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Sun stop! April 6―November 17, 2019 Rupertinum [2] & [3] Generali Foundation Study Center Presented by

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In its latest exhibition at the Generali Foundation Study Center, the Mönchsberg 32 5020 Salzburg Museum der Moderne Salzburg is portraying the creation of the film Austria Sonne halt! (Sun stop!). T +43 662 842220-601 F +43 662 842220-700 Salzburg, April 5, 2019. At the beginning of the 1960s, the collaboration between the writer Konrad Bayer (1932―1964 Vienna, AT) and the [email protected] www.museumdermoderne.at filmmaker Ferry Radax (b. 1932 Vienna, AT) resulted in Sonne halt! (Sun stop!), a classic of the Austrian avant-garde film. Bayer plays the main role, a double figure of dandy and sailor, who changes the view of things with a rifle shot at the sun. Radax’s moving images were complemented by passages from Bayer’s unfinished novel der sechste sinn (the sixth sense) to a “film poem”. The exhibition at the Generali Foundation Study Center portrays the collaboration between the two artists on the basis of still photographs and film scenes. Based on Radax’s experiment with Sonne halt!, “to find the most perfect synthesis of spoken literature and film in its symbolic form,” the exhibition is also dedicated to the manner in which Bayer’s other texts resonate in his following films. The two artists met in Vienna during the 1950s, when the Wiener Gruppe (Vienna Group, 1954―1964) was formed there. The literary works and actions of its main protagonists are considered to be the most important achievements of the Austrian post-war avant-garde.

Ferry Radax was awarded the 2007 Otto Breicha-Prize for Artistic Photography, with an accompanying exhibition at the Museum der Moderne Salzburg in the Rupertinum. In the current presentation, his films with references to Bayer and the photographic work relating to the film Sonne halt! From the museum’s collection are on display. The exhibition level [3] is supplemented by material from Radax’s archive, texts by Bayer, and publications on the Wiener Gruppe from the inventory of the Generali Foundation Study Center.

Curator: Marijana Schneider

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Sun stop! April 6―November 17, 2019 Rupertinum [2] & [3] Generali Foundation Studienzentrum Presented by

Press The use of visual material is permitted exclusively in connection with Mönchsberg 32 coverage of the exhibition and with reference to the cited picture 5020 Salzburg captions and copyrights. No work may be cut nor altered in any way. Austria Download: https://www.museumdermoderne.at/en/press/ T +43 662 842220-601 F +43 662 842220-700 Username: press Password: 456789 [email protected] www.museumdermoderne.at

Ferry Radax Sonne halt!, 1959/1962 (Sun stop!) Extended film frames Gelatin silver print on Baryta paper Mounted on cardboard Museum der Moderne Salzburg

Ferry Radax Sonne halt!, 1959/1962 (Sun stop!) 2 film stills Gelatin silver print on Baryta paper Mounted on cardboard Museum der Moderne Salzburg

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T +43 662 842220-601 F +43 662 842220-700 Ferry Radax [email protected] Abstraktes Foto aus „Sonne www.museumdermoderne.at halt!“, 1959/1962 (Abstract photographs from „Sun stop!“)

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Exhibition Views

Sun stop! April 6―November 17, 2019 Rupertinum [2] & [3] Generali Foundation Study Center Presented by Press

All: Sun stop! Mönchsberg 32 Exhibition view, Museum der Moderne Salzburg, 2019 © Museum der Moderne 5020 Salzburg Austria Salzburg, Photo: Rainer Iglar Download: www.museumdermoderne.at/en/press/detail/sun-stop/ T +43 662 842220-601 F +43 662 842220-700

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Ferry Radax Sonne halt!, 1959/1962 (Sun stop!) 12 still images Gelatin silver prints on baryta paper Mounted on cardboard Museum der Moderne Salzburg

Sun stop! Exhibition view, Museum der Moderne Salzburg, 2019

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Sun stop! [email protected] www.museumdermoderne.at Exhibition view, Museum der Moderne Salzburg, 2019 © Museum der Moderne Salzburg, Photo: Rainer Iglar

Sun stop! Exhibition view, Museum der Moderne Salzburg, 2019

© Museum der Moderne Salzburg, Photo: Rainer Iglar

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Sun stop! April 6―November 17, 2019 Rupertinum [2] & [3] Generali Foundation Study Center Presented by

Ferry Radax born on 20 June, 1932 in Vienna, AT

Radax spent the war years as a choirboy in Frankfurt am Main and later attended the textile college in Vienna. He experimented early on with photography and painting, as well as working as a press photographer and photojournalist. Radax photographed the Viennese avant-garde scene and exhibited his photographs in 1953 at Strohkoffer, the premises of the Art Club, an artists’ group founded in 1947. It was in this milieu that he met the writer Konrad Bayer (1932―1964 Vienna, AT), who worked until 1957 as a bank employee before living as a freelance author.

