Stop.Spot! 11

Nov 25, 2011 - Nov 27, 2011




A project by
in cooperation with OK “Offenes Kulturhaus” Upper Austria

Dates: 25, 26 and 27 November 2011
Theme: In the Waiting Room of Interpretations
Location: OK “Offenes Kulturhaus” Upper Austria, Linz

The Stop.Spot! Festival celebrates its tenth anniversary with 40 musicians from 10 different countries!

The festival highlights include:
Spoek Mathambo (ZA), the “Post-Apartheid Post-HipHop Poster Boy” of South Africa
Ghostpoet (UK), England’s celebrated major HipHop jewel
Buke and Gass (USA) with their Austrian debut
Colin Stetson (USA) saxophone virtuoso, musician with Tom Waits, Arcade Fire, TV on the Radio, Laurie Anderson, Sinéad O’Connor, LCD Soundsystem, and many more
Crazy Bitch In A Cave (A): performance art and pop, charts and subculture; CBC is the biggest surprise in the local music market

The music festival Stop.Spot! was initiated in 2001 by the Linz musician Anatol Bogendorfer (Valina) and the independent artist Andreas Mayrhofer (Time’s Up) in cooperation with the OK “Offenes Kulturhaus”. STOP.SPOT!, as a specialized festival with a fascinating crossover between music and visual art and with its experimental orientation, is an important partner for content and a programmatic pillar for the OK.

Curators: Andreas Mayrhofer, Anatol
Bogendorfer, Credits: Zoe

The festival that takes place every two years pursues the principal idea of seeking out life at the margins of pop culture and presenting cultural theory approaches in an enjoyable way. Bridging the gap between pop and avant-garde, art and discourse makes the festival a successful platform for an important musical niche in Linz.

Each edition of the festival is given a theme or motto that is reflected in the selection of artists and in the program as a whole with live concerts, lectures, theory production, video and art installations.

The 2011 festival is presented under the motto In the Waiting Room of Interpretations. Over the course of three days, renowned national and international musicians, artists and theoreticians pursue the question of where contemporary music-making belongs in the continuum of music history, how it can be assessed and socio-culturally situated.