I have this cake in my mind. This kind of Ice cream cake. Gadi: He only thinks about sweets. Laugh...Zev (trying to be serious):You don’t know about Viennese cake?! It’s like this Ice cream thing...

Is this the point, like you told me, where you like to make fun of the interviewer? Zev: No our answers to interviews are completely natural....

So changing the subject to your music, in your productions you create a powerful feeling of deceleration for us, the listeners, in a world that is always moving so fast. Do you know Kruder and Dorfmeister and their DJ Kicks album? From 1996... Gadi: Sure of course we know them. They made the most popular DJ Kicks compilation ever. In fact, I think that’s the only DJ Kicks I ever bought.

They did a similar thing as you have done – breaking things down –

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take care of it. We’re not living in New York right now so we don’t really need it. I lived there and he (Zev) lived for a few years there with me and we ran parties regularly, but right now we are on tour.

So it was your home station for a while, but now you are on tour. Do you have any feeling for home? Perhaps a spiritual home? Where would it be? Zev: It’s actually a little confusing right now. I have a house up in the mountains where I live half the year. So that place for me is home, although less and less, because I’m there less and less. I don’t know, we could really use something right now. Gadi: We lived in Miami for 5 months – so that was home. Zev: But it’s home for 5 months and then that’s it when you leave. Gadi: We’re touring djs though, that’s how it is. I mean for me, The Michelburger is like home right now and I like it like that. We had a home and we were grounded for a really long time, and we have known each other for nine years now. It’s ok for a few years to not have a home. We are getting older so it’s ok to do this for a few years and then settle down.

Is that the plan? Gadi: Who knows? There is no plan!

How is it working so closely together? Some friends of mine that are DJ partners and work together are like a it the same for you...?

taking minimal techno and making the music much slower... Gadi: Completely, so we’re just doing the same ten years later! Zev:Yeh every ten years everything gets all fast again and someone needs to come and calm everyone down. There is definitely a similarity. We both love that compilation. In fact, I think that Kruder & Dorfmeister mix was the one that we thought about from the !K7 mix series. We knew we didn’t want to make a dance mix, and we remembered that the Kruder and Dorfmeister mix wasn’t one either, which made us think we could do that too.

I read somewhere that you said that you want to bring more sexiness to the dancefloor, especially with your last release with Soul Clap. What about this? Gadi: We always want to. We all like to have sex a lot and I think that this is our arena. Zev: (laughing) Yeah, exactly. Seriously though, I think there is nothing more dispiriting as a performer than performing to a room only full of guys at the end of a night. It’s just not fun, and if you play a certain kind of music that’s what’s going to happen – all the girls are going to go home and then you will be left with 80 guys in the room and it’s just not an exciting thing to keep you inspired. Gadi: As an extreme example – you know in the UK, there is a big Dubstep movement, it’s a very popular movement and I mean the older stuff not James Blake – this is a very male dominated scene. Techno is pretty male dominated, you go to a Techno party there are a lot of boys... but when you go closer to house and then disco, which is what we’re trying to do, we are trying to have a lot more women than men. We play a lot more vocals, tracks that are geared towards women...

Zev:Yeh totally – we’re a couple. Gadi:Yeh we are. We maybe used to have more of a romantic relationship, and now it’s a bit more business and romance. One thing that’s so great about it is that you know you can do anything together. I think it’s the same for Soul Clap. Even if they get tired of each other at points and can’t see the other person, at the same time you can dream about and do anything. We can open a club next week in New York if we want, we can do anything we want so it’s a really powerful relationship. After nine years you know each other so well, we’re not surprised or excited all the time, but we can still get excited – like this DJ Kicks project, it was so amazing. Everyone knew exactly what they were doing, and everyone did it, it was so easy. Right now, we have this company of four people, we are bringing six new artists up and we’re going to do a big tour maybe with the whole label – twelve artists. Twelve individual, strong artists, coming together and playing lots of festivals. We’re not just a crew of people that make similar music – we also really love each other and love spending time together. We don’t want to be

So how many girls are left when you finish your Set? Zev: Half, at least. That’s amazing! At eight in the morning half of the girls are still there. Gadi: Even in Poland, when we were playing R’n’B at the end of the night...

Switch to private. I heard that you like playing Ping Pong?