In 1951 Radax began working as a film assistant for documentaries. He “studied” scriptwriting in the cinema by filming the screen and transcribing the dialogues, as well as authoring film reviews. Neither the Hollywood film industry nor the Austrian Heimat genre offered a fledgling generation of filmmakers in the 1950s—including Peter Kubelka, Kurt Kren, Marc Adrian and Radax—any real basis from which to create their own film language. Instead their works were influenced by such artistic movements during the pre-war period as Surrealism, together with the contemporary literary avant- garde in Vienna.

Radax attended the Filmakademie in Vienna in 1953/54 and Centro Sperimentale di Cinematografia in Rome in 1955/56. He worked as a cameraman on Kubelka’s experimental film Mosaik im Vertrauen (Mosaic in Confidence, 1955), in which Bayer played a role. Radax’s own first film project Das Floß (The Raft, 1954) remained a fragment. He went on, together with Bayer, to shoot Sonne halt! (Sun stop!, 1959–1960), and subsequently Am Rand (On the Margin, 1961―1963). With the death of Bayer on October 10, 1964, Radax lost not only a friend, but also an inspiring figure in his artistic work. The completion of further film projects was accompanied by financial difficulties. There followed both experimental documentary films and portraits of creative figures, mostly in collaboration with Westdeutscher Rundfunk (WDR).

During his career, Radax has worked as a screenwriter, cameraman, editor, director, and producer of documentary, experimental, advertising, and feature films, on more than 120 productions. His film work has received numerous awards. In 1993, the Austrian Film Museum in the Albertina presented a selection of his oeuvre, the Diagonale Festival of Austrian Film in Graz dedicated a survey to Radax in 2012, and in 2017 the first major retrospective of his work in the USA took place at the Anthology Film Mönchsberg 32 Archives in New York. 5020 Salzburg Austria

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Prizes and Awards (Selection)

1956 1st Internationaler Experimentalfilmpreis (International Experimental Film Prize) for Mosaik im Vertrauen (1955) with Peter Kubelka 1964 Golden Palm in Cannes for the storyboard for the TV commercial BIC ball-pen (1964) 1967 Österreichischer Förderungspreis (Austrian Young Filmmaker Award) for the film portrait Hundertwasser (1966) 1970 Adolf-Grimme-Förderpreis (Adolf Grimme Young Filmmaker Award) for Konrad Bayer, oder: die welt bin ich und das ist meine sache (1969–70) 1971 The Berliner Akademie Prize 1972 Three Adolf-Grimme-Preise (Adolf Grimme Awards) for the experimental television play Der Italiener (1971–72) 1982 Österreichischer Staatspreis für Filmkunst (Grand Austrian State Prize for Film) 2007 Otto-Breicha-Preis für Fotografie (Otto Breicha Prize for Photography) 2008 Film matinee on his 75th birthday at Vienna Künstlerhaus 2008 Ehrenmedaille der Bundeshauptstadt Wien in Gold (the Gold Honorary Medal from the Federal Capital of Vienna)

Sonne halt!, 1962 (Sun Stop!)

“Some passages in ‘6th sense’ seemed to me from the beginning to be the better ‘explanation’ of the inexplicable that makes the film ‘modern’ and interesting to this day.” (Ferry Radax)

Sonne halt! was Radax’s first experimental film. In it, he challenges viewing habits and disrupts narrative structures, his editing enhancing the footage’s efficacy and testing its potential and limitations. Such strategies distinguish Sonne halt! as a classic of avant-garde cinema that continues to fascinate filmmakers, artists, and academics to this day.

In a romantically anarchistic manner using only a small budget of 21,000 Austrian schillings, a self-assembled hand crank camera, film props from Vienna, and performers from his group of friends, Radax shot the film between 1959 and 1961 in Monterosso al Mare and La Spezia in Italy. He then cut and edited the material three times, authorizing only the last and shortest version from 1962, which is the one being shown in the exhibition. It features appearances by Konrad Bayer in a double role as a sailor and a dandy, Suzanne Hockenjos as a distinguished lady, Ingrid Schuppan (now Ingrid Wiener) as Eva, and Alberto Jolly as a sailor. The script was developed by Radax and Bayer together on-set, but it was largely shot spontaneously. The quasi-plot is difficult to summarize because the surreal sequence of images is fragmented by montages and sections using time- lapse. The highlight is the rifle shot, when Bayer shoots the sun from the sky. Radax calls the act an “assassination of divine tyranny. After which, nothing is safe anymore.” There follows imagery of chaos, positive-negative

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reversals, but with the film ultimately becoming once again “light,” the last word that Bayer speaks.

