MOZART is used to cut through every existing and imaginable living space. ENTERTAINMENT VALUE, offered as a foodstuff, promises endless euphoria that is only measurable in half-life dimensions. However, the only way you perceive ART's spaces of resonance and meaning is by the flashing of firing mirror neurons in the human brain.

for and on behalf WERKSTADT GRAZ, Joachim Baur

Joachim BAUR “AUSTRIAN SOUNDCHECK FRONTISPIECE - Mozart (Schneeflockerl)",

(Little Snowflake), 1994, computer-controlled wall machine, New York, (steirischer herbst´94)
“...the space concept for AUSTRIAN SOUNDCHECK - Knitting Factory, New York, shows a condense portrayal of Austrian economy /culture having become picture/product. FRONTISPIECE makes the field of soundlessness in music visible - with the products and their labels. FRONTISPIECE reflects - in the alchemistic sense of a musique chimique (the inaudible music) - the music's valence in Austria, the land of music. THE FRONTISPIECE.”

Mozartkugel (chocolate ball), Fanfare (hazelnut rolls), Swing (pantyhose), Serenade (box of chocolates), Bolero (wine), Concerto (cheese spread), Fa (deodorant), Banjo (mini chocolates), Samba (cigars), Intermezzo (cat food) etc.

“MOZART-TEMPLE”, 1792, Graz, Schubertstraße 35 This pavilion in the garden of the house Schubertstraße 35 is the first Mozart-memorial in the world, planned in his life-time, finished in 1792 by the merchant Franz Deyerkauf, who was an ardent admirer of the composer. In his house, today Murgasse 2, several of Mozart`s works were played for the first time.

Irene ANDESSNER „I.A. Mozart(?)“, 2005/2006 The Project "I.A. Mozart(?)" - Initiated by the "Mozart 2006 Salzburg" organisation, Irene Andessner produced the "I.A. Mozart(?)" works in Salzburg, Austria. The question mark in the title of the project stands for the question marks in parentheses that can be found in captions and indicate uncertainties regarding the date or the identity of the person portrayed or the painter of a historical portrait of an artist. This is true for many so-called Mozart portraits, including Joseph Grassi's "Portrait of a Man (Mozart?)" painted in 1785 which Andessner has imitated. In this (self)portrait performance piece, she reflects on the questionable, changing image that society has made of Mozart (and of artists in general) over the times - images that in their physiognomic and characteristic identifications convey the interpreters and their zeitgeist rather than the ostensible person portrayed. The idea of identifying the portrayer with the portrayed is expressed by the initials (I.A.) in the title of Irene Andessner's work which read like the question "I am Mozart?".

New Mozartkugel featuring a question mark - Approximately 250 million Mozartkugels are produced 250 years after Mozart was born. The confectioner Paul Fürst from Salzburg got the ball rolling in 1890 - and his imitators inherited them patentless. The copied, unlicensed portraits of Mozart also wrap around the filled chocolate balls. In the Mozart Year 2006, a new face blends in the avalanche of composers' portraits - that of Irene Andessner. The performance artist adopted the mask of a historically uncertain portrait of Mozart and only at second glance do you realize that it is a real photo of the performance artist on the "Mozart(?)Kugels". Hand-made by a confectioner in Graz using a improved recipe, he wants to surpass the Salzburg model in taste.

Irene ANDESSNER „Mozart(?)Kugel“, product information - Silver chocolate ball with self-portrait (profile) according to Joseph Grassi's "Portrait of a Man (Mozart?)" (1785), C-print, 20 mm in diameter, on dull silver tinfoil. Dark chocolate shell with a green marzipan core, coated with nougat and pistachios; around 35 mm in diameter, weighs around 25 g.

