Untitled - Oiip

19 March – 3 May 2009
EXTRA EUROPA
CULTURE FESTIVAL & SYMPOSIUM
Featuring
NorwAY
SWITZERLAND
TURKEY
www.linz09.at/extra-europa

Imprint
Contents
Concept: Martin Heller, Susanne Puchberger
Project development / Project supervision: Susanne Puchberger, Gallus Vögel
Performing Arts: Airan Berg (Artistic director),
David Tushingham (Dramaturgy), Georg Steker (Production supervision)
Editors: Susanne Puchberger, Wolfgang Sützl, Gallus Vögel
Graphic design: Barbara Egger (graphegger.design)
Printed by Druckerei Friedrich VDV Linz
Linz 2009 Kulturhauptstadt Europas
OrganisationsGmbH, Gruberstraße 2
4020 Linz, Austria
Tel +43/732/2009
Fax+ 43/732/2009-43
office@linz09.at, www.linz09.at
Martin Heller, Artistic Director
Walter Putschögl, Financial Director
ForEwords
THE EUROPEAN QUESTION
Essay: Morten A. Strøksnes (NO)
Essay: Lukas Bärfuss (CH)
Essay: CENGIZ AKTAR (TR)
FORUM 09
OPENING
SYMPOSIUM
OPENING: PartY, SPRING AWAKENING
CULTURE FESTIVAL
Essay: KLAUS STIMEDER (AT)
Tickets
Project Partners
Contents
Venues
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03

ForEwords
NORWay
LINZ09
Detours are not the quickest way to get from A to B. We all know however that occasionally they be more
exciting and offer more surprising insights than the direct route. This is why Linz09 has opted for a roundabout
way in its approach to Austria’s troubled relationship with the EU. It has invited three countries to the
Culture Capital that do not, for one reason or another, belong the European Union. We assume they have
things to say on the core themes of European life that do not get said inside the Union. We may even find
there are lessons to be learnt from listening to them that may be applied to the Austrian debate on Europe,
which remains torn between scepticism and self-inflicted suffering.
Martin Heller, Artistic Director Linz09
Linz
“What do we mean when we use the term ‘Europe’?” This is the guiding question of the Linz09 EXTRA
EUROPA Symposium. Extra Europa will look at Europe beyond the boundaries of the European Union,
focusing on the three non-European Union states Norway, Switzerland, and Turkey. The politics of these
countries will be described and compared – with one another and, above all, with the politics of states
within the European Union to facilitate an understanding of similarities and differences. I am pleased that
the symposium will take place at the Wissensturm. This municipal institution is home to an adult education
centre and the city library. As a centre for individual learning, and dedicated to education per se, it provides
an ideal setting for this event. I wish all participants an exciting symposium and an interesting time at the
festival.
Franz Dobusch, Mayor of Linz
The Extra Europa project provides an opportunity to present Norwegian culture and thinking to an Austrian
audience. It is of particular concern to us to emphasize the European aspects of Norwegian culture,
for Norway is part of Europe, even if it is not a member state of the European Union. Extra Europa offers
the chance to discuss important questions about European borders, identities, and cultures. I wish Linz09
every success, as well as stimulating discussions.
Bengt O. Johansen, Ambassador of Norway
Switzerland
Why Extra Europa? Isn’t Switzerland very much at the heart of Europe? It clearly is. We share the values,
cultural traditions and languages of our neighbours, as well as an intensive political and economic partnership
with the EU. The fact of being geographically, culturally and economically an integral part of Europe even
though we’re not a member of the EU is indeed something special and additional - something “extra”.
The Symposium and the cultural programme will give participants the opportunity to discuss and share
experiences on European diversity beyond institutional boundaries. We are looking forward to fruitful discussions
within the exceptional framework provided by Linz 09.
Oscar Knapp, Ambassador of the Swiss Confederation to the Republic of Austria
Turkey
Our cultural relations with Austria are long-standing and close; they draw on a rich common heritage.
Turkish traces can be found everywhere in Austria. Intensifying our exchanges will be one of the many
important agendas accomplished at Linz. The project brings together two cultural capitals. Istanbul 2010
will be pivotal for Turkey’s history, culture, and art, in addition to its significance for the economy and commerce.
Culture and art always contain a connecting, not a separating force. Extra Europa will bring us
Europeans closer together and contribute to greater understanding and more tolerance. I extend my congratulations
to all those participating in EXTRA EUROPA, and to the contributing artists.
Selim Yenel, Ambassador of Turkey
04
05

introduction
The european
Question
European Capital of Culture
Linz, with its 190,000 inhabitants Austria’s third largest
city, shares in 2009 the honorific title of European
Capital of Culture with Vilnius, the Lithuanian
capital. In the eyes of some people, this is above all
a privilege, which will boost the city’s development
and earn it a great deal of attention. Others stress
the challenge and the enormity of the task that is
involved. Both are of course right. This becomes
particularly apparent, when the European dimension
is taken into account: Linz presents itself to Europe,
and Europe presents itself in Linz.
Addressing the issue of Europe is quite obviously
one of the tasks that devolve on a culture capital.
The first question to be raised is what Europe we
are actually referring to here. The European Culture
Capital format was born from an initiative put forward
in 1985 by the then Greek Minister of Culture, Melina
Mercouri. EU members were to take turns annually
in a predetermined order in nominating a city which,
pending approval by the EU Commission, would
then be designated European Capital of Culture by
the Council. An EU resolution adopted in 2000 made
also non-EU members eligible for this process during
the period of 2005-2010. This brought us the benefit
of Stavanger assuming the role of Culture Capital in
2008, and in 2010 the 12-million metropolis Istanbul
will in that capacity attract flocks of curious visitors.
European Identity
Europe’s internal division into “EU Europe” and
“non-EU Europe” draws attention to the question
of what consequences the respective status entails
and leads us to the Linz09 project EXTRA EUROPA.
Is there such a thing as a shared “European identity”,
a shared “European culture”? Or is it perhaps
one of Europe’s strong points that it has no homogenized
identity and no shared culture and that it
has no wish to develop anything of the sort, preferring
cultural diversity instead?
Terms such as “European identity and culture” are
used a great deal in common parlance. It is true
that we intuitively tend to use them above all in
the context of the EU package. How European do
non-EU states feel? What reasons are there for not
wanting to join the EU or for not being allowed to
join? EXTRA EUROPA deliberately flirts with such
questions – primarily because it wants to trigger a
debate about them. We want the word “extra” to
be understood not only in the sense of “outside”
or “excluded” but also in its other sense as a kind
of honorific, in an affirmative/emphatic sense, in the
sense of “particularly/especially”. Is it not the case
that some non-EU states are in fact particularly European,
that they represent values and qualities that
are especially associated with Europe?
Norway, Switzerland, Turkey
To pursue our investigations we have selected three
exemplary countries that we want to look at in detail
in EXTRA EUROPA: Norway, Switzerland, and
Turkey. We want Linz09 to serve as a platform for
these countries to present samples of their political
and scientific discourse and of their artistic and cultural
activities. Arranged along a line from Europe’s
remotest South East to the heart of Central Europe
and on to its furthest North West, these countries
are about as diverse as possible in political, geographical
and cultural terms. This choice looked like a
challenge to us, as it is quite unique. Perhaps it is
also surprising or counterintuitive: at first sight there
appears to be little these three countries have
in common apart from the fact that none of them
belongs to the EU.
EXTRA EUROPA: the Programme
The two main components of the project are a
symposium at the Linz Wissensturm (20/21 March)
with high-profile panels comprising experts from
the three countries plus Austria, for which access
will be free; and the EXTRA EUROPA FESTIVAL (19
March – 3 May). With 60 or so different projects the
festival will feature an artistic and cultural programme
that includes dance, theatre, music, literature,
film, cartoons, and fine arts from the three EXTRA
EUROPA countries.
Before and during the symposium the “Forum09”
will take place. It will provide the framework for a
meeting of 80 pupils from the three EXTRA EUROPA
countries plus Austria and the Czech Republic, who
will be discussing the same issues addressed by
the participants of the symposium.
EXTRA EUROPA Partners
The Swiss cultural foundation Pro Helvetia proved
a strong and committed partner and sponsor from
our first beginnings. In the course of two years of
intensive collaboration we have put together an
EXTRA EUROPA: SWITZERLAND programme that
assembles 30 projects. During and after the EXTRA
EUROPA FESTIVAL in Linz, selected projects will
also be shown in several Swiss cities. For the programming
of EXTRA EUROPA: TURKEY we found
a congenial partner and sponsor in Istanbul 2010,
whose team has provided invaluable help in all
questions related to content. For EXTRA EUROPA:
NORWAY we are deeply indebted to Norway’s Ministry
for Foreign Affairs (Section for Global Cultural
Cooperation) and to the Arts Council Norway for
their trust and support.
From the beginning, the three countries’ embassies
in Vienna have provided invaluable support. They
have been patient companions, advisors and mediators
without whose help EXTRA EUROPA could
not have been realized. We have also received substantial
assistance from oiip (Österreichisches Institut
für Internationale Politik) in terms of the contents
and conceptual framework of EXTRA EUROPA.
We are particularly pleased that the following wellknown
journalists and writers from the EXTRA EU-
ROPA countries and Austria have taken up our suggestion
that they contribute essays to the project:
Morten Stroksnes (Norway), Lukas Bärfuss (Switzerland),
Cengiz Aktar (Turkey), and Klaus Stimeder
(Austria).
We would also like to express our gratitude to partners
and organisers in Linz and its environs whose
enthusiastic commitment to the idea of EXTRA EU-
ROPA has led them to either organise related projects
of their own or pool their efforts with the three
countries involved.
Susanne Puchberger,
Project developer and editor of EXTRA EUROPA
06
07

EXTRA EUROPA NORWAY
ESSAY NORWAY
FOR THE LOVE
OF FISH
Norway’s relationship with Europe should not to be
compared with Europe’s relationship with Norway.
The latter is not very important, but the former is a
mirror of Norway’s subconscious, full of inner traumas
the nation is unable to confront. It is a dark
and strange place to view. The Norwegian ego is
suspended between the id of fear, greed, and aggression,
and the superego of superior morals,
between feelings of inferiority and superiority. On a
basic level, it’s the old and familiar story about the
love and hate of fish. We don’t eat much of it. We
catch the fish, but eat frozen pizzas instead. In fact,
the whole question of Norway vs. Europe could be
condensed into one single shiny codfish. Up North,
where I’m from, the attitude of most people is:
”What the hell could the European Union offer us?
We’ve already got fish.” Before the 1994 referendum
on Norway’s entry into the union, Jan Henry T.
Olsen, the Minister of Fisheries, was a central member
of the negotiating team that went to Brussels.
He knew what he was up against. Before he left, he
defiantly stated that he wasn’t going to give away
a single Norwegian fish to Europe. It turned out he
had to throw in a few tons to the Spaniards. The
Norwegians rejected the proposal. “No fish”-Olsen
was sent to the woods.
Norway’s relationship with Europe is nearly older
than Europe itself. We were Vikings. Before the
people of Europe invented self-defence, we filled
our longboats with weapons and Amanita muscaria,
commonly known as the fly agaric or fly Amanita:
a poisonous and psychoactive basidiomycete
fungus. Then we’d set sail and roam around in the
world until we got tired of it.
Somehow we’ve lost pride in our history and our
basic instincts. I sometimes ask myself: should we
guilty about a bit of raping and pillaging down on
the continent a long time back? Or should this tradition
be turned into a source of pride to help us
commemorate something that is easily forgotten:
We haven’t always been a social democratic version
of Kuwait. These days we’ve even forgotten
how to hate the Swedes. And that’s just wrong, no
matter how you twist and turn the facts around. The
parts of Norway the Swedes stole is referred to as
“occupied Norway” or “the East Bank”. The Nazis
stole the Viking/Norse legacy. But who ever saw
a German wearing one of those horned helmets
anyway? We used to, and we should start wearing
them again, with pride.
Our relationship with France and the British Isles
has faded. But we are still very well travelled. Several
times every year most Norwegians go to what
for us has become the centre of Europe. Our Central
Europe is a few small islands off the coast of
Africa: the Canaries. To be fair, in the summertime
we visit some Greek or previously Greek islands in
Turkey, too. What’s attractive to us and makes us
feel at home at these places, are the ”small fishing
villages”.
Being a minor nation speaking an incongruous
language, we were once forced to learn other languages.
Now we don’t give a toss. We don’t even
speak English, only English as a Foreign Language.
After the Second World War we decided to punish
the Germans by refusing to learn to speak or read
their language. This way we still inflict a lot of welldeserved
pain on the Germans. French was always
too complicated and perhaps was never designed
as a form of communication anyway. And we don’t
really need Spanish. All the menus of Spain are in
Scandy, so why bother?
The real obstacle for us is politeness. Those foreigners.
They say ”How are you doing?”, “S’il vous
plaît”, ”Mucho gusto”, and a lot of other shit they
don’t really mean. We can see straight through their
false pretences. We know how an honest and truly
polite person is supposed to behave. Not by pretending
to be considerate and kind by using shallow
words and gestures, that’s for sure. If someone tries
to screw us with that sort of stuff, we know what to
do: Stay quiet and stare him or her down. The only
way to be authentic is to be rude.
The Eskimos are said to have about 1400 different
words for snow. But there are only two phrases of
politeness in Norwegian – “takk” (thank you) and
“unnskyld” (I’m sorry). They are hardly ever used.
We have lost touch with Europe. According to a
large survey conducted by MMK, a polling institute,
only one in fifteen Norwegians is aware of the
fact that Norway has a common border with Russia.
More surprisingly, forty-seven percent of those
asked felt ”absolutely certain” that Norway is an island.
Can you believe that? 1
The truth is that our politicians don’t want to be a
part of Europe. That would jeopardize their favourite
activity: wasting billions of our hard earned petrodollars
spreading the gospel of bland Norwegian
goodness around the world in some peace process
or another. What happens is usually this: a Norwegian
politician gets bored and buys himself an
atlas. He finds a place where there’s been a war
since Neolithic times, and decides he’ll be the harbinger
of peace for this place. Until this point he’s
typically been away from Norway 12 times. Three
times on the Canaries, and nine times in Sweden to
buy alcohol and chicken legs in bulk. After years of
free spending and breakthroughs, you can be sure
of one thing: the war in question will escalate into
an even more mindless bloodbath than ever before.
Then the politician goes back to the boring old
country to lecture on the Norwegian peace model.
Never heard of it? You’ll be all right for now, then.
Norway’s attitude to the EU can be summed up as
follows: How can hundreds of millions of people be
so utterly wrong? How can they, with open eyes, be
willing to enslave themselves to Brussels, when just
four million of us managed to get it right? Contrary
to popular belief in Norway, the European Union is
better off without us. We are soft people living in a
hard and unforgiving land close to the North Pole,
with tremendous shoals of fish swimming around in
the cold waters off our beautiful coastline. We have
nothing to add but our vast oil and gas reserves.
Morten A.Strøksnes,
is a writer and journalist born in Kirkenes. His most
recent publication is Hva skjer i Nord-Norge? 2006
08
09
1
Obviously, you shouldn’t. I made both those facts up, just to get my point across, and I hope you realized that.
As they say in Finland: If you can’t stand the heat, get out of the sauna.