The author had begun work on his novel der sechste sinn (the sixth sense) before shooting began. In it, Bayer uses language as a material, delineating its boundaries not only by disrupting the narrative, but also by manipulating the writing into illegibility, transforming it into an image. For Sonne halt! he spoke passages from his manuscript onto tape, imitating voices, together with parodies and song. Radax combined this audio collage with the film’s footage, inserting, in the editing room, handwritten intertitles from der sechste sinn in French.

Although film and novel are independent pieces, they possess similarities in the techniques and processes used. Text and film no longer remain representations of reality, and the narrative has been fragmented by montage.

The photographic work for Sonne halt!, 1959/1962 (Sun stop!)

The premiere of the film Sonne halt! took place on 1 February 1962, in the film auditorium of the Museum of the Museum des 20. Jahrhunderts in Vienna. Its founding director Werner Hofmann (1928―2013) wanted to open the new museum in the Schweizergarten park to all the arts, supplementing the exhibition program with screenings of contemporary films.

On the occasion of the premiere of Sonne halt! Radax developed a series of enlarged prints from the film cadres and stills, which he mounted on cardboard panels. The assembled scenes display the actors, settings, and locations, as well as a selection of diary entries in French which appear as intertitles in the film. Radax sometimes mounted two film scenes one above the other on the photographic panels and also showed collages of historical, “found” imagery which he used in the film. This in turn refers to the montage technique, a fundamental principle that he employed in Sun stop!.

The series Abstrakte Fotos aus „Sonne halt!” (Abstract Photographs from “Sun stop!”, 1959/1962) originated in the context of the shooting of the film. Radax employed details of imagery from the film, in which he introduced abstraction using such elements of disassociation as positive-negative effects and both double and multiple exposures. The experimental handling of the media and the exploration of the possibilities of fragmentation are expressed by Radax in both the film and in the photographs.

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Am Rand, 1963 (On the margin)

Am Rand is Radax’s second film in which Bayer appeared as a performer, this time in the role of “Beatnik Paul,” a proxy figure for the generation of twenty-year-olds who were “am Rand” (on the margin) of society. Radax’s “experimental docu-feature film” takes place during one day in the European metropolises of Paris, Zurich, Rome, Munich, and Vienna, and starts and ends with nightlife, where young people meet, “who seemingly never sleep, who are kept awake by something.”

Intertitles displaying the exact times structure the sequence of events during the day. Radax interleaves documentary footage of everyday life in a big city with the unconventional activities of Beatnik Paul exaggeratedly played by Bayer. Radax himself can be seen painting an anti-nuclear bomb protest sign and placing it in a public space in the city. Scenes from Zurich show a performance by two painters creating an action painting, satirizing an event in Vienna in 1959 by the French Tachist painter Georges Mathieu (1921―2012), criticizing the fact that his media-effective actions of staging paintings for the public were commercially motivated. The film’s sound collage consists of rhythms of drumming, modern jazz pieces, and critical off-camera commentaries on the arms race, as well as Bayer’s spoken text.

Versions of the film script from the Radax archive will be on display for the first time on level [3].

Konrad Bayer, oder: die welt bin ich und das ist meine sache, 1969―1970 (Konrad Bayer, or: the world, that’s me, but that’s my business)

On October 10, 1964, Konrad Bayer committed suicide in the home of his partner Brita Hutter in Vienna, meaning that Radax had lost both a friend and an inspirational protagonist in his films. He photographed the corpse, documented the funeral, and recorded an interview with Hutter about the deceased just two days after Bayer’s death. A few years later the material served Radax as a point of departure for the “experimental memory portrait” which he produced for Westdeutscher Rundfunk (WDR).

He shot the film in Vienna and in Schloss Hagenberg in Mühlviertel, Bayer’s last two residences, and added interviews with friends about his personality and the events just before his death. Radax weaves documentary and fiction together in the portrait, by staging the scenes in the castle as a theater play, and having companions appear as the literary figures from the novel the sixth sense. Likewise present was Bayer’s alter ego Lion de Belfort, a hybrid lion and human creature played by Michel Würthle.

This project developed into a fruitful collaboration with WDR for Radax, which lasted into the late 1990s and enabled him to sell independently developed formats to the station and to also work as a scriptwriter and director for television.

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Der Kopf des Vitus Bering, 1970 (The head of Vitus Bering)

The film’s point of departure is a prose portrait by Bayer of the seafarer Vitus Bering (1681―1741) that was published in 1965. To illustrate the interweaving of text and film, Radax chose the genre of so-called “experimental docufiction.” He worked with montages of found imagery and film footage, newly shot scenes, as well as audio recordings of readings of the text by Bayer.