Manufacturer: Chocolaterie of the Erzherzog Johann Hotel Source: GRAZ KUNST, 8010 Graz, Sporgasse 20, Austria, Tel. +43 316 818306, Fax +43 818306-60, werkstadt@mur.at

PIRMIN BLUM "PARTNERCHEN" (PARTNERS, ALLIES, PLAYMATES), 2006, Video Abbildung: Drehaufnahmen zu "PARTNERCHEN", Fotoarchiv: WERKSTADT GRAZ

DEUTSCHBAUER / SPRING
Mozart Section 2056

“You are Mozart, too – don’t forget!”
According to artist duo Deutschbauer/Spring, the spirit of Mozart is eternal and everywhere, and they invite people to unleash their creative powers in this spirit.

Measured by their presence in the public and in the media, Julius Deutschbauer and Gerhard Spring rank among the most well-known artists in Austria. In their posters and actions, they present their unmistakable statements usually on current issues.

As part of the VIENNA MOZART YEAR 2006, Deutschbauer/Spring call on people to “play an active part in shaping the spirit of Mozart”. How is that supposed to work? “Our movements on the street, in the restaurant or on the train are dictated by the spirit of Mozart. The “Referat Mozart 2056”, or “Mozart Section 2056”, is the vessel to hold these movements”, according to the two project-makers. What they are looking for is a wide range of different expressions (image or text, music, dance, knick-knacks, etc.) about, in favour of or against Mozart. There are no formal guidelines. The rules of participation are simple. Just register by post, phone, fax or email. Deutschbauer/Spring guarantee appearances for all applicants and will attempt to ensure the same conditions for everyone.

Approx. forty venues with performance facilities and posters, magazines and the website www.referatmozart2056.com are intended to ensure a wide audience. The contributions will feature permanently on the website and will also be printed in the “Referat Mozart 2056” magazine every three months.

The spirit of Mozart does not exist a priori for Deutschbauer/Spring.
“You are Mozart, too – don’t forget!” is therefore the programmatic title of the opening event of “Referat Mozart 2056”, that took place at Tanzquartier Wien/Halle G from December 20 to 22, 2005.

STEFANIE ERJAUTZ “Jüngling Mozart (Mozart as a Lad)”, 2005 Cotton jersey, cotton wool, pantyhose, wool, wire, fabric, wood, leather; with moveable joints, height: 140 cm

HANAKAM & SCHULLER, "MOZART IN DOSEN", 2006

Wunderware presents Canned Mozart

Wunderware is launching into the Mozart season with an innovative product right at the start of the year.
Exclusive for you: Canned Mozart – a product that you will not find at conventional retailers.
Canned Mozart – available as a hamster pack for the whole family. Save real money!
And then there’s our exclusive travel pack – show yourself to be a true trendsetter and experience Mozart while you’re out and about, too!
Canned Mozart – the ideal gift for every occasion!
from: http://www.wunderware.org

Wunderware

The “Wunderware” concept, i.e. presentation and sale of goods, lays the foundations for extended use of artistic work.
Above and beyond this, we produce goods that are also successful outside the art market thanks to their value for money that is geared to conventional market structures.
The products are only available for purchase for the duration of the specific “event” for which they are produced.
We already launched Canned Christmas, Canned Mozart, and canned steirischer herbst in 2005/2006.