Gadi: They’ll kick our asses! Because we’re not good, but yes, we love it.

famous, we just want to hang out and have fun. Zev: I think what we can say is that we used to be a couple and now we are a bunch of kids! That’s the way the relationship has changed. First we had to work out how to work together and not kill each other... then we got past that and we knew we could stay peaceful for as long as we had big dreams. And then we met these two guys (Soul Clap) and it really became the Ying and the Yang energy, and now everything is really peaceful. We can really focus on bringing a whole family up. Gadi: There are a lot of new artists in the family which is so cool.

What about going to the Sauna?

What about real relationships?

Zev: Love that shit. We have one. Gadi: We built one at the Marcy. We built a steam room, not a sauna – the wet one. So in the Marcy we have a steam room. Zev: After long parties it’s nice, we opened it up and 7 or 8 people would go inside and drink and hang out

Zev: Gadi had a relationship for almost three years with Deniz (Kurtel). Gadi:Yes for two-three years.

Gadi:Yes...this has become really important because everything is always music, we are making it and DJing, and we really need something else. Zev has other things that he does, he is really healthy and really interested in it – he studies health. He also has the internet and web work, and for us, me, Charlie, Eli, everyone on Double Standard – we play ping pong every day.

So I should say to the guys in Vienna that they should organize a ping-pong competition for you? ;)

Do you still have The Marcy? Gadi: Because we are on tour, we gave The Marcy to our friend Greg who is on the label. He is living there now, we gave it to him to live there and

Last thing I heard from you Zev, was that you moved to London to live with your girlfriend? Zev: That was two years ago and I didn’t move there. I was touring and I stayed with her, but it didn’t work out..

So you are both available? Zev: We are always available!

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Arr, you are DJs, I forgot. Sorry. Gadi: „Always Available“ – that’s the name of a car service company in Brooklyn!

You started as a net label, would you consider yourself a digital label, or more of a hybrid? Gadi: We started as a net label and it was a really good way to start because you don’t know anything at the beginning. We wanted to release good music and to sign good artists, but by opening a net label we learnt that we didn’t just want to sign artists to release good music – but more to sign friends who we want to share a life with. It’s a very intense process to become a part of Wolf and Lamb family. This kid Tanner Ross – he’s Soul Clap’s best friend – he’s one of the new artists on Wolf and Lamb. We spent a long time with him, we hung out... Zev: We dated for a while, we date all our artists to see if we want to hang out with them... Gadi: It changes their lives and it changes our lives too..... so we are very careful with who we bring into the crew right now.

On the one hand it’s like a small family and you have the Marcy, but on the other hand you have this big hype... Gadi: ...which we can’t do anything about, we didn’t do anything...

Do you like it? Zev: I like it – Gadi doesn’t. I don’t think the hype really exists. What it comes down to is that people like the music, so they pass it on to their friends. There are some people that don’t really have an opinion, they just like what everyone else likes, but that’s just a part of the growth. There are certain aspects that aren’t good, but I think you only need to worry about hype if that is all you have. But this is nine years of work for us. Nico who is only 21 now has been on it for three years. This is really serious work, we have all put many years of our life into this. So it’s not just hype, there is something really serious behind it. Gadi: It’s similar to how there is hype about the new Bar 25, but you know in one month time whatever they make there is going to be amazing and we are going to have a great time there – so it’s not just hype for the sake of it.Yeh it’s hype, but they are also going to work really hard to make something really special for people to enjoy. It’s the same with us, there is a lot of hype around us, we come to a city and there is a lot of noise, but it’s not just noise for noise sake. For example, with Watergate, we did this party there last Saturday night and it was incredible. Everyone was really enjoying themselves... the music was really deep, good lighting. So there was hype, but I really think we bring something different, it’s not just air and hype.

Coming back to the music, what’s the value of music for you? Gadi: What’s different and fun for me right now is Soul, Funk and R’n’B – that’s what’s really interesting for us, influencing us. Eli for example – at the end of the party at Watergate – played two to three hours of 90s Hip Hop, and it was very surprising to see something like this happen in Berlin, for a German House and Techno crowd. I think that’s quite groundbreaking. Zev: I think a good illustration of our love for R’n’B is this: when you’ve been partying for a few hours and you are back home, you can only really listen to the music that you love and we have been finding this to be R’n’B and Soul more and more. Gadi: We also love Pop music, like Prince and Sade, George Michael – all this stuff. So there is a Pop sensibility to Wolf and Lamb, maybe that comes across as commercial but it is what it is. This is who we are right now and this is what we love. We play Pop music, we play Chaka Khan, Wham...we play what we want

There are also other labels that are going in this direction – it’s becoming quite common – it seems everything works in cycles..... Gadi:You’re right.