Radax embedded quotes from the literary source, which he commented on by inserting historical prints, into a plot set on a ship in the North Sea, the base for a pirate radio station sending reports by its presenter, played by the writer Jürgen Becker. The latter provides an introduction to the content and structure of the text by Bayer, which consists of 87 parts and an index of sources and references, lending it the appearance of an “academic apparatus.” However, this is not a historically factual report on Bering, whose aim was to prove that Asia and North America are not connected. Rather, it is a loosely assembled text, a series of anecdotes, setting various associations in motion.

Accordingly, the portraits Radax uses in the film are not always “historically correct,” but follow the intentions of the text: “But what do facts mean here? What does the text use history for? History does not claim it leaves dates and facts, suggestions, possibilities to create and define past reality.” (Jürgen Becker)

Berg Berg, 1972 (Mountain mountain)

“I really must attempt a new Sonne halt!. Or am I already too old?,” noted Radax in 1970 in one of his film concepts for Berg Berg . It was the last time he was to undertake a project based on a literary model by Bayer. The point of departure was the text Thorstein about a mythological figure from Iceland from the collection of short stories 26 namen (26 names) published in 1964.

In Radax’s film version, a woman receives postcards bearing images of a mountain. The text written on them tells of the mystical figure Thorstein. The woman goes in search of the mountain and is pursued by an unknown person until she finally finds it, where she encounters the author of the post- cards behind a glass wall within the mountain. After she has shattered the glass, she suddenly finds herself back in her house, where she receives another postcard. Who Thorstein and the pursuer are, is not clarified.

The experimental playing with the identities of the characters and the staging of nature and landscape are central aspects of the film. Radax links the audio and visual elements in a largely logical manner, the plot remaining coherent. Berg Berg is neither an experimental film like Sonne halt! or an experimental portrait, nor is it experimental docu-fiction. Over 20 drafts

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testify that Radax was attempting to find a new form, which he described as “experimental thriller.”

der sechste sinn by Konrad Bayer

The writer Konrad Bayer (1932―1964 Vienna, AT) sought, in his experimental approach to literature and language, to disrupt conventions, revealing how ideologies are conveyed via language, and in doing so liberate consciousness from habitual patterns of thought. He worked on his most important literary work, the unfinished novel der sechste sinn (the sixth sense), from 1959 until his death. The manuscript he left behind was published in 1966 by the artist Gerhard Rühm.

The novel is largely autobiographical, but nevertheless freely interprets the events of Bayer’s life. The most important figures are based on Bayer’s group of friends, with the author himself appearing as the character Goldenberg. In der sechste sinn, Bayer not only articulates the results of his perennial language experiments, based on a fundamental skepticism concerning language as a communicative medium, but also the experiences of a life lived to excess, with an explicit attraction to testing limits.

In the three original audio recordings (1962―1964) that can be heard here, Bayer reads from his manuscript. Two of them are from appearances in front of a meeting of Gruppe 47, a loose, non-institutional grouping of German writers (1947―1967), where readings were always immediately followed by a critique of the work just heard. This “intellectual tribunal,” including Ernst Bloch, Peter Weiss, Erich Fried, and Walter Jens, existed primarily to promote young authors.

Café Hawelka and the Wiener Gruppe

The photographer and photojournalist Franz Hubmann (1914―2007) is considered one of the most important chroniclers of the postwar Austrian cultural scene. His photographic series on Viennese coffee houses documented everyday events, capturing the atmosphere with an unerring sense for the prevailing circumstances.

His photo essay on Café Hawelka in Dorotheergasse, in the center of Vienna, which had been a popular meeting place for the Wiener Gruppe (Vienna Group) in the 1950s, is particularly renowned. It was there that Hubmann portrayed its members and their surroundings from an intimate and almost casual perspective. The success of the images is not least due to the movements of their subjects, lending them great authenticity. Although Hubmann was in the middle of events, he remained an unnoticed observer.

An important medium for the publication of the Hawelka series as well as other photographic essays was the cultural magazine magnum – die Zeitschrift für das moderne Leben (magnum—the magazine for the modern live, 1954―1966), which Hubmann had co-founded. A digitalized version is

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available in the reading room of the Generali Foundation Study Center on level [3].

Showcase 1 der sechste sinn (the sixth sense)

The novel der sechste sinn is governed by the technique of montage as well as by repetitions, variations, and reversals of the preceding. For example, there are such recurring maxims as “ich habe den sechsten sinn” (I have the sixth sense) and “die ereignisse erscheinen in einem neuen licht” (the events appear in a new light). This is illustrated by Bayer’s design for the frontispiece of the novel, displaying two variants of a photographic portrait of his wife Traudl Bayer, a positive and a negative print. Similar strategies are apparent in Radax’s film Sonne halt! (Sun stop!, 1962), where Bayer employs the aforementioned maxims as a commentary on the film imagery, and Radax in turn experiments with positive and negative inversions in order to push the possibilities of representation to their limits.