EXTRA EUROPA SWITZERLAND
ESSAY SWITZERLAND
IN VIEW OF
SWISS NATURE
I recently recalled an encounter at Marous, a desert
town in northern Cameroon, on the Chad border.
One day near noon I met a young man at the cedar
grove near the main street, where half of the town’s
population had sought refuge from the heat. The
young man, whom I had first mistaken for a street
vendor and tried to rid myself of, turned out to be a
primary school teacher. He did not want to sell me
anything, he wanted to know where I came from. I
explained Switzerland in a nutshell: its state form, its
climate, seasons, four national languages, history,
wealth – and although I was concise, the young man
seemed to get impatient. When I finally finished, he
asked me the question that to him seemed the crux
of the matter: Et alors, vous étiez colonisés par qui?
(So then, who colonised you?)
I laughed about his simple-mindedness and hurried
to make good use of my time and climb the
Hossère, a hill outside the town. While climbing,
watched by children who did not understand why
someone would climb a mountain without needing
to, I realized how legitimate this question was. Who
had taught me that more was to be learned from
mountains than from people? Could it be that my
suspiciousness and my preference for nature were
an echo of colonial thinking?
In 1779, Johann Wolfgang von Goethe, the father
of all tourists, meticulously reported on geological
and botanic facts in the letters he wrote from his
Swiss journey. Filling many pages with detailed
information on routes, rocky chasms, woodlands,
and the weather, he provided a fine description of
the landscape. Then suddenly, at Leukerbad, on
9 November 1779 he writes: “I observe that in my
notes I make very little mention of human beings.
Amid these grand objects of nature, they are but
little worthy of notice, especially for someone who is
only passing through.” A day later, at Leuk, he finally
brings himself to enter a house; however “when you
enter...you are at once disgusted, for everything is
dirty; want and hardship are everywhere apparent
among these highly privileged and free burghers.”
A little less than forty years later, the young Mary
Shelley followed in his footsteps. As is known, the
idea of Frankenstein came to her in Geneva, and
it would be worth investigating if the local population
served as a model for the monster. But this is
a different story altogether. Just like Goethe, Mary
Shelley indulges in descriptions of nature, and people
are largely absent. “The Swiss then appeared to
us – and our experience has strengthened this view
– as a people of slow comprehension and sluggishness.”
This is all she mentions. When people do appear,
they represent threats. About the passengers
of a diligence, a mail boat, she writes: “It would be
easier for God to create man anew than to get these
monsters clean.”
It was not just writers and tourists who drew this
specific image of the Swiss. The Helvetian Directorate,
put into power by Napoleon (without doubt
our coloniser) after the previous confederation had
been abolished, asked the French supreme commander
to refrain from retaliation against the rebels
in Central Switzerland, for “they are savages whose
enlightenment and civilisation we have made our
task.”
Perhaps this may account for the Swiss addiction
to disappearing, which is reflected, amongst other
places, in the writing of Robert Walser. He once
commented to Carl Seelig that compared to nature
we were all revealed as incompetent. The Swiss
laws of banking confidentiality and the proverbial
discretion of the Swiss in general may be an expression
of the insight that before the beauty of nature
we will inevitably be savages. Given this fact,
it is better to call as little attention to ourselves as
possible, to vanish in the landscape. Shame may be
a reason not to join the European Union, although
it may also be a consequence of continued mortification
at the hands of tourists. Even after Goethe
and Shelley, no tourist ever visited our country in
order to get to know its culture. No one is interested
in Swiss history (least of all the Swiss themselves),
Swiss cuisine, or Swiss music. To this day, this
country is visited only for its nature. It is our true culture.
However, people whose culture is nature are
called savages. This is what we are ashamed of, as
every servant is ashamed of the picture his master
draws of him. And like every servant, we fear that
this picture might contain the truth about us.
Lukas Bärfuss,
is a Swiss writer (Hundert Tage, Wallstein Verlag, Göttingen)
10
11

EXTRA EUROPA TURKEY
ESSAY TURKEY
Cultural difference and
difficult integration
You’ve almost certainly never heard of Haydi Bey.
Haydi is a male bear, living with his kind in Berne
Zoo. What is so remarkable about him is the story
of his integration. A group of politicians from Berne
visiting the Bursa region in Turkey came across
a semi-domesticated bear dancing for his Roma
master. The creature resembled the bear in Berne’s
coat of arms and Berne Zoo was in desperate need
of a male bear for their breeding programme. The
politicians decided to try and acquire the bear. The
formalities took a long time, even though both bureaucracies
worked hard. Finally, the bear arrived
in Berne. This was in the 1980s. Initially however
Haydi Bey’s sexual prowess left much to be desired.
The zoologists concluded that he was suffering
from acute alienation, he had after all been in constant
human company. They recommended hiring
a caretaker who spoke Turkish. Consequently, the
Zoo hired a Turkish asylum seeker. Apparently his
new buddy gave Haydi Bey a new outlook on things
because very soon he started taking the business
of procreation much more seriously. Today, many
Helvetico-Turkish bears grace Berne Zoo – to the
great joy of its visitors.
Thus we have a difficult integration situation turned
into a success story, a “win-win” situation, as a
post-modern storyteller might say, reached through
smart solutions. This is precisely what the debate
on Turkey’s integration into Europe is all about.
We keep on hearing today that Turkey has an alien
social model and different historical values. Just like
Haydi Bey. This frequently touted claim seems to
have become the argument of last resort for those
who are opposed to Turkey’s accession to the European
Union. But this culture based argument is
vague; it can be used in every sense and context. It
postulates the existence of a well defined and rocksolid
European identity shared by all Europeans,
from which Turks are excluded. Yet everyone has
his or her own definition of what is historical and
what is cultural. Some Hungarians do not consider
Romanians to be Europeans; for some Croats, it is
the Serbs and the Bosnians who are the odd men
out; for some Southern Europeans, such as Luigi
Barzini, Scandinavians are not really Europeans.
European public opinion tends to view the Turkish
population as hostile and impossible to integrate
when in fact four of the seventy-million Turks already
live and work in Western Europe, where successive
generations are gradually integrating with local populations.
On the economic front, sizeable numbers
of former Turkish factory workers are now successful
businessmen, who provide local communities
with jobs (for example see Zentrum für Türkeistudien,
Essen, www.uni-essen.de/zft). Integration within
these host societies takes place best when clear
national integration policies exist. Indeed, integration
is extremely difficult when foreign workers are
regarded as temporary guests although they have
lived there for over forty years. Fortunately, clear-cut
new policies aimed at integrating foreign minorities
are now taking shape in many host countries and
the change in German nationality law has allowed
approximately one million resident Turks to opt for
German nationality. This naturalisation trend is occurring
in other EU host countries as well. This is
oddly reminiscent of Haydi Bey.
Today, the inclusion of the territory inhabited by
Turks into the geographical definition of Europe
would mean a Europe capable of including diverse
values within a common political sphere and
thus showing a universal and unprecedented vision
of humanity and human society. This challenge is
much too important to be left exclusively to politicians,
who are known for their narrow electoral perspective
and lack of vision. The world of arts and
culture – the vanguard of a modern society – is the
proper arena in which to demonstrate to the public
at large the dynamism of the Turkish society.
At the macro level, European enlargement is a
major step towards Europe establishing itself as
a political global player, as foreseen by founding
fathers such as Adenauer, Monnet, Spinelli, and
Schuman. An eastward expansion process would
serve this courageous vision of universal solidarity,
an objective that urges us to rethink the very substance
of Europe as it exists today. In this sense,
there is a direct link between the debate about the
European Union’s expansion and the debate about
its enhanced integration. Within the context of this
new dynamic, the added value of the problematic
Turkish candidacy, which serves as a catalyst for
so many negative connotations and subconscious
fears, lies precisely in overcoming these fears and
images through the integration of Europe’s archetypal
figure of the “other”, the “Tête de Turc”, the
scapegoat, a figure that brings to western minds
the Muslim, the Oriental, and the “barbarian”. This
integration project undoubtedly creates a challenge,
and it is one that might finally urge all parties to
confront and come to terms with their “others”. Its
success would mean the fulfilment of the universal
political project that Europe is; a project, in French
poet René Char’s words, of “a shared presence”.
Just like Haydi Bey and family.
Cengiz Aktar,
an expert on EU issues, is a member of
the Civilian Initiative Group for Istanbul 2010
12
13

The primary task of Arts Council Norway is to provide funding for
artistic and cultural projects. The Council concentrates its efforts
on supporting innovation in art, encouraging new form of artistic
expression and promoting new forms of cultural mediation.
The Arts Council Norway seeks to encourage both cultural innovation
and the preservation of the cultural heritage. The Council
supports extensive experimental projects and individual projects
both in its regular fields and in selected priority programmes.
It also supports projects which extend beyond or cut across the
various discipline boundaries.
www.kulturrad.no

EXTRA EUROPA NORWAY SWITZERLAND TURKEY
Forum
Forum 09
WHAT DEFINES
THE EUROPEAN IDENTITY?
In order to address this important issue, the European
Youth Parliament (EYP) will host a forum
at Linz where young people from all parts of Europe
will have the opportunity to express their
opinions on what it means to be European.
The EYP was founded in 1987 at a school in Fontainebleau,
France. It is a unique forum, designed
to actively engage young people in the moulding of
their future society. The EYP is a non-partisan and
independent educational project, which is tailored
to the needs of young European citizens and seeks
to motivate them to apply their critical faculties to
their actions and their thinking.
The EYP consists of a network of thirty-two European
associations and organisations. Hence,
it has a much wider scope than, for example, the
European Union. In these organisations, many
thousands of young people get involved on a voluntary
basis to make the EYP what it is – a closely
knit and constantly growing community spanning all
of Europe. They organise numerous sessions and
forums every year throughout Europe. These formative
experiences provide opportunities for them
to form friendships during team building exercises,
to express their ideas and visions in committee
work, and to present, debate and defend the draft
resolutions they have submitted at the General Assembly.
THE forum 09
Parallel to the EXTRA EUROPA Symposium, EYP
Austria, the Austrian national committee of the international
EYP, organises Forum09.
Young people from Turkey, Norway, Czech Republic,
Switzerland, and Austria will be invited to Linz
from 18 - 22 March 2009 to experience the European
Capital of Culture and to exchange their opinions
about the topics of the EXTRA EUROPA festival.
Different perceptions and ideas will guarantee
heated debates among the delegates from outside
and inside the European Union.
Delegates will also have the opportunity to listen to
the discussions of the EXTRA EUROPA Symposium.
By invitation only.
DATE
18 - 22 March 2009
PARTICIPANTS
Larissa Riepl and Ulla Thamm (Head Organisers)
in collaboration with the
European Youth Parliament (EYP)
PARTNERS
EYP Austria

EXTRA EUROPA NORWAY SWITZERLAND TURKEY
opening
Symposium
Opening:
Reception
Symposium
The two-day symposium EXTRA EUROPA will
be preceded on the night before the official opening
by a festive reception at the Altes Rathaus
hosted by Mayor Franz Dobusch and Linz09.
The guests of honour at this function will be the ambassadors
of the EXTRA EUROPA countries, H.E.
Mr Bengt Olav Johansen, H.E. Mr Oscar Knapp,
and H.E. Mr Selim Yenel.
Together with speakers from Austria they will outline
the ideas underpinning EXTRA EUROPA from the
point of view of the countries they represent.
The festive reception at the Renaissance and Municipal
Council Halls will be rounded off in style with a
buffet and musical and culinary surprises from the
three EXTRA EUROPA countries.
PROGRAMME
Doors open and aperitifs in the foyer: 5.30 p.m.
Welcome Address
Martin Heller, Artistic Director Linz09
Opening
Josef Pühringer, Governor of the Province
of Upper Austria
H.E. Mr Bengt Olav Johansen, Ambassador of Norway
H.E. Mr Oscar Knapp, Amabassador of Switzerland
H.E. Mr Selim Yenel, Ambassador of Turkey
Claudia Schmied, Federal Minister for Education,
Arts and Culture, Austria
Franz Dobusch, Mayor of the City of Linz
By invitation only
DATE
19 March 2009
START
6 p.m., Doors open 5.30 p.m.
From 7 p.m.: Buffet and musical and culinary
surprises from Norway, Switzerland, and Turkey.
WHERE
Altes Rathaus
(Foyer, Renaissance Hall
and Municipal Council Hall)
Kick-Off for EXTRA EUROPA
Linz as European Capital of Culture offers a welcome
opportunity to reflect on what Europe can and
should be.
The Symposium aims to contribute to a better understanding
of the ideas associated with the EU
and with Europe in a wider sense. It showcases
the continent’s variety by focusing on three non-EU
countries – Norway, Switzerland, and Turkey. The
Symposium features a total of six panels covering
issues such as public opinion, culture, identity, economic
integration and foreign policy. Statements by
high-ranking government representatives from each
of the countries involved will open and close the
Symposium.
Guests of honour
Heinz Fischer, Federal President of Austria
Representative of the EU Commission
Pascal Couchepin, member of the Swiss Federal
Council and head of the Federal Departments of
Home Affairs and Culture
High Representative of Turkey
H.E. Mr Bengt Olav Johansen, Amb. of Norway
H.E. Mr Oscar Knapp, Amb. of Switzerland
H.E. Mr Selim Yenel, Amb. of Turkey
Josef Pühringer, Governor of the Province
of Upper Austria
Franz Dobusch, Mayor of the City of Linz
Nuri Çolakoglu, Chairman Executive Board
Istanbul 2010
Sven Egil Omdal for Stavanger 2008
Pius Knüsel, Director of Schweizer
Kulturstiftung Pro Helvetia
Friday, 20 March
10.00 a.m. - 10.45 a.m.
WELCOME AND KEYNOTE STATEMENTS ON
EUROPE AND THE EUROPEAN UNION
Inaugural addresses by Heinz Fischer, Representative
of the EU Commission, Pascal Couchepin, the
High Representative of Turkey, Bengt Olav Johansen,
Josef Pühringer, Franz Dobusch, Martin Heller
11.00 a.m. - 12.15 a.m. | Panel A
The European Union: FROM THE INSIDE
AND THE OUTSIDE
Chair: Eva Weissenberger, Kleine Zeitung
Panellists: Michael Fleischhacker, Die Presse (AT),
CH journalist (t.b.c.), Zeynep Gögus, TR PLUS-
Centre for Turkey in Europe (TR), Hanne Skartveit,
Verdens Gang (NO)
Focusing on perceptions about the EU, this panel
will explore existing attitudes and expectations. Panellists
will elaborate on the question of why people
might opt for or against accession.
18
19

