HAU / ARGEkultur Salzburg / Schauspielhaus Graz

Interative website / audio conference

“Tactical Forgetting” is a web-based, repurposed audio-conference software which proposes to sing karaoke, dedicated to the rhythms of revolution. Chanting slogans, repeating everyday sounds, memorising rhythmic patterns, screaming riffs, pronouncing instructions, whispering secrets needed for community safety. Based on an activist experience during the 2020 revolution in Belarus, the project examines how infrastructural systems of care can be helpful for cyber-partisan practices and resistance. The work rethinks affective computer technology and algorithmic power structures and asks how oppressed communities can act in the midst of digital fascism and build new infrastructures of imagination

Concept & Realisation: eeefff

The duo eeefff (Minsk/Berlin) is an artistic collaboration, an invented institution, a cybernetic political brigade, a poetic calculation, a hacking unit, or queer time. Active since 2013, eeefff works with emotions and affects shaped by technologies, creating software-based projects, publications, networks, and platforms that critically engage with digital labour, value extraction, and community building. Methods include public actions, online interventions, performative seminars, software and hardware hacking, and the choreography of everyday social situations. Since 2022, the duo has been organising the School of Algorithmic Solidarity, which it founded to explore the relationships between infrastructural time, algorithmic abstractions, and bodies. Eeefff are co-organisers of “Work Hard! Play Hard!” (2016–2020), “Decentric Circles Assembly” (2024) and “Forest Assembly of Educational Fictions” (2025).

Interactive website

What if the internet hadn’t forgotten its manners? What if it asked you to listen first before giving you an answer? “The Sankofa Protocol” is a speculative fork in the road of digital knowledge. We see how Wikipedia’s “free knowledge” is absorbed by AI, erasing context and authorship. However, this future is rejected here. The work is a different kind of tool. A digital offering. The protocol responds to a self-posed question from the present not with data, but with ancient wisdom. Oral traditions are recounted, along with their history, their spirit and the conditions of their transmission. The project is not a database. It is a relationship. It opens up a world in which technology is not an extractive force, but a basis for preservation, restitution and genuine listening. We go back, not to live in the past, but to build a different future.

Concept & Realisation: Chinedum Muotto

Chinedum Muotto is a Berlin-based Nigerian-Irish interdisciplinary artist and researcher working at the intersection of web-based art, decolonial archival practice, and emerging technologies. His practice combines writing, sound, participatory research and lightweight software to question how knowledge is stored, shared and owned online. In 2025 he was artist-in-residence at ZK/U (Zentrum für Kunst und Urbanistik), Berlin. Recent projects include “The Sankofa Protocol (Ancestral API)”, which proposes a non-extractive interface for engaging Indigenous knowledge through provenance, consent and orality. His work draws on African philosophies of memory, repair cultures and diasporic networks, and is developed between Berlin and multiple African cities. He builds public-facing digital commons that foreground custodianship, reciprocity and accountability.

VR performance

With “The Last Entry,“ SOAP focuses on individual experiences of (data) loss on the internet. The internet, still presented as an inexhaustible archive of collective knowledge, proves to be an unstable and selective dispositif of digital memory: platforms are abandoned, archives closed, data deleted – decisions that actively determine the continued existence of digital spaces and whose loss represents a significant blow to digital culture, creativity and social interaction.  

Disappearing from the internet is no coincidence; it has become political and is the result of economic interests, political intervention and algorithmic decisions. In the form of a performative memorial site in VR Chat, SOAP's “The Last Entry“ creates a resonance space that combines documentary practice, digital performance and collective participation to form a walk-in landscape of memory, in which personal experiences of absence overlap and a new awareness of digital transience emerges. 

Concept & Realisation: SOAP (Bettina Katja Lange, Uwe Brunner)
Web Development: Macario Ortega

Interactive game format

What disappears when no one is looking? With “HTTP 451,“ the Graz-based collective Das Planetenparty Prinzip has created a dystopian game format about the slow disappearance of the free internet. As an interactive text adventure, the performance guides the audience through a network that is increasingly forgotten, restricted and manipulated. Content can no longer be found, is legally blocked, deleted or locked away – error codes such as 404, 410 or 451 become the dramatic engine of a collective experience. 

The audience becomes part of a rescue mission involving the entire audience: whatever still exists must be secured, copied and archived before the last entry disappears. But it quickly becomes clear that this is about more than just data backup. “HTTP 451“ asks an uncomfortable question: what is actually worth preserving? Everything? Only certain content? The idea of a free network? The truth – or even its distortions and lies? 

Playful, humorous and at the same time highly political, the work allows us to experience how memory, knowledge and the public sphere are negotiated when digital spaces become fragile. “HTTP 451“ is an interactive experiment about responsibility in the digital space – and about the need to take action before disappearance becomes the norm. 