Bayer left manuscripts and fragmentary texts. During his lifetime, he published only one book, der stein der weisen (the stone of reason), in 1963 through a small Berlin publishing house, whilst receiving hardly any recognition in his native Austria. Bayer’s estate, which is now in the literature archive of the Austrian National Library in Vienna, was supervised by Gerhard Rühm, who published Bayer’s complete works in 1976. protokolle

The magazine protokolle was edited by Otto Breicha (1932―2003), the founding director of Museum der Moderne Salzburg. It contained illustrations by the artist Günter Brus. Many texts by the Vienna Group were published for the first time in the magazine. The first edition in 1983 was dedicated to Konrad Bayer. It contained a diary excerpt from the film shooting in Monterosso al Mare by Ingrid Wiener (previously: Ingrid Schuppan). The cook and artist played the role of Eva in Sonne halt! and was close friends with Bayer.

Showcase 2 der schwarze prinz (the black prince)

The magazine Nervenkritik was published in 1976 by the author and critic Dominik Steiger (1940―2014). It ran to four issues, as well as producing a special edition, containing various contributions by the Vienna Actionists and the Vienna Group. Many contributions were a symbiosis of image and text, blurring the boundaries between literature and fine art. For the first issue, in 1976, Bayer’s unfinished typescript der schwarze prinz was printed for the first time in the form of a facsimile.

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der kopf des vitus bering (the head of vitus bering)

Bayer transformed sections of the black prince into the head of vitus bering, authoring its prose text between 1958 and 1960. The index, appended to the text, was created in 1963 for a planned publication by Walter Verlag, but which eventually appeared only posthumously. Bayer described the text as a “summary biography,” which combines collected materials on Bering’s life with “ethnographic, shamanistic, historical, and technical texts,” according to Gerhard Rühm. The first edition from 1965 on display here contains an afterword by the writer Jürgen Becker who, in 1970, made an appearance in Radax’s eponymous film. The image that Bayer selected for the frontispiece of his book was used by Radax in his film as a recurring motif. In a note the editor wrote: “The photograph serving as the frontispiece to this book appeared at the request of the author without explanatory remarks.” thorstein

The prose text thorstein is part of a collection of short stories (1953―1959) that were ordered alphabetically according to the name providing the title, and included Bayer’s earliest works. thorstein was published for the first time in 1964 in the Austrian literary magazine wort in der zeit. Radax used the text as the basis for his film Berg Berg (Mountain mountain, 1972).

Le Lion de Belfort

The Lion de Belfort is a literary figure invented by Bayer that he used as an alter ego for his correspondence. It was inspired by the hybrid lion-human figure, a dual creature in the Surrealist collage novel Une semaine de bonté ou les sept éléments capitaux (A Week of Kindness or the Seven Deadly Elements, publ. 1934) by artist Max Ernst (1891―1976). Ernst was one of the major representatives of Surrealism, an avant-garde movement during the 1920s and 1930s in literature, film, and visual art, whose collage and montage techniques had a great influence on the development of Bayer’s work. Radax integrated the Lion de Belfort into his experimental portrait film Konrad Bayer, oder: die welt bin ich und das ist meine sache (Konrad Bayer, or: the world, that’s me, but that’s my business, 1969―1970).

Showcase 3

Wiener Gruppe (Vienna group)

Konrad Bayer, Oswald Wiener, and Gerhard Rühm, together with Friedrich Achleitner and H. C. Artmann, were the main representatives of the Wiener Gruppe. This loose working group originated amongst a circle of friends in Vienna around 1952, but exact dating is difficult. The main period of collaboration began around 1954, with the group dissolving itself upon the death of Bayer in 1964. The artistic experiments of the Wiener Gruppe are amongst the most important developments in art and literature in conservative post-war Austria, and are regarded as a contribution to

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concrete poetry, an international movement that developed almost simultaneously in Brazil, Japan, and Europe.

Language was considered by the Wiener Gruppe as visual and auditory material that manifested itself in visual poetry, sound poems, and experimental dialect-based poetry. Words became liberated from causal relations to create new constellations of words and imagery. In its approach to language, the Wiener Gruppe was critical of authorities, hierarchies, and the assumption that language should be a pure representation of reality.