Last question – what does 2011 hold for Wolf and Lamb? Zev: This year is going to be about, as we mentioned before, really figuring out how to take this feeling and social experiment and how to be able to spread it to more people and more venues, and being on the road with the whole family. Gadi: Also we’re really excited about bringing up really young artists – 20/21 year olds – teaching them how to DJ, teaching them what we have learnt. These kids Voices Of Black – they are the new kids - they are the same age as Nico. They are really young and they are working on music full time now. It’s really exciting for me to work with them, to tour with them and help bring their profile up. For me that’s the most fun, and also playing ping pong with them – it’s fun. Zev: We have the kids – they are just teething now. ///


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In season two of this Wednesday’s summer club series once again we are putting all efforts in promoting the mid of the week as the better weekend. As the name says, this is the one and only night, where swimming after midnight is allowed. Not more of a concept is necessary. On 1st June we are kicking off with a Cadenza Label Night and from then on keep serving you a variety of label nights, relevant solo DJs and producers. House and techno sounds in all variations.

Mittwoch. Nachts. Immer.

This season we welcome first-time artists and bring last years’ highlights like Pantha du Prince or Gui Boratto back to the pool.

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As a warm-up for Nachtschwimmer we are providing a shelter for two hot online radio stations, which are streaming the sets live into the world wide web. We wanna take the opportunity to introduce you briefly to both: RTS.FM


RTS.FM is an international internet radio station based on cutting edge technologies. RTS.FM provides live AV translations of international DJ performances. Its presence is covering several countries at once: Russia, Ukraine, Poland, Germany, USA, Argentina and Austria.  The Vienna based studio is the latest breed in the RTS.FM family. It is a project by Masha Dabelka, Denis Yashin and resident DJs: Electric Indigo, Ken Hayakawa, Moogle, Laminat, Beppo Ton.

Bebop Rodeo streams deep electronic music live from Vienna via Anna Leiser, Dr. Blake, Laminat, Moogle and Slick organize special Bebop Rodeo-clubnights too. The next one will be on the 26th of August at Pratersauna with a never before seen constellation of DJs and live-acts. Watch out for the smartest tree-trunk with the deepest roots in town.

01.JUNI 08.JUNI 15.JUNI 22.JUNI 29.JUNI 06.JULI 13.JULI 20.JULI 27.JULI 03.AUG 10.AUG 17.AUG 24.AUG 31.AUG 07.SEP 14.SEP


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05.05.11 Saunieren statt Studieren // 06.05.11 Aufguss // 07.05.11 TLM - The Loud Minor ity // 11.05.11 ViennaFair Opening / Midissage Clemens Wolf Exhibition // 12.05.11 Love&Hate // 13.05.11 Pompadour // 14.05.11 Praterei // 15.05.11 Kinderdisko // 17.05.11 Holy Ghost feat. Wolfram // 19.05.11 Pool Bar Festival // Finissage Clemens Wolf Exhibition // 20.05.11 Pool Bar Festival - // 21.05.11 Pool Bar Festival // 27.05.11 Stadtpark Musik // 28.05.11 E-nix // 01.06.11 Nachtschwimmer - Season Opening // 02.06.11 Hang Loose Beach Par ty // 03.06.11 The Room - 5yr s Anniveresar y // 04.06.11 Que Pasa // 04.06.11 PRS Worldtour Stop #3: Graz spr ingfestival // 05.06.11 MINIMIX - Die Kinderdisko // 0 8.06.11 Nachtschwim mer // 09.06.11 Special Burlesque Night // 10.06.11 Club Pompadour // 11.06.11 Praterei // 12.06.11 5-Uhr-Tee // 13.06.11 Chill-am-Pool // 15.06.11 Nachtschwimmer // 16.06.11 Love&Hate // 17.06.11 Har t aber herzlich // 18.06.11 Vintage Market & Designer Sample Sale // 19.06.11 UAF Pool Par ty // 22.06.11 Nachtschwimmer // 23.06.11 Sommerlager // 24.06.11 Icke Micke Says Goodbye // 25.06.11 Die Zwei // 25.06.11 PRS Worldtour Stop #4: Moscow Solyanka // 25.06.11 PRS Worldtour Stop #5: St. Peter sburg // 26.06.11 Fundays - (Season Opening) // 29.06.11 Nachtschwimmer // 30.06.11 Prater Unser Festival - Day 1 // 01.07.11 Prater Unser Festival - Day 2 // 02.07.11 Prater Unser Festival - Day 3 // 03.07.11 Prater Unser Festival - Day 4 // 06.07.11 Nachtschwimmer // 07.07.11 Saunieren statt Studieren // 08.07.11 Highway (Crazy & Zuckerwatt) // 09.07.11 Sommerfest // 10.07.11 MINIMIX - Die Kinderdisko // 10.07.11 PRS Worldtour Stop #6: Munich Super rave // 13.07.11 2yr s Anniver sar y: Nachtschwimmer // 14.07.11 2yr s Anniver sar y Special // 15.07.11 2yr s Anniver sar y: Pompadour // 16.07.11 2yr s Anniver sar y: Dusch Dich // 17.07.11 2yr s Anniver sar y: 5Uhr Tee // 20.07.11