Concept & Realisation Das Planetenparty Prinzip (Leonie Bramberger, Moritz Ostanek)

Das Planetenparty Prinzip is an Austrian performance collective that has been continuously developing theater pieces, multimedia performances and play formats since it was founded in 2015. The collective’s works, as diverse as they are, share the approach of exploring and dissecting social systems and reassembling them theatrically, taking formal and aesthetic risks and engaging with new things full of curiosity, consistency and, last but not least, humor. In addition to developing plays, the group specializes in immersive and interactive formats and theater games and has been invited to festivals such as Steirischer Herbst, Schäxpir, Starke Stücke, La Strada, newsOFFStyria, etc. In 2021, the group received the STELLA special prize from the board of Assitej Austria. The members of the group live in Graz and Vienna.

Participatory research on knowledge and urban spaces

The project by the collectives Kronberger&Kronberger and gold extra conducts applied urban research and is the starting point for two projects.

Kronberger&Kronberger are working on “ORBYTE,“ an interactive city map of Salzburg inspired by critical mapping, which collects and visualizes local, personal/non-public, and lost/marginalized knowledge about the city. The map transfers the encyclopedic principle to urban space and questions canonized knowledge bases.

“SEEDS“ by gold extra deals with the social construction of knowledge and participatory mapping. Personal stories and everyday experiences are turned into thematic tours through Salzburg. Together with the cooperation partners of the Artificial Museum, this creates a digital archive and augmented reality interventions in public space.

During the residency, the artists meet, develop intersections and synergies for both projects, and present the (interim) results of their joint research. In a public analog showing—on March 19 at ARGEkultur Salzburg—the process was opened up and visitors' knowledge of the city was fed live into the map.

Concept & Realisation gold extra, Kronberger&Kronberger

gold extra is a group of artists working at the intersection of games, digital art, theater, film, and visual arts. They develop new formats in the fields of documentation, art, and technology and are active in artistic research. Their works range from AI installations to games and animations. The constant search for innovative forms of artistic expression is a central task in the artistic work of gold extra. Presentations and projects include Ars Electronica, ZKM, Nam Jung Paik Center, Annecy Film Festival, Games for Change New York, A.MAZE Berlin, and many more. gold extra has won numerous awards in the categories of animation, media art, games, interdisciplinary cultural work, media education, and youth culture. 

gold extra are Reinhold Bidner, Tobias Hammerle, Georg Hobmeier, Sonja Prlić, Sophia Reiterer, Elisabeth Stiebritz, Jana Sturm, Karl Zechenter.

Alexandra Leonie Kronberger and Philippa A. Kronberger are not only loving sisters, but also an unlikely yet symbiotic artistic duo. Kronberger&Kronberger are distinguished above all by their versatile skills and their courage to explore and try out new things. Nothing is impossible. Their work is always interdisciplinary and far removed from conventional norms, reflecting their respective skills. Their particular strength lies in their long-standing collaboration, which began even before they formed their artistic duo, and their close bond as sisters. The duo made their debut in August 2024 with the play “GETRÄUMT WIRD IN FETZEN“ (Dreaming in Shreds). In May 2025, the two sisters realized another project: “CIRQUE DE PENSEÉS,“ an immersive spatial installation that premiered at the Schlachthof Festival Traunsee.

Interactive online installation

“POST-REALITY“ is an interactive online installation that becomes a socio-technological experiment. The project is set in a future after the collapse of classical archives: Wikipedia, databases, and encyclopedias have been fragmented through manipulation, algorithmic interventions, and edit wars. AI-generated versions flood the networks, while free access is increasingly regulated. What remains are unstable truths that change in real time.

“POST REALITY“ stages such a control system and shows how knowledge, in a post-factual environment, becomes an emotionally driven instrument. Texts are deleted, rewritten, or neutralized; language is standardized until only system-compliant fragments remain.

In the end, the archive collapses — what remains are decomposed links, flickering text fragments, and a digital echo of what reality once was.

Concept & Realisation: Nina Vasilchenko
Creative Coding: Jasper Alexander Gradussen

Nina Vasilchenko is a multidisciplinary artist and creative entrepreneur with a focus on scenography, exhibition architecture, media art, film, and hybrid formats. Her work combines artistic, digital, spatial, and material-based research and engages with psychological dimensions that resist clear categorization and complete resolution. Since 2019, she has been the founder and artistic director of ‘THE FACTORY – Free Art Space in Salzburg’—an environment in which interdisciplinary artistic processes as well as free, experimental, subcultural, and work-in-progress practices are publicly shared and made visible at changing locations.

Jasper Alexander Gradussen is a programmer and creative technologist with a focus on web-based systems, interactive interfaces, and generative digital processes. His work operates at the intersection of technology, design, and artistic research. Working with Nina Vasilchenko, he is responsible for the technical development of the interactive online installation Post-Reality. This includes the implementation of emotion recognition, dynamic text transformations, glitch-based visual processes, and the development of a dramaturgical escalation within the interface.