Its members organized happenings and actions as well as the Literarisches Cabaret (1958, 1959), in order to contribute, according to Bayer, “to a possible theater of the future.” In doing so, the Wiener Gruppe was laying the foundations for the emergence of Viennese Actionism and was a significant influence on visual art and avant-garde film in Austria. edition 62

Manuscripts by the Wiener Gruppe (Vienna Group) were barely published in Austria during the 1950s and 1960s. Publishers rejected them and there were no state grants for young literature. One of the few privately funded initiatives was the magazine edition 62, which however only ran to two issues (1962, 1963). It was published and financed by the composer and writer Gerhard Lampersberg (1928―2002). The magazine was one of the last joint publications by the Vienna Group. It was edited by Bayer. wien. bildkompendium wiener aktionismus und film (vienna. a pictorial compendium of viennese actionism and film)

In publishing wien. bildkompendium wiener aktionismus und film, in 1970, the artist and curator Peter Weibel and artist VALIE EXPORT placed a focus on the photographic documentation of actions and happenings of the Wiener Gruppe, together with those of Viennese Actionism, and avant-garde cinema. The publication caused a momentous scandal in Austria, with Weibel and EXPORT being charged with contravening the pornography law. Today, the publication is considered to be one of the most important contributions to the documentation of the avant-garde movements in Austria post-1945.

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Showcase 4 the vienna group. a moment of modernity 1954–1960 / the visual works and the actions

When Peter Weibel curated the Austrian pavilion at the 47th Biennale di Venezia in 1997, he developed the most comprehensive catalogue to date on the group, including texts and images on the history of the Wiener Gruppe. The publication was simultaneously an archive, exhibit, and exhibition, whereby copies could be taken away free of charge by visitors to the exhibition. The catalogue includes collaborative work, contributions by individual members, as well as collaborations with representatives of other art genres and media.

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Sun stop! April 6—November 17, 2019 Rupertinum [2] & [3], Generali Foundation Study Center Presented by

List of Works

Works are listed in chronological order, and works created in the same year in alphabetical order. Dimensions are given as height by width by depth in both inches and centimeters. All works are unique in case no edition is mentioned.

Franz Hubmann 1914 Ebreichsdorf, AT—2007 Vienna, AT

From the series Hawelka Saga, 1959/1981–1982 (Hawelka saga) 4 gelatin silver prints on Baryta paper 12.2 x 8.54 in. (31 x 21.7 cm), 10.62 x 15.74 in. (27 x 40 cm), 9.44 x 12.2 in. (24 x 31 cm), 9.44 x 12.12 in. (24 x 30.8 cm) Museum der Moderne Salzburg F 92_1-80_6, F 92_1-80_56, F 92_1-80_56, F 92_1-80_72

Ferry Radax 1932 Vienna, AT

From the series Sonne halt!, 1959/1962 (Sun stop!) Extended film frames and film stills 15 gelatin silver prints on Baryta paper, mounted on 12 cardboards 4 cardboards each 19.44 x 13.54 in. (49.4 x 34.4 cm), 8 each 13.54 x 19.44 in. (34.4 x 49.4 cm) Museum der Moderne Salzburg F 1762_1-31_1-31

Abstrakte Fotos aus „Sonne halt!”, 1959/1962 (Abstract photographs from “Sun stop!”) Extended film frames 10 gelatin silver prints on Baryta paper 8 each 4.33 x 6.96 in. (11 x 17.7 cm), 2 each 6.96 x 4.33 in. (17.7 x 11 cm) Museum der Moderne Salzburg F 1763_1-10_1-10

Mönchsberg 32 5020 Salzburg Austria

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Sonne halt!, 1962 (Sun stop!) Experimental film DVD (black-and-white, sound), transferred from 35mm film 26 min., 3rd version (1959–1960, 1st version, 60 min.; 1961, 2nd version, 40 min.) Production, director, camera, editing, music: Ferry Radax Screenplay, texts, voices: Ferry Radax, Konrad Bayer with text fragments of der sechste sinn (the sixth sense) Actors: Konrad Bayer (sailor/dandy), Ingrid Schuppan (Eva), Suzanne Hockenjos (elegant lady), Alberto Jolly (sailor) Sound: Schwarzfilm, Bern, CH Location: Monterosso al Mare, IT Premiere: 1 February 1962, Museum des 20. Jahrhunderts, Vienna, AT Award: 1962 Ehrendiplom, Wesdeutsche Kurzfilmtage, Oberhausen, DE Ferry Radax, Edition der Standard

Am Rand, 1963 (On the margin) Experimental documentation DVD (black-and-white, sound), transferred from 16mm film 42 min., 3rd version (1961, 1st version, 100 min.; 1962, 2nd version, 60 Min.) Production: Victor N. Cohen Director, camera, screenplay, editing, sound, music: Ferry Radax Chief assistant: Ida Radax Actors: Konrad Bayer, Francois Billeter, Padhi Frieberger, and others Production manager: Hansruedi Widmer Recording manager: Georg Radanowicz Locations: Geneva, Zurich, CH, Munich, DE, Paris, FR, Rome, IT, Vienna, AT Premiere: 18 September 1964, Museum des 20. Jahrhunderts, Vienna, AT Ferry Radax