EXTRA EUROPA NORWAY SWITZERLAND TURKEY
Symposium
Saturday, 21 March
1.45 p.m. - 3.00 p.m. | Panel B
IS THE EUROPEAN UNION A MELTING POT?
ANY SIGNS OF AN EU IDENTITY FORMING?
Chair: Hans Rauscher, Der Standard
Panellists: Erika Thurner, University of Innsbruck
(AT), Georg Kreis, University of Basel (CH), Nermin
Abadan-Unat, Bogaziçi University(TR), Elisabeth
Bakke, University of Oslo (NO)
This panel will explore the concept of a “European
identity” and whether or not the EU acts as a melting
pot and gives birth to such a distinct identity.
3.15 p.m. - 4.30 p.m | Panel C
The Role of Culture and Art in the Forming
of Europe: Contributing to Unity
or Reinforcing Differences?
Chair: Bernhard Lichtenberger, OÖN
Panellists: Martin Heller, Linz09 (AT), Pius Knüsel,
Schweizer Kulturstiftung Pro Helvetia (CH), Nuri
Çolakoglu, Istanbul 2010 (TR), Sven Egil Omdal,
Stavanger Aftenblad (NO)
Can events and activities in the fields of culture and
art contribute to bringing about or to reinforcing a
shared European consciousness or identity? Is there
such a thing as a “common European culture”?
The panellists will present their views on these and
similar issues and sketch outlines of their own pictures
of Europe and the EU.
10.00 a.m. - 11.15 a.m. | Panel D
Global Markets, Global Crises
Chair: Oliver Grimm, Die Presse
Panellists: Michael Landesmann, Johannes Kepler
University (AT), Heinz Hauser, University of St.
Gallen (CH), Subidey Togan, Bilkent University (TR),
Øystein Olsen, CEO of Statistics Norway (NO)
Panellists will examine the consequences of the global
financial crisis in EXTRA EUROPA countries and
Austria. They will analyse each country’s strategy of
response to the crisis, paying particular attention to
the economic relations and interdependencies between
EXTRA EUROPA and the EU.
11.30 a.m. - 12.45 a.m. | Panel E
Threats and Challenges to European
Security in the 21st Century
Chair: Otmar Lahodynsky, profil
Panellists: Heinz Gärtner, oiip (AT), René Schwok,
University of Genf (CH), Meltem Müftüler-Baç,
Sabancı University (TR), Janne Haaland Matlary,
University of Oslo (NO)
Panellists will analyze the security situation in Europe
and identify challenges to peace and stability.
Outlining the general foreign and security policy
orientation of the countries in question, they will
describe the strategies countries have adopted in
managing perceived risks and threats.
2.15 p.m. - 3.30 p.m. | Panel F
THE EU IN 2020
Chair: Brigitte Fuchs, ORF OE1
Panellists: Eva Nowotny (AT), Laurent Goetschel,
University of Basel (CH), Atilla Eralp, Middle East
Technical University (TR), Peter Burgess, PRIO (NO)
The closing panel of the symposium will explore
various visions of the EU in the year 2020. The panellists
will present their views on questions related
to the future boundaries of the EU and its membership,
on the degree of integration and the institutional
composition of the Union, and on the role
played by the Union in the global economic and
politico-military arena.
From 3.30 p.m.
Closing Statements and Chill-Out
DATE
20 - 21 March 2009
Lunch Break
20 March 2009, 12.15 a.m. – 1.45 p.m.
21 March 2009, 12.45 a.m. – 2.15 p.m.
WHERE
Wissensturm
TICKETS
Admission free
PARTNERS
Austrian Institute for International Affairs (oiip)
Europe-Institute of the University of Basel
Embassies of Norway, Switzerland and Turkey
Representation of the EU Commission in Vienna
Austrian Ministry for Education, Arts and Culture
Wissensturm
TR Plus, Center for Turkey in Europe
The symposium will be held in English
Symposium participants are subject to change.
20
21

EXTRA EUROPA NORWAY SWITZERLAND TURKEY
Opening
Opening:
Party
The EXTRA EUROPA opening party will feature
musical acts from Norway, Switzerland, Turkey
at the Café “Zum Rothen Krebs”.
Bandistaz (TR)
Bandistaz, a Turkish musical ensemble, will present
Turkish workers’ songs in acoustic arrangements
with up to eight musicians. Workers of the world,
unite!
The Dead Brothers’ Sweet String Orchestra (CH)
The Dead Brothers’ Sweet String Orchestra is the
current incarnation of the legendary and anythingbut-dead
Dead Brothers. As before, the Dead Brothers
offer tragic and comical pieces about love and
death, sung in French, German and English – alternately
causing listeners to shiver, cry, and dance.
DJ AuAuAu and DJ NinjaSpark (NO)
“Our tag line is ‘Electro gangsta boogie woogie’.
Our music style is mostly electronic, with hints of
electro, house, disco, electro pop, and electroclash.
Our goal is to get people dancing and having
a good time.” – DJ AuAuAu and DJ Ninja Spark
Spring
Awakening
Artists from Norway, Turkey and Switzerland are
part of the colourful Spring Awakening event at
the Landestheater and Linz Art University.
Dr. Kataztrofa (NO)
Join two fisher-boys from Norway armed with synthesizers
and a passion for breakbeat, 1980s TV
series, and Jean-Michel Jarre.
DJ Fett (CH)
Double-fat cream, thick on the dance floor: neohalf-Swiss
DJ Fett (“fat”) shuts down your legs’ hearing,
tiptoeing from Motown Soul to Super Funk. His
fatty set will make your mouth water and your sweat
run. This is music for the tough, for 1960s soul shakers,
and the last of the kermis dancers!
DJ Murat Meric (TR)
Murat Meric, one of Turkey’s best-known music
journalists, appears as DJ and mad genius. His is
an insane mix of Turkish funk, soul, and 1970s pop
that will be difficult to resist for anyone with an inclination
to dance. It really rocks!
Bandistaz The Dead Brothers DJ AuAuAu & DJ Ninja
Spark
Dr. Kataztrofa DJ Fett DJ Murat Meric
DATE
19.3.09 | 9 p.m.
WHERE
Grand Cafe
“Zum Rothen Krebs”
TICKETS
Admission free
PARTNERS
Grand Cafe “Zum
Rothen Krebs”
DATE
20.3.09 | 11 p.m.
WHERE
Landestheater Linz
TICKETS
see page 58 (more information)
PARTNERS
Landestheater Linz,
Kunstuniversität Linz

EXTRA EUROPA TURKEY
EXTRA EUROPA NORWAY SWITZERLAND
Programme
Education
fine art
CulturE festival
Nurkan
Erpulat
Biennale
Cuvée
k
k
k
While the bulk of Culture Festival events take place between
19 March and 3 May, the dates of some events lie outside that period.
Events are arranged in chronological order.
Detailed ticketing information and a map showing the venues will be
found at the end of this booklet.
What will schools be like tomorrow? I like to
Move It Move It is a model project that explores
this question initiated by Linz09 together
with Upper Austrian teachers, headmasters,
and both local and international artists.
Schools all over Upper Austria regardless of type
will realize workshops in contemporary dance and
theatre. School life is about to receive a substantial
boost – through encounters with artists and artistic
interventions that make new experiences possible
for all people involved.
Nurkan Erpulat, a Turkish director living in Berlin, is
among the internationally renowned choreographers,
directors and actors who will come to Upper
Austria for this project.
An international selection of contemporary art
is on display at the OK Offenes Kulturhaus OÖ.
Two artists from Switzerland and Norway represent
EXTRA EUROPA at Biennale Cuvée 2009:
Ursula Biemann (CH) und Lene Berg (NO).
Biennale Cuvée 09, an exhibition at the OK
Centre for Contemporary Art, offers a selection of
artwork from the most important biennials of 2008,
with a focus on Asia. The exhibition provides visitors
with an opportunity to view an international selection
of contemporary art. In addition to the show at the
OK Centre, some of the most interesting works will
be presented at locations throughout Linz. Public
and private institutions have come forward as partners
of the OK, particularly in the area around the
new main railway station, and have not only made
indoor and outdoor facilities available but have also
contributed content to the exhibition.
24
25
Linz09 Insider free admission
Linz09 Insider discounted fee
Linz09 Card (1 Day) free admission
Linz09 Card (3 Days) free admission
Linz09 Card (1 Day) discounted fee
Linz09 Card (3 Days) discounted fee
*Kulturpass „Hunger auf Kunst und Kultur“
DATE (Project period)
9.2. – 5.3. and 5.5. – 5.6.09
WHERE
Weyer, Steyr
TICKETS
Admission free
PARTICIPANTS
Nurkan Erpulat
Pupils and teachers of HS Weyer,
HS 2 Tabor Steyr, Continuing Teacher
Education at VS Ternberg
DATE
27.2. – 26.4.09
Branches due to open on 12.3.09
WHERE
OK Offenes Kulturhaus OÖ,
Wissensturm, Arbeiterkammer,
Energie AG
TICKETS
see page 58
PARTICIPANTS
Ursula Biemann (CH)
Lene Berg (NO)
PARTNERS
OK Offenes Kulturhaus,
Arbeiterkammer, Energie AG,
Wissensturm
OK Offenes Kulturhaus OÖ

EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA TURKEY
EXTRA EUROPA NORWAY SWITZERLAND
comic
Children’s theatre
music
Theatre
Fumetto Meets
NextComic
Make way
for the king
Burhan Öçal
& ensemble
Sgaramusch/nie:
THE SHIP
Fumetto, the Lucerne International Comics Festival,
presents a selection of the 2009 Swiss exhibition
programme.
With the NEXTCOMIC Festival Linz09 presents comics-starved
Austria with a new platform for comics
as an art form. The Swiss comics festival Fumetto
will be invited to Austria on this occasion. Fumetto
is the prime event for art comics in Europe. Without
any commercial motivations, the Fumetto Festival
presents the most influential and innovative artists
of the past as well as new trends. Taking an avantgarde
approach to comics, Fumetto focuses on diverse
art genres, making it an event without equal.
Fumetto draws more than 50,000 visitors each
year. From 28 March to 5 April Nextcomic will pay
a return visit to Fumetto, where exhibits will include
Gerhard Haderer’s Trash magazine MOFF, Nicolas
Mahler’s super heroes, comics art by the founder
of electro comics, Ulli Lust, as well as works from
the Austrian underground and Linz’s independent
comics community.
This Austrian première presents a play by Peter
Rinderknecht about the large and small joys of
life for children of 5 and over.
The King has a big problem: How is he supposed
to rock his rowing boat when there is no water in
sight? For it is only in a rocking rowing boat that you
can dream properly. The King keeps on interrupting
his efforts to get the rowing boat to rock with
tales from his life as an ice cream vendor and bus
driver – tales from an everyday life foreign to kings
but familiar to people like you and me. Finally the
King succeeds in making the boat rock, all without
waves, without sea, without ocean.
Everybody is special, you might even say they’re
royalty in their own way. In supermarkets, the people
standing in line with their shopping carts filled
are kings and queens. The woman at the checkout
counter is a queen. Wherever one looks, there are
kings and queens and queens and kings …
The Turkish star percussionist, composer and
singer Burhan Öçal and his Istanbul Oriental ensemble
make sure EXTRA EUROPA is off to a
flying start with their gig at the Hafenhalle09.
Burhan Öçal, percussionist, string virtuoso, composer
and producer, has been instilling new life for
decades into Turkish music of all genres with his
unorthodox approach. You will hear traces of Romani
and Sufi music as well as pop, classical, and
techno. Burhan Öçal brings together the orient and
the occident in a unique way, tracing magical, winding
paths.
In Central Europe, Burhan Öçal is known primarily
in association with this Istanbaul Oriental Ensemble.
In Linz he will be assisted by leading Romani musicians
of the Bosporus scene and fuse traditional
instrumental and vocal pieces and explosive improvisations
into a wild display of virtuosity.
TOOT – TOOOOT … All aboard! The international
theatre festival for young audiences, SCHÄXPIR,
invites everyone to a theatrical outing aboard
the historic Danube steamer Schönbrunn.
Immediately downstream from the Nibelungenbrücke
in Linz a vintage ship lies at anchor. Its paddlewheels
stand still. However if you get close enough,
creaking, grating and scraping sounds will be heard.
On the MS Schönbrunn they are still alive, the old
stories of the passengers, sailors, empresses and
captains – stowed away in the nooks and crannies
of the cabins, engine rooms and the galley.
Pupils from Linz and Schaffhausen have contributed
their most exciting, moving and imaginative
adventure stories involving ships. The international
theatre ensembles Sgaramusch and NIE will perform
a selection of the stories on board the steamer.
Ship ahoy!
The debut performance of “Das Schiff” will precede
the SCHÄXPIR 2009 festival, which will take place
this year between 25 June and 5 July.
DATE
6. – 8.3.09
WHERE
Ursulinenhof, AEC
TICKETS
Admission free
PARTICIPANTS
A. Baladi (Geneva), Flag (Zurich), Elvis Studio (Geneva),
L. Schenardi (Uri), Students of the HSLU Design + Kunst
(Lucerne)
PARTNERS
Fumetto, NextComic
DATE | CH
NextComic meets Fumetto International Comix-
Festival Lucerne, 28.3 – 5.4.09
26
27
DATE
Première 20.3.09 | 10 a.m.
21. + 22.3., 28. + 29.3., 4. + 19.4.,
3.5.09 | 4 p.m.
WHERE
Theater des Kindes
TICKETS
see page 58
PARTICIPANTS
Direction and décor: Frauke Jacobi
(Dalang Puppencompany, Zürich)
Costumes: Katharina Baldauf (CH)
Cast: Thomas Schächl
Music: Martin Schumacher (CH)
PARTNERS
Collaboration between Linz09 and Theater des Kindes
DATE
21.3.09 | 8 p.m.
WHERE
Hafenhalle09
TICKETS
see page 58
PARTICIPANTS
Burhan Öcal
Burhan Öçal (Leader, percussion, vocals)
Ümit Adakale (Percussion)
Yasar Çakırlar (Clarinet)
Mehmet Çeliksu (Kanun/zither)
Ahmet Demirkıran (Cümbüs and Ud/lute)
Ismail Papis (Fiddle)
DATE
25. – 27.3. + 29.3. – 4.4.09
Further information concerning
dates and time see page 58!
WHERE
MS Schönbrunn
(Schiffsanlegestelle Urfahr)
TICKETS see page 58
PARTICIPANTS
Playwrights: Kinder aus Linz / Schaffhausen;
Direction: Alex Byrne; Performers: Stefan Colombo,
Iva Møberg, Nora Vonder Mühll; Décor and costumes:
Renate Wünsch; Dramaturgical assistance: Kjell Møberg
PARTNERS Theater Sgaramusch &
NIE in collaboration with Linz09 &
Theatre festival SCHÄXPIR / OÖ