Nachtschwimmer //

21.07.11 Love&Hate // 22.07.11 Har t aber

herzlich // 23.07.11 E-nix // 24.07. 11 Fundays // 27.07.11 Nachtschwimmer // 29.07.11 Stadtpark Musik // 30.07.11 Cr unchtime Label Night // 31.07.11 Der Dr ink Sommerfest // 03.08.11 Nachtschwimmer // 04.08.11 Saunieren statt Studieren // 05.08.11 Strom Club // 06.08.11 Que Pasa // 07.08.11 MINIMIX - Die Kinderdisko // 10.08.11 Nachtschwimmer // 12.08.11 Pompadour // 13.08.11 Praterei // 14 .08.11 Yacht Nacht // 15.08.11 Chill-am-Pool // 17.08.11 Nachtschwimmer // 18.08.11 Love&Hate // 19.08.11 Har t aber herzlich // 20.08.11 Cosmic Space // 21.08.11 5Uhr Tee // 21.08.11 PRS Worldtour Stop #7: London Half Baked // 24.08.11 Nachtschwimmer // 26.08.11 Bebop Rodeo - Radio Stream Par ty // 27.08.11 E-nix // 28.08.11 Fundays // 31.08.11 Nachtschwimmer // 01.09.11 Saunieren statt Studieren // 02.09.11 Aufguss - Fall/Winter Season Opening // 03.09.11 TLM - The Loud Minor ity // 04.09.11 MINIMIX - Die Kinderdisko // 07.09.11 Nachtschwimmer // 09.09.11 Club Pompadour // 10.09.11 Praterei // 11.09.11 5 uhr Tee (Season Closing) // 14.09.11 Nachtschwimmer (Season Closing) // 16.09.11 Que Pasa // 17.09.11 Official Vienna Fashion Week Par ty // 22.09.11 Love&Hate // 23.09.11 Summer Closing Festival // 24.09.11 Summer Closing Festival // 30.09.11 WAVES Vienna co-hosted by Aufguss // 01.10.11 WAVES Vienna co-hosted by E-nix // 02.10.11 Waves Vienna // 06.10.11 Saunieren statt Studieren // 07.10.11 Prater sauna OKTOBERFEST // 08.10.11 Praterei freat. RUN VIE Festival Closing Night // 14.10.11 Pompadour // 15.10.11 FSK - A Prater sauna Gay Night #2 // 20.10.11 Love&Hate // 21.10.11 Har t aber herzlich // 22.10.11 Die Zwei // 25.10.11 Dusch Dich #3 // 28.10.11 Icke Micke // 29.10.11 E-Nix // 31.10.11 Stromclub Helloween Special

BUNKERFLOOR Capacity: 450 Sound System: KV2 Specials: 360degree Panorama VJ-Mapping

MAINFLOOR Capacity: 250 Sound System: Turbosound UK Specials: 6sqm Island DJ-Booth with Poolview, 270° Panorama Projection

GLASHOUSE Capacity: 150 Sound System: Turbosound UK – light Setting Specials: Glasfront with open Space to Terrace with Poolview



Capacity: 50-100 Sound System: Ohm Specials: Indoor Swimming Pool, Sauna, Steam Cube, Showers

Capacity: 50-100 Sound System: HK Specials: Empty Basin Lounge

“Der Morgen danach ist der Abend davor.� Pratersauna Vienna

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DampfMagazine Issue #1  

Dampf Magazine / Summer 2011 A Pratersauna Vienna Publication