Konrad Bayer, oder: die welt bin ich und das ist meine sache, 1969–70 (Konrad Bayer, or: the world, that’s me, but that’s my business) Experimental portrait DVD (black-and-white, sound), transferred from 16mm film 52 min. Production: Günter Herbertz, IFAGE-Filmproduction, WDR Director, screenplay, editing, music: Ferry Radax Assistant: Helga Neuberg Camera: Ferry Radax, Peter Kodera, Rudolf Margreiter Actors: Michel Würthle, Armin Ackermann, Erwin Weis, Brita Hutter, Ernst Strasser, Otto Reihs, Helga Neuberg, Ortwin Kirchmayer, Padhi Frieberger, and others Editorial: Christhart Burgmann Sound: Walter Funda, Horst Grosse Location: Schloss Hagenberg and Vienna, AT Date of broadcast: 18 December 1969

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Awards: 1970 Adolf Grimme Award, 1972 Berlin Academy Advancement Award Ferry Radax, WDR media group

Der Kopf des Vitus Bering, 1970 (The head of Vitus Bering) Experimental documentation DVD (black-and-white, sound), transferred from 16mm film 26 min. Production: Günter Herbertz for IFAGE-Filmproduction, WDR Director, music: Ferry Radax Screenplay: Ferry Radax after the text Der Kopf des Vitus Bering by Konrad Bayer and the epilog by Jürgen Becker Camera: Michael Wingens Actor: Jürgen Becker Sound: Gustl Haas, Ben Janse Trick: Hans-Christian Hertling Editorial: Christhart Burgmann Location: Polar boat in the North Sea Ferry Radax, WDR media group

Berg Berg, 1972 (Mountain mountain) Experimental film DVD (color, sound), transferred from 16mm film 58 min. Production: Ursula Ludwig, Literarisches Colloquium Berlin, SFB & WDR Director, camera, editing, music: Ferry Radax Assistant: Heidrun Hubert Screenplay: Ferry Radax after the text thorstein by Konrad Bayer Actors: Karin Braun, Uwe Tillmanns, and others Sound: Gerhard Jensen, Karlheinz Reiber Recording director: Uwe Tillmanns Editorial: Christhart Burgmann, Jürgen Tomm Location: Waldviertel, AT Ferry Radax, WDR media group

Monographies

Konrad Bayer. der kopf des vitus bering. ein porträt in prosa. Otto F. Walter, ed. Freiburg im Breisgau: Walter Verlag, 1965. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 18014

Konrad Bayer. der sechste sinn. texte von konrad bayer. Gerhard Rühm, ed. Reinbek near Hamburg: Rowohlt Verlag GmbH, 1966. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 17932

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Konrad Bayer. der sechste sinn. ein roman. Gerhard Rühm, ed. Vienna: Deuticke, 1993. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 17933

Catalogues wien. bildkompendium wiener aktionismus und film. Peter Weibel, VALIE EXPORT, ed. Frankfurt: Kohlkunstverlag, 1970. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 2383 Museum der Moderne Salzburg 1298, 7754 die wiener gruppe. ein moment der moderne 1954–1960 / die visuellen arbeiten und die aktionen / the vienna group. a moment of modernity 1954– 1960 / the visual works and the actions. Peter Weibel, ed. Exhibition catalogue, Venice: 47th Biennale di Venezia, 1997. Vienna, New York: Springer, 1997. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 4650 Museum der Moderne Salzburg 12406

Max Ernst. Une semaine de bonté. Die Originalcollagen. Werner Spies, ed. Exhibition catalogue, Vienna: Albertina, 2008, et al. Cologne: Dumont, 2008. Museum der Moderne Salzburg 18792

Magazines edition 62 (vol. 1, 1962) Museum der Moderne Salzburg 28904 edition 62 (vol. 2, 1963) Museum der Moderne Salzburg 28904 wort in der zeit. Österreichische Literaturzeitschrift (9/1964). Museum der Moderne Salzburg 28750

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Nervenkritik (vol 1, 1976) Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 18015 protokolle. Zeitschrift für Literatur und Kunst. Die Welt bin ich. Materialien zu Konrad Bayer (vol. 1/1983). Museum der Moderne Salzburg 28706

Sound pieces

Konrad Bayer. der sechste sinn. Originaltonaufnahmen, 1962–1964/2002 (Konrad Bayer. the sixth sense. Original voice recordings) 2-CD-set 110 min. (July 1962, Berlin, DE, 28 min.; fall 1963, meeting of Gruppe 47, Saulgau, DE, 38 min.; September 1964, meeting of Gruppe 47, Sigtuna, SE, 43 min.) Production: supposé, 2002 Edited by Klaus Sander Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 17000941

Ephemera and Facsimile

Ferry Radax, Twen, re-narration of the screenplay draft, 5 March 1961, typewrite on paper [facsimile]. Archive Ferry Radax