EXTRA EUROPA NORWAY
EXTRA EUROPA TURKEY
EXTRA EUROPA SWITZERLAND
ConCert & Sound installation
ShadowTheatre
Theatre
Magnar Åm:
the singing
walls
Karagöz:
the magic tree
Massimo Furlan:
Love Story
Superman
Twelve performative miniature concerts by
composer and sound artist Magnar Åm at the
Rudigierhalle of Linz New Cathedral.
The extraordinary architecture of the Rudigierhalle
of the New Cathedral provides the perfect setting
for the unusual soundscapes composed by Magnar
Åm. The hall measures 10m by 10m and is 20m
high. The famous Norwegian composer loves to
write in polyphonic, freely dissonant or atonal styles.
His oeuvre ranges from vocal and chamber music to
electro-acoustic music and to great orchestral and
multi-media pieces.
In 2006 his orchestral piece “Isn’t the snow falling,
it’s us leaving the ground” was awarded the audience
prize for best contemporary composition at
the Young Euro Classics Festival in Berlin.
He has frequently integrated elements into his compositions
that break the mould of traditional concert
hall rituals, and he exploits the spatial properties of
the venue as part of the composition.
DATE
“Just a little reminder” is a four-trumpet fanfare that
will sound from the steeple of St Mary’s before each
of the miniature concerts.
26 March 09 | 12 a.m., 2 p.m., 4 p.m.
“On the banks of the eternal second”
(for two or more asynchronous accordions)
Geir Draugsvoll (DK), James Crabb (DK)
28 March 09 | 12 a.m., 3 p.m., 6 p.m.
“Glimpses of an embrace”
(Horn, trumpet and mountain echo)
Musicians from Linz
30 March 09 | 12 a.m., 3 p.m., 6 p.m.
“Kyrie” and “Agnus Dei” from the oratorio “Tree of
tenderness” A-capella choir from Linz
1 April 09 | 12 a.m., 3 p.m., 6 p.m.
“Sanctus” and “I know no words any more” from
the oratorio “Tree of tenderness” (for A-capella ensemble),
singers from Linz
Any idea of what is meant by Karagöz? Turkish
shadow theatre! The Istanbul puppet maker and
puppeteer Cengiz Özek puts in a guest appearance
at the Kinderpunkt09 with his Magic Tree.
Although the models for this piece date from the
18th and 19th centuries, this puppet play is second
to none in dynamism and topicality. The classic elements
of Karagöz theatre retain their fascination to
this day – unaided by words, the movements alone
are enough to keep old and young spellbound.
The Magic Tree, a play for children aged four and older,
even takes on environmental issues. However,
it also features the traditional characters as well as
the authentic Karagöz musical instruments “nareke”
and “def”.
Cengiz Özek appears regularly on international stages.
The Magic Tree has been part of his repertoire
and has seen 500 or so performances over the last
ten years.
For children aged 4 years and older.
The memorable pictures of this performance
express the desire to be someone else. They
speak of confrontations, failures, dreams of flying
– and the crash.
“At the moment when I was transformed into Superman,
I was halfway between my desk and my
bed. Suddenly I felt invincible: a fraction of a second
was enough for me to circle the globe, defeat evil
and be back in my bed. It was a glorious moment.
My pyjamas changed into a cool blue and red cape
and out of the pale yellow of my bedspread sprouted
golden wheat fields and cityscapes.”
Love Story constructs a sequence of images without
words, which evokes fragments of a dreamlike
hilarious story. Its protagonists seem to want to
leave their childhood behind yet they have grown
too quickly.
28
29
WHERE
Rudigierhalle, New Cathedral, Linz
TICKETS
Admission free
PARTICIPANTS
Magnar Åm
Anton Bruckner Privatuniversität Rudigier Hall
Linz, James Crabb, Domkapelle
Diözese Linz, Geir Draugsvoll,
Ensemble09
PARTNERS
Diözese Linz, Ensemble09,
Anton Bruckner Privatuniversität Linz
DATE
25., 26., 27.3.09 | 10 a.m.
WHERE
Kinderpunkt09
TICKETS
Admission free (available
at Kinderpunkt09)
PARTICIPANTS
Cengiz Özek
On 23, 24 and 25 August Cengiz Özek’s
shadow theatre will be performing in the
public space (Lohnstorferplatz, Volksgarten),
from 9pm – suitable also for adults!
DATE
25.3.09 | 8 p.m.
WHERE
Hafenhalle09
TICKETS
see page 58
PARTICIPANTS
Direction: Massimo Furlan
Dramaturgy: Claire de Ribaupierre
Additional performers: Sophie Guyot, Thomas Hempler,
Sun-Hye Hur, Francois Karlen, Serge Perret, Philippe
de Rham, Stéphane Vecchione, Alain Weber
PARTNERS
NumÉro23Prod (Lausanne)

EXTRA EUROPA TURKEY
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA TURKEY
Education
Music
reading, Film
Film
Lecture series
turkey
Swiss and
austrian bands
at Posthof
Matinée
on friedrich
dürrenmatt
Istanbul Film
programme
The VHS adult education centre and Wissensturm
invite you to a series of talks during
EXTRA EUROPA.
26 March 2009:
Turkey in the 20th and 21st Centuries: From the
Ottoman Empire to European Union Candidacy
Ilker Atac (Lecturer, Department of Political Science,
University of Vienna)
2 April 2009:
Multicultural Turkey Cultural and Religious
Groups, Their Influence and Their Conflicts
Cengiz Günay (Researcher, Austrian Institute for
International Affairs)
16 April 2009:
Turks in Europe. Migrations Between Europe
and Turkey
Martin Hofmann (Programme Manager, International
Centre for Migration Policy Development Lecturer,
Danube University Krems and University of Vienna)
Da Cruz (CH), Manufactur (CH), Parov Stelar (AT)
With this event, EXTRA EUROPA ventures far beyond
the borders of the continent. Mariana Da Cruz,
a Brasilian living in Switzerland, and her ensemble
offer an eclectic mix of bossa nova, samba rock,
funk, and electronic music – great for dancing.
http://www.myspace.com/dacruzmusic
The electronic jazz group Manufactur, built around
trumpet player Werner Hasler will also come to Linz
from Berne. This special quartet finds surprising
new aspects in the traditional genre of jazz, making
them sound as if “Miles Davis had recorded the
soundtrack to Kubrick’s 2001: A Space Odyssey”
(Rondo magazine). http://www.manufactur.ch/
Jack-of-all-trades Marcus Füreder alias Parov Stelar,
known for having brought the Charleston back to
the discos, will also be present equipped with a
healthy dose of humour, charm, and sensuality.
http://www.myspace.com/stelar1
“Comedy is the only dramatic form that allows
an expression of the tragic.”
(Friedrich Dürrenmatt)
The Swiss dramatist, novelist and essayist Friedrich
Dürrenmatt (1921-1990) is in a class of his own as
one of the most imaginative and critical writers in
German. Many of the themes he addressed have
retained their currency over the years. Linz is one of
the cities where his works are frequently performed
and read. Many of the subjects of Dürrenmatt’s
works have retained their currency over the years.
This matinée offers a varied programme ranging
from scholarly commentary to readings from
some of Dürrenmatt’s best known works, including
“Traps”, “Romulus the Great”, and “The Visit”. The
Moviemento cinema will screen Dürrenmatt’s classic
crime story “The Judge and his Hangman” on
Saturday, Sunday, 28/29 March, in a version featuring
Maximilian Schell (FRG/Italy 1975).
A selection of four masterworks of Turkish cinema
that emphasize Istanbul’s diversity.
These four Turkish films, each created in a different
period, are testimony to Istanbul’s evolution over
the past fifty years. They make tangible the changes
that Istanbul has experienced on its journey through
half a century.
Each film examines eastern as well as western concepts
of cosmopolitan, political and socio-economic
conditions in the city, as well as the way in which
such conditions directly affect Istanbul’s people.
Emphasizing both modernism and the existence
of traditional beliefs, the films paint a multi-layered
portrait of Istanbul.
Ah güzel Istanbul (Atif Yilmaz, 1966)
Hanim (Halit Refig, 1988)
Uzak (Nuri Bilge Ceylan 2002)
Anlat Istanbul (Yücel Yolcu, Ümit Ünal, Selim
Demirdelen, Ömür Atay, Kudret Sabancı, 2004)
DATE
26.3., 2.4., 16.4.09 | 7 p.m.
WHERE
Wissensturm (Room E09)
TICKETS
see page 58
PARTICIPANTS
MMag. Ilker Atac, Dr. Cengiz Günay
Dr. Martin Hofmann
PARTNERS
VHS / Wissensturm Linz
30
31
DATE
27.3.09 | 8 p.m.
WHERE
Posthof
TICKETS
see page 58
BANDS
Da Cruz (CH)
Manufactur (CH)
Parov Stelar (AT)
PARTNERS
Posthof
Da Cruz (CH)
DATE
Matinée 28.03.09 | 10 a.m. – 1 p.m.
Screening 28., 29.03.09 | 3 p.m.
WHERE
Kepler Salon, Moviemento
TICKETS
Screening Moviemento see page 58
PARTICIPANTS
Univ.Prof. Dr. Wolfgang Päckl, Univ. Innsbruck
(Introduction+Pictures), Herbert Baum, Margret Czerni,
Mick-Robin Dietrich, Silvia Glogner, Thomas Kasten,
Manuel Klein, Stefan Matousch
PARTNERS
StifterHaus, Kepler Salon, Moviemento
DATE
26. – 29.3.09
WHERE
Moviemento
TICKETS
see page 58
PARTNERS
Moviemento
For more detailed information,
please visit www.moviemento.at
Istanbul

EXTRA EUROPA 19.3. – 3.5.2009
ProgrammE OUTLINE
Calendar March April MAY Calendar March April May
Nurkan Erpulat: I like to move it move it page 25
9.2. – 5.3.
Ahmet Özhan & Ensemble page 41
11.4.
Biennale Cuvée page 25
27.2. – 26.4.
Women in power?! page 42
14.4.
Forum 09 page 17
18. – 22.3.
Days of Poetry page 42
15. + 18.4.
Opening: Reception page 18
19.3.
Inspiring Istanbul page 46
16.4. – 10.5.
Symposium page 19
20. – 21.3.
Crossing Europe Filmfestival page 44
20. – 26.4.
Opening: Party page 23
19.3.
Turkey at the StifterHaus page 43
20.4.
Spring Awakening page 23
20.3.
Switzerland at the StifterHaus page 43
21.4.
Make way for the king page 26
20. +21. + 22. + 28. + 29.3. / 4. + 19.4. / 3.5.
Schwöster Slam page 48
23. – 24.4.
Burhan Öcal & Ensemble page 27
21.3.
Théâtre en Flammes: La Première Fois page 48
25. – 26.4.
Magnar Åm: The singing walls page 28
26. + 28. + 30.3. / 1.4.
Daniel Schnyder: Around The World page 49
29.4.
Sgaramusch/NIE: The ship page 27
25. – 27.3. + 29.3. – 4.4.
Taldans Company: Dokuman page 50
29. – 30.4.
Karagöz: The magic tree page 29
25. – 27.3.
Joining the parade page 52
1. – 3.5.
Massimo Furlan: Love Story Superman page 29
25.3.
On a visit to Jazzatelier Ulrichsberg page 51
2.5.
Istanbul film programme page 31
26. – 29.3.
Vienna Art Orchestra page 52
3.5.
Lecture series Turkey page 30
Swiss and Austrian bands at Posthof page 30
26.3. / 2. + 16.4.
27.3.
PROJECTS scheduled before or after
the main EXTRA EUROPA Festival
Matinée on Friedrich Dürrenmatt page 31
28. – 29.3.
Fumetto meets NEXTCOMIC | 6. – 8.3.09 (page 26)
10+: Parallel page 34
The seventh room page 35
29. – 30.3.
2.4. – 2.5.
Nurkan Erpulat: I like to move it move it | 5.5. – 5.6.09 (page 25)
Festival 4020: Trio Accanto | 7.5.09 (page 51)
Paarläufe – Between Art and Literature | 10.5.09 (page 35)
Pikene på Broen: Transborder Cafés page 36
2. – 4.4.
Andres Bosshard | Sound sites from May 09 + Construction sites from August 09 (page 53)
Höhenrausch | 29.5. – 31.10.09 (page 53)
Alias: Approcher la poussière page 40
4.4.
Linzfest 09 | 29.5. – 1.6.09 (page 54)
Hernan/Leuenberger: Enter My Bubble page 40
6. – 7.4.
Around Linz | 25.6.09 (page 49)
80+1 | 17.6. – 5.9.09 (page 54)
Cie 7273: LaÏ laÏ laÏ laÏ page 41
9.4.
At the Circus | 26. – 28.7. / 21. – 23.8.09 (page 55)