© 2006 Markus Hanakam & Roswitha Schuller

Descendants of the Mozart Family

Wolfgang Amadeus Mozart was never in Graz, but a connoisseur of music recognized appreciated his geniality here earlier than in many another town. He was the merchant Franz Deyerkauf, in whose house Murgasse 2 Mozart's works were performed when he was still alive. Deyerkauf also erected the first memorial for him.
Mozart's son Franz Xaver, who called himself “Wolfgang Amadeus” too, but as a pianist and composer always stood in his father's shadow, gave a concert in Graz. On a journey to Italy he stopped over here, and on July 5th 1820 he played in the Communal Theatre works of his own and of his father. Mozart's widow Konstanze was in Graz as early as in 1796 And attended a charity performance for her and her children. On that occasion in the Communal Theatre the opera “Idomeneo” was performed together with parets of the opera “La Clemenza di Tito”. In any case, At th end of the 18th and the beginning of the 19th century Mozart was the most frequently played composer in Graz.
Neither he nor his brother had any children, so that the last blood -relations of the family were descendants of Mozart`s sister Anna Maria, universally called “Nannerl”. When her mother died she had to stay at her father´s home and keep house. When she was 33 years old, she entered into a marriage of convenience to the twice widowed Baron Berchtold von Sonnenburg, who already had five children. Nannerl had three children of her own. Her two daughtes died young, her son Leopold grew up with his grandfather, who in vain expected him to be a gifted musician, too, Leopold became a civil servant in Innsbruck, where he got married. The couple had a son, who died young, and the daughter Henriette, born in 1817.
In 1841 Henriette was married to Franz Forschter, a teacher`s son from Altenmarkt near Fürstenfeld., working as a civil servant for the Austrian Army. The couple had two children, Gustav and Bertha. When the father retired, the family moved to Graz.
For two yearsGustav Forschter, born in 1841, attended the Technical Institute Joan$neum in Graz, the forerunner of what is today the Technical University. Then he joined the Austrian Army and was stationed at Bruck an der Mur. In the following years he fought in the wars against Denmark and Prussia and was wounded in the Battle at Königgrätz. He was taken prisoner by the Prussians but soon released again. He was a good soldier, appreciated by his superiors, respected by his soldiers and well-liked by his comrades. At 33 he was made a lieutenant and aid-de-camp at Theresienstadt, where he had been transferred as an instructor. But in 1875 Gustav Forschter died, the last male blood - relation of the Mozart family.

His widowed mother Henriette was suffering from some mental disorder, and in 1888 she was taken to the mental asylum “Am Feldhof”, where she died of a weak heart on May 18th 1890. She was buried on the cemetery in Strassgang, her grave does not exist any more.
Henriette`s daughter Bertha showed the first signs of mental disorder soon after her father`s death. She was taken to “ Am Feldhof” for examinations, went back home again, only to be sent to the asylum for good in 1878. She died on January 1st 1919 of a kidney desease. The death register states the reason of her mental disorder as “Paranoia”. She had spent 41 years in the “Feldhof”, because even if she had been able to live out of hospital, nobody was there to take her in. Nobody remembered her, the firm of undertakers’alone put a notice in the newspaper with the date and place of her burial on the Graz Central Cemetery.
Much has been speculated about the origin of Henriette`s and Bertha`s mental illness, and most scources think it to be inherited. The family of Mozart`s father was never suspected, but his mother`s was, Baron Berchtold`s was, and in 1902 the Graz musicologist Ferdinand von Bischoff even wrote, that Henriette`s mother “came from a family teeming with psychoses.” All those speculations are fruitless, as a diagnosis is impossible without exact medical reports. Henriette may have suffered from old-age dementia, and Bertha may have been a victim of what today is called Schizophrenia.
Today the City of Graz has made the grave a “Honorary Grave”, and an iron cross bears the names of both Henriette and her daughter Bertha. But contrarily to the general opinion Betha alone is buried there. With these two women the once brilliant family of Mozart had found a quiet end.

Christa Höller

Christa HÖLLER Ph.D. graduated in psychology and English philology. After working as a psychologist she joined the cultural department of the "Südost Tagespost" in 1982. At present she is working as a free-lance journalist for several journals in Austria and abroad. She has published two books, one about the Russian choreographer Waclaw Orlikowsky, the other about memorial plaques in Graz.