Ferry Radax, Generation 20, screenplay, 1 May 1961, typewrite on paper [facsimile]. Archive Ferry Radax

Konrad Bayer, “die birne” [facsimile], in: edition 62 (vol. 2, 1963): n. p. Museum der Moderne Salzburg 28904

Ferry Radax, Um Zwanzig, Twen. An experimental documentary film, approx. 1963, typewrite on paper [facsimile]. Archive Ferry Radax

Konrad Bayer, “thorstein” [facsimile], in: wort in der zeit. Österreichische Literaturzeitschrift (9/1964): 29, 30. Museum der Moderne Salzburg 28750

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Konrad Bayer, Frontispiece [facsimile], in: Konrad Bayer. der kopf des vitus bering. ein porträt in prosa. Otto F. Walter, ed. Freiburg im Breisgau: Walter Verlag, 1965. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 18014

Ferry Radax, Fragen an alle, 14 July 1967, Vienna, typewrite on paper [facsimile]. Archive Ferry Radax

Letter from Christhart Burgmann to Werner Koch (WDR, Cologne, DE) about the portrait on Konrad Bayer, 2 April 1969, typewrite on paper [facsimile]. Archive Ferry Radax

Ferry Radax, Bayer-Film. Inhaltsangabe der zusammengefassten Kürzung der 1. Drehbuchmontage, 8 July 1969, typewrite on paper [facsimile]. Archive Ferry Radax

Ingrid Wiener, “Tagebuchauszug” [Faksimile], in: protokolle. Zeitschrift für Literatur und Kunst. Die Welt bin ich. Materialien zu Konrad Bayer (vol. 1/1983): 22–25. Museum der Moderne Salzburg 28706

Konrad Bayer, “autobiographical outline” [facsimile], in: die wiener gruppe. ein moment der moderne 1954–1960 / die visuellen arbeiten und die aktionen / the vienna group. a moment of modernity 1954–1960 / the visual works and the actions. Peter Weibel, ed. Exhibition catalogue, Venice: 47th Biennale di Venezia, 1997. Vienna, New York: Springer, 1997: 720. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 4650

Konrad Bayer, “the vienna group” [facsimile], in: die wiener gruppe. ein moment der moderne 1954–1960 / die visuellen arbeiten und die aktionen / the vienna group. a moment of modernity 1954–1960 / the visual works and the actions. Peter Weibel, ed. Exhibition catalogue, Venice: 47th Biennale di Venezia, 1997. Vienna, New York: Springer, 1997: 30. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 4650

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Konrad Bayer, note to Ferry Radax, typewriter and handwriting on paper [facsimile], in: die wiener gruppe. ein moment der moderne 1954–1960 / die visuellen arbeiten und die aktionen / the vienna group. a moment of modernity 1954–1960 / the visual works and the actions. Peter Weibel, ed. Exhibition catalogue, Venice: 47th Biennale di Venezia, 1997. Vienna, New York: Springer, 1997: 748. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 4650

Konrad Bayer, “für 6. sinn”, handwritten note on paper [facsimile], in: Konrad Bayer: Texte, Bilder, Sounds. Thomas Eder and Klaus Kastberger, ed. Vienna: Paul Zsolnay Verlag, 2015 (= Profile, vol. 22, 17/2015): 127. Museum der Moderne Salzburg 28708

Konrad Bayer, “und was ist der sechste sinn”, handwritten note on paper [facsimile], in: Konrad Bayer: Texte, Bilder, Sounds. Thomas Eder and Klaus Kastberger, ed. Vienna: Paul Zsolnay Verlag, 2015 (= Profile, vol. 22, 17/2015): 125. Museum der Moderne Salzburg 28708

Konrad Bayer, “sonne halt!”, handwritten note on paper [facsimile], in: Konrad Bayer: Texte, Bilder, Sounds. Thomas Eder and Klaus Kastberger, ed. Vienna: Paul Zsolnay Verlag, 2015 (= Profile, vol. 22, 17/2015): 125. Museum der Moderne Salzburg 28708

Konrad Bayer, “ein anderes abenteuer des lion von belfort ohne sich in den vordergrund drängen zu wollen” and “der löwe zu belfort (bruchstücke)” [facsimile], in: Konrad Bayer. Sämtliche Werke. Überarbeitete Neuausgabe 1996. Gerhard Rühm, ed. Vienna: Klett-Cotta 2018: 283–295. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 18019

Konrad Bayer, draft for the frontispiece of “der sechste sinn” [facsimile], in: Konrad Bayer. Sämtliche Werke. Überarbeitete Neuausgabe 1996. Gerhard Rühm, ed. Vienna: Klett-Cotta 2018: 575, 576. Generali Foundation Collection—Permanent Loan to the Museum der Moderne Salzburg GF 18019

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