EXTRA EUROPA TURKEY
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
TheatRE
Exhibition
Dialogue, Discussion
10+:
Parallel
the seventh
Room
Paarläufe
Between art
and Literature
Övül and Mustafa Avkiran (10+ Company) are
among the most outstanding representatives of
the new Turkish theatre and performance scene
and play a pioneering role in a development that
focuses on socially aware and politically engaged
contemporary drama.
Övül Avkiran is an exceptional choreographer, Mustafa
Avkiran a well-known film actor. Together they
are the founders and artistic directors of garajistanbul,
a seedbed of innovative performance. Their
work is being shown at major festivals all over the
world.
Parallel is a project inspired by an intensive dialogue
with the city of Linz and its inhabitants that 10+ have
developed especially for Linz09. It is a performance
featuring Övül and Mustafa Avkiran together with
an ensemble of Linzers from a migrant background
that focuses on the experiences of these women
arising from the parallel lives they lead respectively
with friends, colleagues and neighbours.
The decision to work with a group of women based
in Linz takes into account the key role that these
women play within the immigrant community in
regard to integration and generational and cultural
differences.
Parallel attempts to give an inside view of these
parallel societies and to present it with the means
of 10+, i.e. as a performance. The point is not to
provide answers but to initiate questions. Parallel is
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35
meant to be the first phase of a long-term archaeological
project that proposes to analyze the many
layers of religion, language, culture and barriers and
that will continue beyond Linz09.
The project will be realised
in collaboration with Musikschule Linz.
www.garajistanbul.org
DATE
29.3.09 | 8 p.m. (Debut performance)
30.3.09 | 8 p.m. (Post-performance discussion,
Host: Airan Berg)
WHERE
Hafenhalle09
TICKETS
see page 58
PARTICIPANTS
Concept, Direction, Décor:
10+ (Övül Avkıran-Mustafa Avkıran)
Dramaturgy: Meltem Arıkan;
Cast: Lay actors from Linz (Casting)
PARTNERS
10 + (Mustafa und Övül Avkiran);
Musikschule Linz
An exhibition focused on Zurich and its urban
quality of life: the theory and practice of urban
development.
Where is Zurich located and what does it feel like to
be there? The Seventh Room exhibition introduces
visitors to the city of Zürich through a brief look at
“conceptual urban development” and, in particular,
the significance of communication. It then leads to a
metaphorical play on the “rooms” of Zürich. Seven
such “rooms” of Zürich are presented as walk-in
chambers. Each room has a specific characteristic
that defines it within the context of a flat. The same
applies to the neighbourhoods of the city: the area
around the main station corresponds to the vestibule,
the Affoltern residential neighbourhood to the
living room, etc. Large-scale photographs convey
the atmosphere of each neighbourhood to the visitors.
Looking down, as one walks from room to
room you will find “floor exhibits” — abstract formulations
of theses on urban development.
DATE
2.4. – 2.5.09
Opening 2.4.09 | 8 p.m.
Podium Diskussion from 7 p.m.
WHERE
afo architekturforum oberösterreich
TICKETS
Admission free
PARTICIPANTS
Panellists: Gunter Amesberger, Director of Urban
Development Linz; Franz Eberhard, Director of Urban
Development Zürich; Klaus Luger, City Councillor for
Urban Planning Linz;
Host: Martin Heller, Linz09
PARTNERS
afo architekturforum oberösterreich,
Stadt Zürich, Stadt Linz
Paarläufe establishes a dialogue between art
and literature using the means provided by
both.
Michaela Melián works with different media including
drawing, music and language. In her spatial
installations she sets up complex reference systems
and fields of memory. While her exhibition Speicher
is being shown at the Lentos, she will realize a project
in the Paarläufe context together with the Swiss
author and musician Frank Heer.
Paarläufe is a performance event that uses different
platforms for a dialogue between art and literature
and enjoys cult status. It will take place at the Lentos
and at the Literaturhaus Zurich. A jointly conceived
series of texts and photos is due to be published in
the art magazine Kunst Bulletin 05/09.
DATE
10.5.09 | 11 a.m.
WHERE
Lentos
TICKETS
Admission free
PARTICIPANTS
Michaela Melián
Frank Heer, Michaela Melián
PARTNERS
Literaturhaus Zurich,
Lentos Kunstmuseum Linz, kunstbulletin
DATE CH
Literaturhaus Zurich, 4.5.09 | 8 p.m.
www.lentos.at | www.literaturhaus.ch
www.kunstbulletin.ch

EXTRA EUROPA NORWAY
Discussion, Performance, music
Pikene på Broen:
Transborder
Cafés
Border-Crossing exercises
Transborder Café encourages open discussions
about current political and cultural issues with
contributions by artists, musicians, writers, politicians,
and researchers. Visits to the Transborder
Café will be flavoured with theme-related food
and drinks and rounded off with music.
Transborder Café was developed by the curatorial
collective Pikene på Broen from Kirkenes, where
Norway meets Russia and Finland in the High
North. “We borrowed the name for our company
from the famous painting “Girls on the Bridge” by
Edvard Munch. Thus, by means of contemporary
art and culture, we build bridges inside and outside
the Barents Region. Wherever we go, we take the
Russian-Finnish-Norwegian border with us. This is
why the concept of the Transborder Café easily fits
into one suitcase.” Other brands of Pikene på Broen
– Barents Spektakel festival, Border-Crossing Exercises,
Pan-Barentz – are also mobile and dynamic,
keeping pace with ever changing cultural and political
situations.
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Of the three Linz09 Transborder Cafés each one
will be focused on a different theme:
k Border problematics in the EU as well as cultural
cooperation across borders | First Evening
k Cross-border cooperation in the Barents Region |
Second Evening
k The Sámi and other ethnic cultures in the High
North | Third Evening
See below for the highlights of the three Transborder
Cafés. There’s more to come on 2 – 4 April at the
Media Deck of the OK Offenes Kulturhaus!
Transborder Café / First Evening
Pikene på Broen comes from the border town of
Kirkenes, within a fifteen-minute drive from Russia
and fifty-minute drive from Finland, in the heart of
the Barents Region. Today this region is an international
geopolitical hotspot due to the resources in
the Arctic. Official agreements between states are
one thing, of much greater interest to us is the way
communication and cooperation between people
across the borders is carried out.
Pikene på Broen has produced numerous bordercrossing
exercises that are a boost both for artistic
practices of transgression and for people-to-people
cooperation in the Barents Region. There are
other border regions in Europe, for instance in the
Caucasus area, that have a long history of border
conflicts. “We collaborate with partners in Turkey,
Armenia, and Georgia; together we use art and culture
as tools to prevent conflicts and promote soft
security.“ At this Transborder Café we will present
some of the joint Barents-Caucasus projects.
The border between Turkey and Armenia is closed,
between Russia and Norway it is visa controlled.
The EU‘s border policies are becoming more and
more “transparent”, even though the invisible demarcation
lines are becoming more and more difficult
to cross.
k Norwegian writers Morten Strøksnes and Kjartan
Fløgstad present the Nordic view on border dialogues
and tensions and Norway’s relationship to
the EU.
k Ane Lan from Oslo will reflect on the consequences
of “marriage” (i.e. accession to the EU).
k Kirill Kobrin, Russian historian and writer, gives
us a flashback to the Austrian-Hungarian Empire,
questioning today’s status quo of Austria’s relations
with neighbouring countries. Here the focus will be
on Linz and the Czech border as well as on traces
left by the American-Soviet demarcation line running
through Linz.
k Los Torreznos from Madrid made a Border-Crossing
Exercise in Kirkenes. It ends with the following
remark: “…when you cross the border, if you look
back, the border is still there, and it is still in front
of you”.
k “Warm Music from a Cold Climate”: a music production
by electronic musician Mombus from North
Russia together with Lawra Somby from North Norway.
Norwegian fish soup will be served.
DATE
2.4.09 | 7 p.m.
WHERE
OK Offenes Kulturhaus, Mediendeck
TICKETS
Admission free
PARTICIPANTS
Exercise Pikevannet
Kjartan Fløgstad, Kirill Kobrin,
Ane Lan, Los Torrenzos, Mombus,
Lawra Somby, Morten Strøksnes

EXTRA EUROPA NORWAY
Discussion, Performance, music
Borders – control
or rock’n’roll?
SÁmi-Salami
Transborder Café / Second Evening
Transborder Café / Third Evening
“Borders – Control or Rock’n’Roll?” is the slogan of
the festival Barents Spektakel that is held in Kirkenes
every winter, with a satellite festival in Russia.
The slogan is supposed to convey that rock’n’roll
or, more broadly speaking, arts and culture provide
a non-state directed alternative to border controls.
k Rune Rafaelsen, the leader of the Norwegian
Barents Secretariat in Kirkenes, a dyed-in-the-wool
Barents bureaucrat and Barents enthusiast, will
start the evening by positioning us geographically
and geopolitically into the Barents Cooperation model
– a new security model based on regional political
cooperation and cross-border human contacts.
k Amund Sjølie Sveen, an artist and musician, will
follow with a performance called “The United States
of Barents”. He speaks to us from 2036, analyzing
what has led to the establishment of the USB and
demonstrates how the opening of IKEA in Haparanda
Tornio (a border-town at the Swedish-Finnish
border) is a major event in the history of the Barents
Region. Welcome to the brave new world of the
“United States of Barents”!
We zoom to the heart of the Barents Region—the
twin-cities Kirkenes (on the Norwegian side) and Nikel
(on the Russian side). What happens when the
region morphs from periphery to centre?
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k Olga and Alexander Florensky: Bringing charm
and their sense of humour to bear on the two towns
Kirkenes and Nikel, this artist duo from St Petersburg
will present their take in “Advertisement for
eternal values”.
k Blue Noses, an artists’ group from Moscow,
voices the stereotypes of “the Russian town” Kirkenes,
exploring the potential of a cross-border labour
market.
k Screening of the film “Kirkenes & Nikel: Dedicated
to Voiceless Immigrant Workers”. In Kirkenes
the mines are about to be re-opened, whereas Nikel
faces the closure of its nickel smelter which has
made this place one of the most heavily polluted
in the world.
k Presentation of the outdoor performance “Control
or Rock’n’Roll”, a sound event Rock’n’Roll
sampler of the Barents Spektakel 2009.
k Tequilajazzz, a rock band from St Petersburg will
conclude Transborder Café two.
Russian borscht will be served.
DATE
3.4.09 | 7 p.m.
WHERE
OK Offenes Kulturhaus,
Mediendeck
TICKETS
Admission free
PARTICIPANTS
Olga and Alexander Florensky,
Blue Noses, Rune Rafaelsen,
Amund Sjølie Sveen, Tequilajazzz
Tequilajazzz
Sámi-Salami is a tribute to the endurance of the Sámi
civilization as well as to its fragility.
k “Anisja Sleeping” by Yvette Brackman (Copenhagen)
pictures a Nenets girl (the Nenets are an indigenous
group in Russia) clinging on to a reindeer
sleigh. A strong wind is up yet the girl doesn’t fall
off – she is even fast asleep! You might almost be
tempted to call out to her: Hold fast!
k “The Catalyst”: This is a project involving a place
on the Kola peninsula in Russia’s North West that
Yvette Brackman began in spring 2006. She established
a contact between local craftsmen in Lovozero
and the Spanish shoe company Camper. And
the upshot – for Camper, for the people of Lovozero,
for the artist? – The audience is not in for another
case story. Instead, they are going to act it all out by
assuming the parts of the local craftspeople, the representative
of the shoe company, an entrepreneur,
a lawyer, the artist, etc. “You will be part of a play
written and directed by Yvette Brackman.”
k “Wolf-yoiking” by Lawra Somby from Tromsø
k Espen Sommer Eide, a musician from Bergen will
present his “Language Memory Project”, in which
he compiles a dictionary and a language databank
documenting the Skolt Sámi language. The embrace
by an archive kills a language in order to preserve
it; at the same time it creates the almost alchemical
possibility of a new lease of life.
k Mun Rahkistan: a version of Serge Gainsbourg’s
“Je t’aime” is performed by Norwegian artist Geir
Tore Holm in the Sámi language.
k “The Bridge”, with the queen of the Russian music
world Inna Zhelannaya, Sámi guitar virtuoso Roger
Ludvigsen, sax-player Oleg Mariakhin, and the
Link trio, from the northernmost region of Norway,
Finnmark, will make sure the Transborder Cafés
end on a high note.
Bidos, a Sámi soup, will be served.
DATE
4.4.09 | 7 p.m.
WHERE
OK Offenes Kulturhaus,
Mediendeck
TICKETS
Admission free
PARTICIPANTS
Yvette Brackman, Geir Tore Holm,
Link Trio, Roger Ludvigsen, Oleg
Mariakhin, Lawra Somby, Espen
Sommer Eide, Inna Zhelannaya
Anisja
Mun Rahkistan

EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA TURKEY
DANCE
TheatRE
DANCE
MusiC, DANCE
Alias:
APPROCHER
la poussière
Hernan / Leuenberger:
enter
My bubble
Cie7273:
LAÏ LAÏ laÏ laÏ
Ahmet Özhan
& Ensemble
A change of perspective radically transforms
the most mundane of workaday stories.
The kind of day when nothing special happens from
the moment you get up in the morning until the time
you go to bed at night. A thumb sketch of a wellplanned
day. A day spent at home, at work, in the
street, at the doctor’s, meeting people. A day with
unexpected hitches, waiting around, boredom … a
day like any other.
However, if you allow for a change of perspective,
the same little story appears in an entirely different
light. All of a sudden we see more than the mere
outlines; we zoom in on the skin and see the skeleton
underneath as if with X-ray eyes. Another point
of view – et voilà: new pictures, additional details, a
different story altogether.
Contemporary barn dancing? A marketing slogan
for Swiss tourism? A balancing act between
cliché and profundity?
Viewers are invited to join a western Swiss female
dancer and a German Swiss male dancer for a trip
to where each of them hails from. Katy and Chris
search for their roots while taking the audience on
a tour through a picturesque landscape of lush
grassy meadows and snow-covered peaks. They
divest themselves of layer upon layer of their identities,
discovering their lost innocence, memories of
fondue dinners and, inevitably, the Röstigraben. All
of this is done in the hope of retrieving a sense of
belonging.
The concept for this piece was awarded the
premio förderpreis 2007. In its present realisation
it is a co-production between Dampfzentrale Bern
and the hetveem theater Amsterdam, with support
from Migros-Kulturprozent, Ernst Göhner Foundation,
Paul Schiller Foundation and Oertli Foundation.
Why not join the choreographers Laurence Jadi
and Nicolas Cantillon for a nostalgic imaginary
journey back to the 70s?
The cue is a song. Bob Dylan or someone who
looks a lot like him gets up on the stage and starts
to perform. This concert situation morphs into an
intensely sensuous world of playful innocence: a
world full of things dating from a period that the
participants do not remember from their own experience,
even though the courses of their lives were
largely shaped by it.
Laï laï laï laï is an expression of the Cie 7273’s desire
experimentally to transcend the borders of one’s
own experience and of normal artistic practice.
Dance is taken out of its comfortably established
routine context and combined with other art forms
in a naive and pleasurable manner to create windows
into an unknown world.
Ahmet Özhan is a renowned musician of classical
Turkish and Sufi works. The Dancing
Dervishes will accompany his performance at
Hafenhalle09.
Ahmet Özhan began performing at a very young
age. Following his musical education at the Istanbul
Conservatory and the Uskudar Classical Turkish
Music Society he became a popular performer of
classical Turkish music in the 1970s and 80s. In the
following years, he worked with the great masters
one-on-one, while also making his own albums.
Ever since the early eighties he has been considered
a pioneer of new Sufi music in Turkey. Özhan
has received many awards in the field of classical
Turkish music and has cultivated an appreciation of
Turkish music throughout the world. He is the founder
and musical director of the Istanbul Historical
Music Ensemble.
DATE
4.4.09 | 8 p.m.
WHERE
Posthof / Dance Festival
TICKETS
see page 58
PARTICIPANTS
Alias
Choreography:
Alias_Guilherme Botelho in collaboration with the dancers
Performing artists: Stéphanie Bayle, Fabio Bergamaschi,
Guillaume Marie, Sung Im Her, Christos Strinopoulos
PARTNERS
Posthof
ALIAS - Compagnie de danse contemporaine
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41
DATE
6.4.09 | 8 p.m.
7.4.09 | 8 p.m. (Post-performance
discussion, Host: Airan Berg)
WHERE
Hafenhalle09
TICKETS
see page 58
PARTICIPANTS
Concept and performance:
Cie Katy Hernan & Christoph
Leuenberger;
Assistant dramaturge: Nicole Beutler
Lighting: Daniel Müller
PARTNERS
Cie Katy Hernan & Christoph Leuenberger
Cie Katy Hernan & Chris
Leuenberger
DATE
9.4.09 | 8 p.m.
WHERE
Posthof / Dance Festival
TICKETS
see page 58
PARTICIPANTS
Nicolas Cantillon, Alexandre Joly,
Régis Marduel, Laurence Yadi
PARTNERS
Compagnie 7273 (Geneva)
Posthof
Cie 7273
DATE
11.4.09 | 8 p.m.
WHERE
Hafenhalle09
TICKETS
see page 58
PARTICIPANTS
Ahmet Özhan Ensemble
Tanzende Derwische
Ahmet Özhan