ALFRED RESCH "MOZART – KONSUMTRANSPORTER", 2006
Fotografie, Photos

Mozart is dead! Yes, of course he is, and has been for a long time. But he worked hard, very hard, and he is still working today! He brings consumer goods from one place to another, albeit not by land (by coach), as in former times, but rather by sea. He was allowed to disseminate his works, along with many other things, under his own name. Four colour photos of cargo ships christened "Mozart", along with captions: Conductor Schooner, Music Liner, …

ALFRED RESCH “MOZART – Noten-Linien-Schiff”, 2006

ALFRED RESCH “MOZART – Klaviaturen-Schiff”, 2006

ALFRED RESCH “MOZART – Orchester-Container-Schiff”, 2006

ALFRED RESCH “MOZART – Dirigenten-Schoner”, 2006

JOSEF TAUCHER / CHRISTINE ELISABETH HOLLERER
"MOZARTITE and GEOTHITE", Rare and Everywhere, 2006

Wolfgang Amadeus MOZART and Johann Wolfgang von GOETHE

MOZARTITE CaMn3+(SiO4)(OH)

Type locality:
Cerchiara Mine, near Faggiona, Borghetto Vara, Val di Vara, La Spezia, Eastern Liguria, Italy.

First described:
(BASSO et al., 1993).

Name:
Named after Wolfgang Amadeus MOZART (1756 – 1791) and his opera “The Magic Flute”, the mineral was first noted in 1991, the two-hundredth anniversary of his death.

Mineral data:
Crystal system = orthorhombic (2 2 2), space group: P 212121
Colour = dark red, reddish brown
Cleavage = none
Hardness = 6
Density = 3.64
Luster = vitreous (glassy)
Streak = red

Cell parameters and optical data: view pdf-file

GOETHIT FeOOH

Type locality:
Hollertszug mine (Hollerter Zug mine), Dermbach, Herdorf, Betzdorf, Siegerland, Germany.

Name:
The mineral was named after the natural scientist and poet Johann Wolfgang von GOETHE (1749 – 1832).

Varieties:
“Limonite”, “Brown iron-ore”; “Brown hematite”, “Yellow ochre”, “Siderogel”, “Stilpnosiderite”, “Needle ironstone”, “Velvet ore”
BÖHM, J. (1928), GOLDSZTAUB, S. (1935), HOPPE, W., (1940/1942), PEACOCK, M. A. (1942), STRUNZ and TENNYSON (1977), RAMDOHR and STRUNZ (1980).

First described:
After STRUNZ and TENNYSON (1977) by LENZ (1806).

Mineral data:
Crystal system = orthorhombic
Colour = brownish black – light yellow, thin splinters brown to yellow translucent
Cleavage = # (010) perfect
Hardness = 5 – 5 ½
Density = 4.3 – 3.8
Luster = adamantine
Streak = brown to yellowish brown

Cell parameters and optical data: view pdf-file

Comments

It is extremely rare in mineralogical science for newly discovered minerals to be named after an artist.
However, this was the case with the iron oxide-hydroxide mineral Goethite and the calcium manganese silicate containing hydroxyl groups Mozartite and, as far as we know, these are the only two.
Johann Wolfgang von GOETHE does have a connection to the world of science (mineral cabinet, colour theory, etc.).
With regard to Wolfgang Amadeus MOZART, it is his opera “The Magic Flute” that is a recurrent source of inspiration and fascination for natural scientists.

Both Johann Wolfgang von GOETHE and Wolfgang Amadeus MOZART are omnipresent, as it were, the world over. One in libraries, countless bookcases, on theatre stages, at readings, etc. The other in countless music shops and collections in the form of records, CDs, tapes, etc., on sheets of music, in concert halls, on opera stages, in films, etc.

Goethite is oxidised and hydrated iron – or, to put it simply – “rust”. Rust can be found everywhere in the world and beyond. If not constantly treated and conserved, products of human culture are also transformed into Goethite. While the peak of the human “Iron Age” is now behind us, partly replaced by the “Plastic Age”, the amount of rust produced by humans is still vast. Rusty cars, rusty tanks, rusty ships, rusty iron pipes, etc. are impressive examples of “deposits” of Goethite. However, the “natural” production of rust (Goethite as a raw material) as weathering ferrous minerals, usually in the form of carbonates and oxides, is far more significant. Such deposits are mined for raw materials in order to create the countless tools and utensils used by people, that then rust and get thrown away again. There is, then, a “rust cycle”.
Iron ores (usually found and mined above and below ground as Ankerite, Siderite, Goethite (Limonite), Magnetite, etc.) are smelted into iron (steel), processed into tools and components, that later end up on various rubbish dumps and that nature begins to turn back into Goethite from the moment of their production.
Goethite is of vast economic importance.

