Lecture-Performance #1
Carmen Pomet is a multidisciplinary artist based in Graz. Her practice moves between performance, sound, and installation, often beginning where imagined narratives reveal the unseen streams of lived reality. She explores the boundaries between individual and collective authorship – how voices, bodies, and technologies intersect in creation. Influenced by feminist and queer theory, postmodern philosophy, digital media, and underground culture, Pomet works with non-normative sound worlds and the theatricality of performance to create shared, transformative experiences that question how meaning is produced and how structures listen, respond, or fail to respond to the bodies that inhabit them. Carmen Pomet’s lecture-performance examines how language determines who is allowed to exist within our cultural narratives. Drawing from feminist and queer theory, the first part of the work questions how “happiness” functions as a grammar of approval – rewarding bodies that comply with social norms and marking those outside them as “unhappy.” In the second part, the performer enters into a dialogue with an AI self-developed, artistic tool that sees through gendered and normative filters. As the system attempts to classify the human body, it exposes the limits of inherited vocabularies and the biases embedded in acts of recognition.

Lecture-Performance #2
Anna Jurkiewicz is a transdisciplinary artist working with sound, video, writing and voice. She engages in artistic research around more-than-human timelines, architectures and interactions. Some of her projects explore karst landscapes created by water through deep-time processes of dissolution and sedimentation. Most focus on multispecies relations that produce space and habitats. Her artistic practice often comes with the intention of strengthening interspecies empathy. As a sound artist, Jurkiewicz works with field recording, various microphones, voice and found footage to create multi-layered sound collages. As a vocalist, she recycles archives, composes music and explores resonance in various spaces, including an acoustic inventory of caves. In her work, a background in traditional music, ethnography and linguistics is combined with research and a personal practice of listening and cultivating intimate relationships with environments. In a lecture-performance for Voicing Places, Jurkiewicz probes the underground gaps consuming streams and rivers made invisible by urban development. The piece asks what resonates in the hollow, and what bursts out of the unstable porosity entangled in the web of underground infrastructure.

Screening
Adina Camhy’s Crater with music and sound design by Margarethe Maierhofer-Lischka
In associative movements between the Ramon crater in the Negev desert, its counterpart of the
same name on the moon, and the craters that can arise in and around us, Adina Camhy studies people’s relationship to their home planet. Found footage, photo collages, and satellite images generate a mix of images that changes the perspective on the history and future of human impact. (ph, Diagonale)
Adina Camhy is interested in the pressing questions of our time, in technology, history and memory, in peripheries and glimpses beneath surfaces. Her mostly research based work ranges from video, sound, print to performance and is shown in public spaces, swimming pools and coffee houses as well as at film festivals, cinemas and exhibitions. Her music, moving between noise, ambient, drone, industrial, field recordings and improvisation, is part of performances, films and and radio pieces. Camhy studied architecture at TU Graz and UPV Valencia (ES) and Master Critical Studies at the Academy of Fine Arts Vienna (ongoing). She has received scholarships, grants and awards, including the City of Graz Working Scholarship for Fine Arts (2025), the Carinthia Annual Scholarship for Interdisciplinary Art Forms (2023), the Pixel, Bytes + Film Grant (2022), among others.

Music Act #1
fabien artal is a French-born sound artist and electronic music performer currently studying at the Institute for Electronic Music and Acoustics in Graz (Austria). Since graduating from ESAAIX in 2008, he has performed in several international festivals and events from different musical horizons and has been involved as a composer, sound designer, and developer in various projects. Throughout the years, he has been exploring the space of perception and more specifically the thin layer between the inner and the outer perceptive milieux. fabien artal’s Impulse Train is a performative wave installation that explores the physicality of sound once projected into space and perceptive distortions. In this piece, the space is stimulated by a continuous train of wave fronts projected at fixed time intervals. The latter intervals, as well as the frequencies of the sine waves sent on each channel, are calculated according to the dimensions of the room. Each channel is then processed to reveal the experience Impulse Train is trying to carry. The very substance of this piece realizes itself in its projection space, where it meets the sensing bodies. In this temporary sonotopy made of frictions, acoustic patterns and movements, Impulse Train, by inducing an embodied experience of our immediate surrounding, invites us to dissolve and question the role of our body in the act of sensing.

Music Act #2
"Lake Urumia" is the new moniker for the music acts of Reza Kellner, an experimental musician and multimedia artist working with sound, video, and photography. As a musician and sound artist, he is particularly interested in using subtle forms to explore long and minimalist compositions, slow movements, and immersive experiences. His practice is rooted in the connection to the senses, inward and outward perceptions, and exploring material and environmental processes and relations. Lake Urumia will be performing “When, it”.