EXTRA EUROPA NORWAY
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA TURKEY
EXTRA EUROPA SWITZERLAND
TALK, DisCussion
LITERATURE, MUSIC
LITERATURE, DisCussion
LITERATURE, DisCussion
Women
in Power?!
Days of
Poetry
Turkey
at the
Stifterhaus
Switzerland
at the
Stifterhaus
The mechanisms of participation: enforced or
willingly granted? An examination of the “Norwegian
model” forms the basis for a discussion
at the Kepler Salon.
In Austria’s public services and administration, quota
agreements have made for an increased presence
of women, in whatever limited ways. In private
business, quotas are being debated. There still
seems to be a long way to go. Following vigorous
but failed appeals for a voluntary share for women
in positions of power, the Norwegian government
took a clear step by introducing women’s quotas to
boards of directors—the highest echelon of power
in management. This event offers participants an
opportunity to learn more about:
k the development and implementation of the
Norwegian law,
k the Norwegian experience with innovative
approaches to increasing the number of women in
positions of power, and
k equal opportunities and quota agreements for
migrants.
DATE
14.4.09 | 1 p.m. till 7.30 p.m.
Language: German / English
WHERE
Kepler Salon
TICKETS
Admission free
PARTNERS
JKU/Institut für Frauen- und Geschlechterforschung,
Frauenbüro der Stadt Linz, KILDEN – Information Center
for Gender Research (NO), KUN – Centre for Gender
Equality, Norway Statistics
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Annette Schmucki, Reto Friedmann, Zuszusanna
Gahse, and Jürg Laederach will appear at the
poetry festival Für die Beweglichkeit.
The poetry festival Für die Beweglichkeit (In
Favor of Agility) takes place under the motto “Notes,
Margins, Nomads” with the participation of
several Swiss artists from EXTRA EUROPA SWIT-
ZERLAND. The composer Annette Schmucki and
the radio artist Reto Friedmann work together as
“bablabor”. On 15 April at 7.30 p.m., “bablabor” will
present the performance “Erzeugung von Sprüngen”
at Künstlervereinigung MAERZ. On 18 April at
3 p.m., Schmucki’s composition “Fünfstimmig Hüpfende”
will be performed at the assembly hangar of
HMH-GmbH in the Südstadt district of Linz. Also
on 18 April, at 8.00 p.m., the poetry festival will be
concluded at Künstlervereinigung MAERZ, where
Zsusanna Gahse will read from her own texts, and
Jürg Laederach will read from his translations of “récits”
by Maurice Blanchot.
DATE
15.4.09 | 7.30 p.m.
18.4.09 | 3 p.m., 8 p.m.
WHERE
Galerie MAERZ (15.+18.4.09)
bablabor
HMH – GmbH (18.4.09)
TICKETS
Admission free
PARTICIPANTS
Reto Friedmann, Zsuzsanna Gahse,
Jürg Laederach, Annette Schmucki
PARTNERS
Poesie-Festival FÜR DIE BEWEGLICHKEIT,
Galerie MAERZ, HMH – GmbH
Aslı Erdogan and Buket Uzuner are two of the
most compelling voices in contemporary Turkish
literature.
The works of Aslı Erdogan and Buket Uzuner offer
an inside and outside perspective on present-day
Turkey. In “Die Stadt Mit der Roten Pelerine” (The
City With the Red Cape), Aslı Erdogan tells the story
of a young woman from Istanbul who travels to Rio
de Janeiro. Drawn by the city’s liberal environment,
she seeks adventure and tries to rid herself of the
patriarchal heritage of her unloved country.
In “Istanbullar”, Buket Uzuner narrates stories from
the everyday life of fifteen people in Istanbul, all of
whom are passionately attached to this “queen of
cities”, as Uzuner calls it. Both authors represent a
strong feminist generation of Turkish women, and
both address, each in their own way, their country
of origin with its tensions between traditional values
and the western world.
DATE
20.4.09 | 7.30 p.m.
Language: Discussion in English;
Readings are held in Turkish, with
translations in English and German.
WHERE
StifterHaus
TICKETS
Admission free
PARTICIPANTS
Asli Erdogan, Buket Uzuner
Host: Stefan Gmünder
(Der Standard)
PARTNERS
StifterHaus
Asli Erdogan
Buket Uzuner
Reading and speaking about beginnings and
departures.
The StifterHaus has issued invitations to a female
and a male author from the German speaking part
of Switzerland, who, while not members of the same
generation, are both highly regarded exponents of
the Swiss literary scene, which has quite naturally
been part of the wider European context for a very
long time. Jürg Schubiger and Zoë Jenny will be
addressing two themes that on the one hand transcend
the conditions under which they write and
that, on the other, are shaped in a specific manner
by the cultural and societal conditions as they exist
in Switzerland.
Jürg Schubiger, “Psychoanalyse und Literatur –
Geschichten vom Beginnen und andere Innenansichten”
(reading and talk at 7.30 p.m.)
Zoë Jenny, “Männerrollen, Frauenbilder – Erzählen
vom Aufbrechen, Davonlaufen und Entkommen”
(reading and talk at 9 p.m.)
DATE
21.4.09 | 7.30 p.m., 9 p.m.
WHERE
StifterHaus
TICKETS
Admission free
PARTICIPANTS
Jürg Schubiger, Zoë Jenny
Host: Stefan Gmünder
(Der Standard)
PARTNERS
StifterHaus
Jürg Schubiger
Zoë Jenny

EXTRA EUROPA NORWAY SWITZERLAND TÜRKEI
Film festival, Music
crossing europe
Film festival 2009
CROSSING EUROPE FILMFESTIVAL LINZ presents
150 or so works of the European auteur
cinema from 20-26 April 2009. EXTRA EUROPA
will be represented by cinematic contributions,
festival presentation and musical live acts from
Norway, Switzerland and Turkey.
NORWAY: OK Artist in Residence Inger Lise
Hansen, Tromsø International Film Festival and
Nordic Youth Film Festival
Norwegian film and video artist Lise Hansen (1963),
2009 OK Artist in Residence, explores the phenomenon
of passing time in her experimental works,
shot mostly on 16 mm film and presented in large
part as video installations. During her stay in Linz,
Hansen is going to realize a new project, for which
she will make use of a new shooting technique that
she has developed.
Additionally, Crossing Europe welcomes Tromsø
International Film Festival (www.tiff.no). Tromsø will
show current titles from the 19th edition of their festival,
which was held in January 2009. The Nordic
Youth Festival (www.nuff.no) will present a selection
of Norwegian youth films as well.
SWITZERLAND: A tribute to Ursula Meier &
Lionel Baier, animated films presented by Festival
Fantoche
Crossing Europe dedicates this year’s tribute
to two young and internationally successful film makers
from the French-speaking part of Switzerland:
Ursula Meier (1971) and Lionel Baier (1975). In addition
to a comprehensive viewing of documentary
works and short movies, Ursula Meier’s “Home”
(2008, world premiere at Cannes 2008) and Lionel
Baier’s “Un Autre Homme” (2008, world premiere
at Locarno 2008) will have their Austrian debut
screenings at Crossing Europe. Fantoche, an
international festival for animated film (www.fantoche.ch)
has been invited to Crossing Europe to
present current animated works from Switzerland,
ranging from diploma works from the Lucerne International
Animation Academy to the latest work of
the renowned artist Georges Schwizgebel.
TURKEY: Young Turkish Cinema in collaboration
with the International Film Festival Rotterdam,
Film Magazine Altyazi, and Festival on Wheels
Under the title Young Turkish Cinema Crossing
Europe presents a selection of early cinematic
works (first and second feature films) of a new generation
of Turkish filmmakers whose debut films
first appeared in 2008 and 2009. This programme
was created in collaboration with Film Festival Rotterdam
(www.filmfestivalrotterdam.com), the Turkish
movie magazine Altyazi, and the Turkish Festival on
Wheels that stops off in various cities (www.festivalonwheels.com).
A special edition of Altyazi will
be produced specifically for the Rotterdam festival
and Crossing Europe. Representatives of the
three project partners will be present at Crossing
Europe.
The Crossing Europe Nightline – dedicated
to EXTRA EUROPA
One distinctive programme component of
Crossing Europe is the Nightline taking place
every night (curated by Corridor). Visitors are invited
to unwind at the end of the day and enjoy live
music at the OK media deck. Nightline will present,
amongst others, DataRock from Norway, The Goldfinger
Brothers from Switzerland, and the Turkish
band Kollektif Istanbul.
DATE
20. – 26.4.09
The programme will be available online at
www.crossingEurope.at from 10 April 2009
WHERE
OK Offenes Kulturhaus OÖ (Festival Centre &
Nightline), Moviemento, City Kino, KAPU
TICKETS
see page 58
PARTICIPANTS
Crossing Europe Filmfestival Linz
PARTNERS
Fantoche – International Festival for animated film (CH)
Swiss Films (CH), Tromsø Film Festival (NO), NFI Norwegian
Film Institute (NO), NUFF (NO), Film Festival „Festival
on Wheels“ (TR), Film Magazine Altyazi (TR), International
Film Festival Rotterdam (NL)
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Home
Summer Book
The Goldfinger Brothers
DataRock

EXTRA EUROPA TURKEY
FINE ART, EXHIBITION
Inspiring
IStanbul
The students and graduates of the Faculty of
Art and Design at the Yildiz Teknik Üniversitesi
Istanbul, and the experimental design programme
at Linz Art University have produced two
exhibitions. Both cities will be European cultural
capitals: Linz in 2009, Istanbul in 2010.
Inspiring Istanbul brings together two exhibitions
produced by two major arts and cultural institutions
from Austria and Turkey. They provide a counterpoint
to one another through which to explore the
differences between their respective cultural identities.
Inspiring Istanbul will be kicked off by the Faculty
of Art and Design (Yildiz Teknik Üniversitesi),
which will launch two exhibitions in Linz in April
2009: one at the University of Art, the other at the
art society Paradigma.
Inspiring Istanbul presents artwork and research
that explores the ambivalence, contrasts, and
contradictions that exist between art and culture
on the one hand, and social and political realities
on the other. Artists approach contentious cultural
subjects from a critical historical perspective, radically
and ironically questioning the fundamentalist
pathos that exists both in the east and the west.
Both Turks’ and Austrians’ opinions on the issue of
the “European identity of Turkey” diverge, and the
discourse around this subject is severely deficient.
Turkey’s accession negotiations are barely present
in both nations’ public spheres. How is this discourse
perceived on an individual level? How are
the social and political conditions reflected in the
values, prejudices, and mentalities of individuals?
The artists of Yildiz Teknik will present the results of
this research at the exhibition Inspiring Istanbul.
The core competencies of the University of Art Linz
and its Department of Experimental Design and of
Yildiz Teknik Üniversitesi Istanbul and its Faculty
of Art and Design oscillate between pure art and
applied design in a spirit of interdisciplinarity and
artistic-scientific research.
“The ability to combine art and design concepts
anew with individual inspiration and talent in order
to fuse the appropriation of tradition with experimental
innovation is at the centre of instruction at
Yildik Teknik Üniversitesi.” “The course of study
‘Experimental Gestaltung’ was necessitated by the
tensions between strategies of artistic production
on the one hand and scientific discourse on the
other – a course that meets the requirements of our
times as it intuitively tests the process character of
artistic ideas in order to systematically expand it.” 1
Exhibition
The artistic approaches open to students were interactive
in character and experimental. Possibilities
ranged from painting to sculpture, video, photography,
installation and to collage, from stencils to
documentation. Students were able to apply their
own perspectives to their works, which means they
differ quite frequently substantially from mainstream
work. The project’s aim was to encourage independent,
critical takes on tensions that exist between
art and culture on the one hand and social and political
conditions on the other.
DATE
16.4. – 10.5.09
Vernissage 16.4.09 | 7 p.m.
Kunstuniversität Linz
(Finanzgebäude Ost, Hauptplatz 5 – 6)
WHERE
Kunstuniversität Linz, Kunstverein Paradigma
TICKETS
Admission free
PARTICIPANTS
Turan Aksoy und Ayça Tufan
Herbert Lachmayer
Oona Valarie Schager, Ufuk Serbest,
sowie StudentInnen und AbsolventInnen
der Yildiz Teknik Universität Istanbul
und der Kunstuniversität Linz
PARTNERS
Yildiz Teknik Üniversitesi Istanbul
Kunstuniversität Linz
Kunstverein Paradigma
Kulturverein Peligro
Österreichisches Kulturforum Istanbul
For detailed information please visit
www.peligro.at/stanbul
46
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1 Photo collage
2 | 3 „wir müssen weiter denken als unsere pistolen
schiessen“, Linzer Augen Band 5: art special, 2007
4 | 5 Kunstuniversität Linz
6 – 14 Yildiz Teknik Üniversitesi Istanbul
1
Herbert Lachmayer, “wir müssen weiter denken als unsere pistolen schiessen”, Linzer Augen Band 5: art special , 2007

EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA NORWAY TURKEY
Poetry slam
Theatre
Music
LITERATURe
Schwöster
Slam
Théâtre
en flammes:
la première Fois
Daniel Schnyder:
Around
The World
Around
LINZ
It’s Switzerland against Austria in an international
match where words matter instead of goals.
Three poetry slammers from Switzerland challenge
three slammers from Austria. Reading
from their works, they compete for the favours
of the audience.
Intended for performance, slam poetry is written for
an audience. It has many facets: story telling, cabaret,
spoken word performance, hip-hop, language
experiments, vernacular poetry, onomatopoeia, and
more. Slam Poetry asks the audience for its opinion
through ratings. Schwöster Slam invites a group
of Swiss slam poets to compete against an Austrian
delegation. During this spectacle, each poet
appears several times, demonstrating his or her
unique skills in numerous variations. Using ranking
tablets, the audience determines the winners, but
this is only of secondary importance. What really
matters is the performed word.
“The First Time” experiments with a highly naturalistic
form of drama. It makes use of “happening”
techniques without being totally defined
by them.
“The First Time” is about moments in our everyday
lives, those “first times” in life both simple and moving,
egocentric and universal. Each performance is
different, driven by the actors and actresses’ interpretative
energy, individuality, and personalities. The
actors and actress appear on stage in an impromptu
order; there are no prior agreements. They address
the audience by telling stories about the past, each
time starting with the words “The first time…” Little
by little, this builds into a complex chorus, in which
words overlap and voices intermingle. These stories,
true or imagined, tell of unspectacular events,
which nevertheless our lives hinge on, revealing in
the process a variety of images, sensations and
emotions.
Swiss musician Daniel Schnyder combines diverse
cultural influences to take a stand against
the randomness of globalised culture.
The word globalization stands for nearly everything
that is both near and distant but remains irredeemably
elusive. Slogans like “crossover“ and “musical
border crossing“ often represent mediocrity
and have become terms of abuse for many musical
critics.
By contrast, the work of Swiss composer and
woodwind musician Daniel Schnyder has been a
powerful statement against randomness for many
years. The concert is organised in collaboration with
Anton Bruckner Privatuniversität Linz, whose students
will take an active role in it.
Schnyder’s Music seeks an open engagement with
the current realities of life. His performance combines
non-European traditions with masterpieces of
classical music, jazz, rock, and pop.
Around Linz offers participants from Istanbul
and Stavanger an opportunity to explore their
interest in creative writing under the guidance
of Oskar Terš.
Austrian writer Richard Schuberth, Turkish writer
Gani Oktay Arbak, and a Norwegian writer will lead
writing workshops in which participants will focus
on the metaphor of bridges in relation to Istanbul,
and the dimensions of industry in relation to Stavanger.
Participants will also work on the issues born of
writing in a foreign language.
Turkish photographer Mehmet Emir and Norwegian
photographer Andreas Martin Aanerud will document
the events. The top three writers will be invited
to StiferHaus, where they will read from their works
on 25 June 2009. Culinary delights from both cities
will be served on this occasion.
DATE
Workshops: 23.4., 24.4.09
4 p.m. – 7 p.m. (StifterHaus)
Poetry Slam: 23.4.09
8 p.m. (Posthof)
WO
StifterHaus, Posthof
TICKETS
see page 58
PARTICIPANTS
Presenters:
Markus Köhle & Mieze Medusa
PARTNERS
textstrom Poetry Slam, PostSkriptum
Poetry Slam, Slam-It
48
49
TERMINE CH
13.3.09 Affoltern, Kulturkeller La Marotte
14.3.09 St. Gallen, Grabenhalle
16.3.09 Zurich, Bombay Bar
DATE
25.4.09 | 8 p.m.
26.4.09 | 8 p.m. (Post-performance
discussion, Host: Airan Berg)
WO
Hafenhalle09
TICKETS
see page 58
PARTICIPANTS
Denis Maillefer (Director), five members
of the company and four actors
and actresses from Linz
PARTNERS
Théâtre en Flammes (Lausanne)
DATE
29.4.09 | 7.30 p.m.
WHERE
Brucknerhaus
TICKETS
see page 58
PARTICIPANTS
Georg Breinschmid, Martin Grubinger,
Toni Renold, Daniel Schnyder,
Orchester für angewandte Neue Musik –
Students of the Anton Bruckner
Privatuniversität Linz, Norbert Girlinger
PARTNERS
Anton Bruckner University Linz,
Brucknerhaus
DATE
25.6.09 | 7.30 p.m.
WHERE
StifterHaus
TICKETS
Admission free
PARTICIPANTS
Andreas Martin Aanerud (NO), Gani Oktay
Arbak (TR), Mehmet Emir (TR), Richard
Schuberth (AT), Oskar Terš (AT)
PARTNERS
Austrian Cultural Forum Istanbul
StifterHaus

EXTRA EUROPA TURKEY
dance
Taldans company:
Dokuman
Taldans’s new collaborative piece is like a fissure
in time, a series of reversible strands that add
up to form images or vistas, sounds, voices,
functions or processes.
It invites you to toy with the question where the
piece is going to head next, with its wordless
but powerful leaps, its disruptions and deficiencies
that are all part of an ostensibly seamless
whole.
The point of departure for this project is a series of
questions concerning (artistic and material) quality.
What decides the quality of artistic and material products?
Can a dysfunctional system maintain itself?
And what, come to think of it, do we understand by
function in the first place? Is it permissible to think of
choreography in terms of a system of functions? DATE
29.4.09 | 8 p.m.
30.4.09 | 8 p.m. (Post-performance
Thoughts like these have led Taldans to explore modulations
in movement and sound. Adding sound WHERE
discussion, Host: Airan Berg)
and voice resulted in enlarging the territory of the Hafenhalle09
body and in throwing light on the relationship between
inside and outside on several different levels. see page 58
TICKETS
PARTICIPANTS
Taldans and the artists involved in the project have
Concept, Direction: Mustafa
Kaplan, Filiz Sizanli; Interpretation
contributed substantially to reflecting on the relationship
between material and artistic production Abramovici, Cevdet Erek,
& artistic collaboration: Loup
by adding their own plot elements. A wide array of Kerem Gelebek, Mustafa Kaplan,
issues of specific realisation forms and the manifold Filiz Sizanli, Erki de Vries
connections that exist between production, process
and product are addressed.
PARTNERS
0090 Kunsten Festival, Festival
Montpellier Danse 2009, De Singel
Internationale Kunstcampus,
Productiehuis Rotterdam
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51
Music, Jazz
EXTRA EUROPA NORWAY SWITZERLAND
On a visit to
jazzatelier
ulrichsberg
On day three of “Kaleidophon”, Urs Leimgruber
will present Six Plus One and Frode Gjerstad’s
Circulasione Totale Orchestra.
The ensemble Six Plus One will design and perform
a concert customized for the weaving workshop of
the Leitner linen weaving mill. While the six instrumentalists
will approach this theme in an improvised
and intuitive fashion, Thierry Simonot will prepare an
acoustic work at the Swiss sound laboratory Ameg.
A system of loudspeakers designed especially for
this room will add the “seventh instrument” for the
concert. Frode Gjerstad is among the pioneers of
Norwegian free jazz. The European Cultural Capital
2008 in Stavanger provided Gjerstad with an opportunity
to organise an electro-acoustic Big Band
according to his own wishes, which became the
Frode Gjerstad Circulasione Totale Orchestra. “The
Ulrichsberg Kaleidophon” provides a sequel to that
project with a slightly changed musical cast.
DATE
2.5.09 | ab 3 p.m.
WHERE
Jazzatelier Ulrichsberg
TICKETS
see page 58
PARTICIPANTS
Frode Gjerstads Circulasione
Totale Orchestra, Six plus One
PARTNERS
Jazzatelier Ulrichsberg/Kaleidophon
www.jazzatelier.at/va/kal09.htm
Frode Gjerstad
Charlotte Hug
Music
Festival 4020:
Trio Accanto
The Swiss group Trio Accanto performs contemporary
Swiss music and a work by composer
Bernhard Lang from Linz.
Trio Accanto will interpret “Song Book” rendering an
estranged, broken echo of romantic music. “Song
Book” is a key work by composer Bernhard Lang
(born 1957), one of Austria’s internationally renowned
composers.
In addition to poems by Robert Creeley and experimental
texts by Dieter Sperl, Lang uses pop songs
as a point of departure for his compositions. He
shatters these songs into pieces and puts them
together anew; they are like fragments of a mirror
reflecting “the original as a multitude”.
A debut performance by Jens Joneleit and works
by the Vienna-based Swiss composer Beat Furrer
and Helmut Lachenmann supplement and offset
Lang’s cycle of songs with additional contemporary
interpretations.
DATE
7.5.09 | 7 p.m.
WHERE
Brucknerhaus
TICKETS
see page 58
PARTICIPANTS
Christian Dierstein, Schlagzeug
Yukiko Sugawara, Klavier
Marcus Weiss, Saxophon
Agata Zubel, Mezzosopran
PARTNERS
Festival 4020
www.festival4020.at
EXTRA EUROPA SWITZERLAND

EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA SWITZERLAND
Music
Music
Music, installation
Fine Art
Joining the
Parade
Vienna art
Orchestra
ANDRES
BOSSHARD
Höhenrausch
Hornroh presents alpenhorn music on unaccustomed
tracks.
Stevan Schwierter’s film “Heimatklänge” brought
the “new” Swiss folk music back into the limelight
and it has gained increasing popularity in Austria
ever since. It was in Schwierter’s film “Das Alphorn”
that Hornroh, an alpenhorn quartet from Basle, appeared
in public for the first time, showing musical
and technical sophistication, a love of experimentation,
and a pinch of humour.
For the parade, Hornroh will offer an alpine counterpart
to marching music from distant countries,
yet without any of the clichés. Quite the opposite is
true: Hornroh celebrates the acoustic and visual differences
that may appear in the seemingly familiar.
Hearing the sounds of antelope horns, balaphones,
and shawns echoing from urban landscapes suggests
an exciting, new experience.
DATE
1.5.09 from 2.30 p.m. | SolarCity,
Weikerlsee, Maschinenfabrik
2.5.09 from 3 p.m. | Futtersilo/
Hafenbecken, Werk-/Lagerhallen
3.5.09 from 3 p.m. | Mairwiese,
Festungsmauern, Pöstlingberg
WHERE
Diverse
TICKETS
Admission free
PARTICIPANTS
Heléne Berglund, Michael Büttler,
Ruedi Linder, Balthasar Streiff
http://www.hornroh.ch
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hornroh
Mathias Rüegg, the Swiss conductor of the Vienna
Art Orchestra, is a man of many talents.
It is plain to see—and to hear, that Vienna is home
to many outstanding young classical musicians
who are also familiar with jazz and improvised styles.
The new ensemble of the Vienna Art Orchestra
(VAO) brings together classical and jazz musicians,
all of whom will also perform as soloists. In his new
programme, Matthias Rüegg makes use of his expertise
in both jazz and classical music in order to
combine the two into a new entity. As in previous
VAO ensembles, virtuosity, complex harmonies
and rhythms, energy, and suspense will also be expressed
in visual forms.
In this new VAO programme, Mathias Rüegg combines
his knowledge of jazz and classical music,
bringing together musicians from both fields to
create a new whole.
DATE
3.5.09 | 8.30 p.m.
WHERE
Brucknerhaus
TICKETS
see page 58
PARTICIPANTS
Musical director:
Mathias Rüegg;
Jazz Solists: J. Bartos,
C. Curschellas, N. Gori, H. Sokal;
Rhythm Section: J. Gröbner, I. Oberkanins, F. Philipp, E. Weissensteiner;
String 4tet: A. Jesek, J. Lewis,
I. Pristasova, M. Williams; Woodwinds: T. Frey, H. Kerschbaumer,
M. Kronsteiner, V. Marian; Brass: T. Fischer,
A. Soomary, D. Stöger
PARTNERS Brucknerhaus
The Swiss composer Andres Bosshard views
the city as a sound space and Linz turns into
an HÖRSTADT.
Almost unlike anyone else in the German-speaking
region, the Swiss composer, musician, and sound
architect Andres Bosshard knows how to view the
city as a sound space. Operating occasionally at
the threshold of bare perceptibility, Bosshard has
put together the most marvellous sound installations
in open spaces. As part of the Linz09 project
HÖRSTADT, Bosshard will create a sound
construction site on the bank of the Danube
between the Lentos museum and Nibelungen
Bridge, a noise-infested environment that will allow
Bosshard to demonstrate how cleverly designed
sound environments can offer new ways of coping
with noise. Moreover, Bosshard will install a variety
of listening sites throughout Linz. From May to
July 2009 visitors may explore these sites by way
of a “soundseeing” tour through HÖRSTADT Linz.
Bosshard will conduct the tour; and his expert instruction
and guidance are sure to provide a personal,
first rate sensory experience.
DATE
Sound sites from May 2009
Construction site from August 2009
WHERE
30 Places
TICKETS
Contributions for guided tours,
otherwise Admission free
PARTICIPANTS
Andres Bosshard
The OK Centre for Contemporary Art lifts artists
and their works, such as those by Swiss artists
Pipilotti Rist and Roman Signer, to uncommon
heights. A staircase to heaven takes visitors to a
spot directly above the centre of Linz.
On the top deck of the Passage Shopping Centre
car park cars have made way for a truly sensational
display, with a ride on a Ferris wheel thrown in as
an extra bonus. This, the city’s highest rooftop garden,
offers an opportunity for contemplation, while
homing pigeons carry messages, and artists, students,
and teachers perform experiments related
to the phenomenon of Höhenrausch (altitude
sickness) at the base camp.
An intricate system of paths leading to viewpoints,
plateaus, and shortcuts then takes visitors across a
newly built bridge to the Ursulinenhof and its attic,
the most beautiful attic of Linz. The path goes up
and down continuously, crossing interior and exterior
spaces before it leads to a long footbridge that
gently slopes into Harrachstrasse, taking visitors
back to the ground.
DATE
29.5. – 31.10.09
WHERE
OK Offenes Kulturhaus OÖ
TICKETS
see page 58
PARTICIPANTS
Pipilotti Rist
Roman Signer
PARTNERS
OK Offenes Kulturhaus OÖ

EXTRA EUROPA NORWAY TURKEY
EXTRA EUROPA SWITZERLAND
EXTRA EUROPA NORWAY SWITZERLAND
MusiC, Installation
NEW MEDIA
Performance
Linzfest09
Linzfest is dedicated to the concept of the
Cultural Capital, bringing both past and future
Cultural Capitals to Linz. Stavanger 2008 (Norway)
and Istanbul 2010 (Turkey) offer an impressive
programme.
Ceza, renowned Turkish rapper, will have Linzers
rhythmically gyrating. Sultan Tunc and his Oriental
Groove Orchestra, Istanbulers from Berlin, and DJ
IPEK will offer a fine late night line-up. The programme
also features the great Baba Zula and clarinettist
Selim Sesler.
Stavanger will send three exceptional representatives
of the psychedelic-hip-hop-electronic music
scene to Linz: King Knut, QRT, and the NuMusic
Sound System. Additionally, Stavanger will present
two installations throughout Linzfest: Sonic Vista,
and Signing The Land.
DATE
29.5 – 1.6.09
WHERE
Danube Park
TICKETS
Admission free
PARTICIPANTS
TR: Ceza, DJane Ipek, Selim Sesler,
Sultan Tunc, Baba Zula; NO: King
Knut, QRT, NuMusic, Sound System
PARTNERS
Linz Kultur, Istanbul 2010, Stavanger 2008
www.linzfest.at
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80+1
80+1 – A journey around the world. Switzerland
has been invited to participate in 80+1 and will
be represented by the Zürich University of the
Arts and a selection of Swiss artists.
80+1, a new media event, will stop at twenty locations
where ideas for the future are created and
developed, or, conversely, destroyed and suppressed.
One theme is assigned to each location.
Switzerland’s theme is traffic. The St Gotthard
Tunnel provides a major north-south axis and key
European transit route. It is an important symbol
of connection. It also reflects a variety of approaches
to traffic-related issues. Together with Zürich
University of Art, a Linz high school will develop
concepts that examine different types of acoustic
space, interpreting and modifying these spaces.
Linz’s main square will host the hub of the project,
where a “global window” will be created that allows
visitors to meet people from other places and enter
into dialogue with them. The main square will also
provide the stage for discussions, artistic projects,
meetings, feasts, and concerts.
DATE
17.6. – 5.9.09 online and live at
Ars Electronica Festival
WHERE
80+1
World, AEC, Hauptplatz
TICKETS
Admission free
PARTICIPANTS
Swiss artists to be announced.
PARTNERS
ZHDK Züricher Hochschule der Künste, in collaboration
with Linz09, Ars Electronica and voestalpine
www.80plus1.org
AT THE
Circus
Antoine Chessex and MoHa! bring Switzerland
and Norway to the Linz09 Circus.
The Circus does not have a stage, it actually is
a stage. From May to September 2009, everything
is open, everything is transparent. With over one
hundred performances, the Circus will become
the locus of a magical programme.
Come on in and join the fun!
Antoine Chessex (Switzerland/Berlin)
The irrepressible Antoine Chessex is a Swiss national
living in Berlin – and he is the world’s most dangerous
saxophone player! He will perform together with
the electronic musician Pure at Zirkus Hieronymus,
Toskanapark, Gmunden, from 26 to 28 July 2009.
http://www.soundimplant.com/achessex.html
MoHa! (Stavanger/Berlin)
MoHa! gives us two model students from international
music schools gone astray and their masterful
high-speed beats, screaming guitars, treacherous
keyboards and pulsing stroboscopes.
http://www.myspace.com/themoha
DATE
Antoine Chessex
26. – 28.7.09 | 8 p.m.
Gmunden/Toskanapark
MoHa!
21. – 23.8.09 | 8 p.m.
Zirkus Hieronymus
in Linz/BH Urfahr
WHERE
Gmunden, Linz
TICKETS
see page 58
www.linz09.at/circus
Moha!