It is completely different with Mozartite. So far, this mineral has only been found at very few locations around the world and only in small numbers.

Besides the type locality, three other sites are currently known:
1. Wessels mine, Kalahari manganese field – Hotazel, South Africa
2. N’Chwaning II mine, South Africa
3. Jalgaon, Maharashtra, India
It is therefore a real rarity.
Mozartite is economically totally insignificant.
Mineral collectors and systematists pay relatively high prices for Mozartite because of its rarity.

While GOETHE is practically omnipresent as a classic artist, he is probably rarely read. As a mineral, Goethite is an economic “giant” whose importance is hardly quantifiable.

As a composer, MOZART is known to everyone, and his marketing as a person (Mozartkugeln, etc.) is a far more important “economic factor” than that of GOETHE.
As a mineral, Mozartite is of importance only to mineralogists, crystallographers and mineral systematists; economically, Mozartite is currently insignificant.

As minerals, the two “all-time greats” of art have the same orthorhombic crystal system, but have different positions in the mineral classes (from natural sources) in mineral systematics.
Goethite = class IV. Oxides and hydroxides.
Mozartite = class VIII. Silicates.
Goethite is a mineral from the weathered (oxidation) zone of iron deposits.
Mozartite is a hydrothermally formed mineral in manganese deposits and is also found in a zeolite from the basalt of the Deccan Traps (also as a hydrothermal-phase mineral).

Final observations
The essay constitutes a fusion of art and science.
It compares chemical, physical, optical, structural, radiographic mineral data with artistic, biographical data of Wolfgang Amadeus MOZART and Johann Wolfgang von GOETHE, humorously interpreting common features and differences and adding associations.

Literature:
BASSO, R., G. LUCCHETTI, L. ZEFIRO and A. PALEMZONA, 1993: Mozartite, CaMn(OH)SiO4, a new mineral species from the Cerchiara Mine, Northern Apennines, Italy.- The Canadian Mineralogist, 31: 331-336.
BÖHM, J., 1928: Kryst. magazine, 68: p. 567.
GOLDSZTAUB, S., 1935:: Bull. Soc. Franc. Min, 58, 6 (Struktur, SB, 3. 372).
GUALTIERI, A. and P. VEBTURELLI, 1999: In situ study of the goethite-hematite phase transformation by real time synchron powder diffraction.- Canadian Mineralogist, 84: 895-904. HOPPE, W., 1940/1942: Strukturbeschreibung.
LENZ, 1806: First describer after STRUNZ and TENNYSON (1980).
PEACOCK, M. A., 1942: Trans. Roy. Soc. Canada, 36: 107.

RAMDOHR, P and H. STRUNZ, 1980: Klockmanns Lehrbuch der Mineralogie.- 16. Auflage. Ferdinand Enke Verlag Stuttgart: 371 p. STRUNZ, H. und Christel TENNYSON, 1977: Mineralogische Tabellen. Eine Klassifizierung der Mineralien auf kristallchemischer Grundlage.- 6. korrigierte Auflage. Akademische Verlagsgesellschaft Geest & Portig K.-G. Leipzig: 621 p.

Authors’ addresses:
Josef TAUCHER, Gleinalmstraße 194, A-8124 Übelbach.
Mag. Christine Elisabeth HOLLERER, Kaiser-Franz-Josef-kai 52, A-8010 Graz.


PRESS:
Sunday Times, 1st Oktober 2006