EUROPA AUSTRIA
Essay AUSTRIA
Herr Karl
IN BRUSSELS
As a rule, the majority of Austrians don’t care
much for the EU. The purpose they use if for today
more than ever is that of a scapegoat for
everything and anything that happened to them
in the past and that continues to happen to
them in the present.
Every couple of months we read about it in the
newspapers, complete with the empirical data generated
by a masterful application of modern-day
opinion research: Austrians do not like the European
Union. This is evident from an opinion poll
regularly conducted across the EU, the so-called
Eurobarometer. It measures, amongst other things,
how happy European citizens are with their Union.
In Austria, leaving the EU and embarking on a selfsufficient
future is something only a small, radical
minority would seriously consider. But this does
not change the fact that there is hardly another
member state where the EU meets with the kind
of scepticism found between Bregenz (the capital
of Vorarlberg, Austria’s westernmost province) and
Eisenstadt (the capital of Burgenland, Austria’s easternmost
province).
As a result of this perception, both the tabloids and
the quality papers with their limited circulation can
be relied upon to regularly report on the “special
case of Austria”. No one likes to talk about this alleged
special case as much as the Austrians themselves.
This is quite understandable: while Austria’s
export-oriented economy – above all the banking
system (before the financial crisis) – understood
how to make use of the advantages offered by
the brave new EU world, the real incomes of most
workers remained stagnant. This, of course, is not
really something the EU can be blamed for – in Austria,
collective bargaining is not in the hands of the
government, rather it is conducted by social and
economic partners (employees’ and employers’ federations).
However, just like the parliamentarians
who execute their decisions, the social and economic
partners have no interest in improving the reputation
of the Union in their country. Why? Because
nothing can be won by it, yet everything that they
value and appreciate can be lost.
This is how the political and economic elites in
Austria have succeeded in creating a situation in
which “Brussels” is code for all the imagined or real
wrongs experienced by the Austrians early in the
21st century. This is not really a problem, because
these elites have a keen understanding of the people
they govern or employ. This is a state of affairs
that not only ensures a good life, it also ensures their
own survival. From this point of view, one cannot
really blame the Austrian people’s representatives
for complaining about the lack of acceptance of the
EU and its officials, while in reality they are grateful
for the opportunity to shift responsibility for things
that go wrong to a widely unknown supranational
organisation: even after fourteen years of membership,
hardly anyone in Austria knows how the EU
is organised. Only very few can tell the difference
between the EU Council, the EU Parliament, and
the Commission. That the two large political parties,
the Social Democrats (SPÖ) and the Conservatives
(ÖVP) are giving comfort in the long term to the very
policies they profess to abhor – those advocated
by the right-wing populist Liberals (FPÖ) and the
Bündnis für die Zukunft Österreichs [Alliance for
the Future of Austria] (BZÖ), a regional FPÖ clone
founded by the late Jörg Haider – is something they
are conscious of, but which does not affect their
behaviour is concerned.
This does not really matter, because the same piece
has been played on Austria’s political stage for
decades; a piece in which only the performers are
replaced, but the script remains essentially untouched.
The theatre does not serve here as a facile
metaphor. If you want to see a piece that is the talk
of the town, you buy a ticket, take your seat in the
theatre and applaud at the end, if what you’ve seen
was to your liking. In the opposite case you join the
regulars at the pub and complain about the bad
acting, the miserable stage design, and the unprofessional
décor. This is of no consequence to the
theatre itself (because it receives a public subsidy
that makes it immune to audience reactions). The
same mechanism is activated when most Austrians
talk about the EU: they get agitated and complain,
which is easy because there are no consequences
to be feared. Thus, Brussels has quietly taken over
the scapegoat function traditionally occupied by Vienna
in small-state Austria. Now it is the name of
another city that has become a synonym for a legislative,
judicial, and executive authority under which
people feel powerless. In other words: Austrians
cannot accept the EU because they have always
been unable to cope with civil liberties. Today more
than ever, Austrians, accustomed to centuries of
authoritarian rule under the Danube Monarchy, are
in need of an authority on which to place blame.
The aristocratic dictators, the Austro-fascists, and
the Nazis all understood this part of our mentality
and put it to skilful use. Given this line of logic,
would it not be alarming if there were no one there
who we can blame for our own doings? The Austrians
have survived all kinds of things, and they will
surely survive democracy. And, along with it, EU
membership.
Klaus Stimeder,
editor of monthly magazine
DATUM - Seiten der Zeit / www.datum.at
56
57

Tickets
Ticketing and Pricing Information
EXTRA EUROPA Events
Brucknerhaus
Around the world:
€ 21.00 / 18.00 / 14.00 / 11.00
€ 6.50 Youth Pass
10% discount (Linz09 Insider, Linz09 Card)
Trio Accanto:
Day Pass: € 18.00 Adults / € 10.00 Young People
Festival Pass: € 45.00 Adults / € 25.00 Young People
50% discount (Linz09 Insider)
Vienna Art Orchestra:
€ 31.00 / 28.00 / 25.00 / 22.00
€ 6.50 Young people
10% discount (Linz09 Insider, Linz09 Card)
CIRCUS
€ 9.00 regular
€ 7.00 concessions: Linz09-Insider and Linz09
Card, students up to 26, apprentices, AktivPass,
tourist guides, retirees, persons in community or
military service, persons with special needs and
accompanying persons
€ 5.00 concessions (pupils)
€ 3.00 concessions (school groups of 5 and more
per person);
Admission free with Kulturpass*,
teachers accompanying classes, journalists
City Kino / Moviemento
Dürrenmatt (film): € 7.50
Filmtage Istanbul: € 7.50 Adults
€ 6.50 concessions: students, persons in mandatory
military or civilian service, EURO

Project PARTNERS
PARTNERS And SPONSORS
Schweizer Kulturstiftung Pro Helvetia, Istanbul 2010, Norwegischer Kulturrat
Sponsors
BAWAG P.S.K., Linz Textil AG
MEDIa PARTNER
Die Presse
PARTNERS
AEC Ars Electronica Center Linz
architekturforum OÖ (afo)
AK Oberösterreich
BFI Oberösterreich, BBRZ-Gruppe
Botschaft des Königreichs Norwegen
Botschaft der Schweiz
Botschaft der Republik Türkei
Brucknerhaus
Anton Bruckner Privatuniversität
Crossing Europe Filmfestival Linz
Diözese Linz
EYP European Youth Parliament
Fantoche – Internationales Festival für Animationsfilm
Festival 4020
Filmfestival Festival on Wheels
Filmmagazin Altyazi
Fumetto – Int. Comix Festival Luzern
Frauenbüro der Stadt Linz
Galerie Paradigma
International Film Festival Rotterdam
Jazzatelier Ulrichsberg
JKU/Institut für Frauen- und Geschlechterforschung
KILDEN – Information Centre for Gender Research
Künstlervereinigung MAERZ
KUN - Centre for Gender Equality
Kunstuniversität Linz
Landeskulturzentrum Ursulinenhof
Landestheater Linz
Lentos Kunstmuseum Linz
Literaturhaus Zürich
Linz Kultur
LIVA Linzer VeranstaltungsGmbH
Moviemento Kino
MS Schönbrunn
NextComic
NFI Norsk Filminstitut
NUFF Nordic Youth Filmfestival
OK Offenes Kulturhaus OÖ
Österreichische Gesellschaft für Kulturpolitik
Poesie-Festival FÜR DIE BEWEGLICHKEIT
Posthof – Zeitkultur am Hafen
Pikene på Broen
Schäxpir Theaterfestival für junges Publikum
Stadt Linz
StifterHaus
Stavanger 2008
Südpol Luzern
Swiss Films
Theater des Kindes
Tromsø Filmfestival
TR Plus (Centre for Turkey in Europe)
Vertretung der Europäischen Kommission in Österreich
Wissensturm
WK Oberösterreich / BBRZ Gruppe
YILDIZ Teknik Üniversitesi Istanbul
SPECIAL THANKS
oiip Österreichisches Institut für Internationale Politik
Hakan Akbulut, oiip
Richard Kühnel, Head of Representation of the
European Commission in Austria
Embassy of Austria in Switzerland
IKSV Istanbul Foundation for Culture and Arts
Austrian Cultural Forum (Istanbul)

Contents
10+: Parallel (TR)
80+1 (CH)
Ahmet Özhan & Ensemble (TR)
Alias: Approcher la poussiere (CH)
Andres Bosshard (CH)
Around Linz (CH)
At the Circus (NO, CH)
Biennale Cuvée (NO, CH)
Burhan Öcal & Ensemble (TR)
Cie 7273: LaÏ laÏ laÏ laÏ (CH)
Crossing Europe Filmfestival (NO, CH, TR)
Daniel Schnyder: Around The World (CH)
Days of Poetry (CH)
Festival 4020: Trio Accanto (CH)
Forum 09
Fumetto meets NextComic (CH)
Hernan/Leuenberger: Enter My Bubble (CH)
Höhenrausch (CH)
Inspiring Istanbul (TR)
Istanbul film programme (TR)
Joining the parade (CH)
Karagöz: The magic tree (TR)
Lecture series Turkey (TR)
34
54
41
40
53
49
55
25
27
41
44
49
42
51
17
26
40
53
46
31
52
29
30
LinzFest 09 (NO, TR)
Magnar Åm: The singing walls (NO)
Make way for the king (CH)
Massimo Furlan: Love Story Superman (CH)
Matinée on Friedrich Dürrenmatt (CH)
Nurkan Erpulat: I like to move it move it (TR)
On a visit to Jazzatelier Ulrichsberg (NO, CH)
Opening: Party
Opening: Reception
Paarläufe – Between Art and Literature (CH)
Pikene på broen: Transborder Cafés (NO)
Schwöster Slam (CH)
Sgaramusch/NIE: The Ship (NO, CH)
Spring Awakening
Swiss and Austrian bands at Posthof (CH)
Switzerland at the StifterHaus (CH)
Symposium
Taldans Company: Dokuman (TR)
Théâtre en Flammes: La première fois (CH)
The seventh room (CH)
Turkey at the StifterHaus (TR)
Vienna Art Orchestra (CH)
Women in power?! (NO)
54
28
26
29
31
25
51
23
18
35
36
48
27
23
30
43
19
50
48
35
43
52
42
62
63

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Venues EXTRA EUROPA Linz09
AFO | Architekturforum OÖ
Herbert-Bayer-Platz 1, 4020 Linz, www.afo.at
Altes Rathaus
Hauptplatz 1, 4020 Linz, www.linz.at
AEC | Ars Electronica Center
Hauptstraße 2, 4040 Linz, www.aec.at
Brucknerhaus
Untere Donaulände 7, 4020 Linz, www.brucknerhaus.at
City Kino
Graben 30, 4020 Linz, www.moviemento.at
Donaupark / LinzFest
Grand Café zum Rothen Krebs
Untere Donaulände 10, 4020 Linz, www.roterkrebs.net
Hafenhalle09
Ecke Industriezeile/Derfflingerstr. (3. Hafenbecken), 4020 Linz
Kapu
Kapuzinerstraße 36, 4020 Linz, www.kapu.or.at
Kepler Salon
Rathausgasse 5, 4020 Linz, www.kepler-salon.at
Kinderpunkt09
Hauptplatz 1, 4020 Linz
Kunstuniversität
Hauptplatz 5-6 (Finanzgebäude Ost), 4020 Linz
www.khs-linz.ac.at
KUNSTVEREIN Paradigma
Landstraße 79/81, 4020 Linz
Künstlervereinigung MAERZ
Eisenbahngasse 20, 4020 Linz, www.maerz.at
Landestheater Linz
Promenade 39, 4020 Linz, www.landestheater-linz.at
LENTOS KUNSTMUSEUM LINZ
Ernst-Koref-Promenade 1, 4020 Linz, www.lentos.at
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18
19
20
21
22
23
24
25
26
27
28
29
Moviemento
Dametzstraße 30, 4020 Linz, www.moviemento.at
MS Schönbrunn
Schiffsanlegestelle Urfahr
Neuer Dom
Herrenstraße 19, 4020 Linz, www.mariendom.at
OK Offenes Kulturhaus OÖ
Dametzstraße 30, 4020 Linz, www.ok-centrum.at
Posthof
Posthofstraße 43, 4020 Linz, www.posthof.at
StifterHaus
Adalbert-Stifter-Platz 1, 4020 Linz, www.stifterhaus.at
Theater des Kindes
Langgasse 13, 4020 Linz, www.theater-des-kindes.at
Ursulinenhof
Landstraße 31, 4020 Linz, www.ursulinenhof.at
Wissensturm
Kärntnerstraße 26, 4020 Linz, www.wissensturm.at
Off site Linz:
Parade
SolarCity (Weikerlsee), Maschinenfabrik HMH
(Im Südpark 196, 4030 Linz), Hafenbecken, Mairwiese & Pöstlingberg
Jazzatelier Ulrichsberg
Badergasse 2, 4161 Ulrichsberg, www.jazzatelier.at
Steyr / I like to move it move it
HS Weyer, HS 2 Tabor Steyr, VS Ternberg
CIRCUS
Toskanapark, 4810 Gmunden
BH Urfahr, 4040 Linz
Linz09 Infocenter
Hauptplatz 5, 4020 Linz
Orient–
ation map
EXTRA EUROPA