are Austrian VJ duo Eva Bischof Herlbauer and Gerald Herlbauer. 4youreye was established in the early 1990s and stand for fast hard cuts and unconventional screen sequences.

4youreye was established in the early 1990s and is based on the Rave, Ambient and Club culture of that decade. 4youreye have, since their creation over 10 years ago, not only made a name for themselves in their own country but can also look back on manys uccessful international performances. The 2 man crew stand for fast hard cuts and unconventional screen sequences taking images that we believe to know from old viewing habits, out of their original context to then generate them into a completely new context. That, what music tries its best to express, is portrayed here in always changing picture collages.


They work principally live, so in real time produced FX with the intention to combine music and visuals into one form entity. Music becomes visual and can be experienced in a totally different way. There emerge unique time-limited images, fed out of computer images, TVsamples and their own productions. Found, imagined and found again serve as fragmentary clichés which then with acquisitiveness and the strength of reinterpretation create a mind-boggling diversity.


Stories are understood as a never-ending Babylonian Archive of pictures, media, sounds and symbols that explore the open spaces of the future. Aesthetically, 4youreye relate their non linear and expansive conceptions towardst he abstract Art films of the 1920's, the literary and politicalcut-up and collage technique of the experimental films from the 1950's / 60's, the complete concept of the happening art and rockconcerts of the 1970's and the live concept of the video scratchers of the 1980's.


4youreye lives and works in Vienna, Austria.


In the beginning of 2005 the English Magazine DJ-Mag has voted 4youreye for the first time one of the top 20 VJs worldwide, being placed number 18. At the end of 2005 DJ-Mag has again voted 4youreye into the Top 20 VJs ranking – this time 4youreye is placed number 13. In 2006 4youreye is placed number 14 and in 2007 and 2008 number 5.

2007 the German magazine De:Bug voted 4youreye into the Top10 VJs – 4youreye was placed number 8.


Source: 4youreye website



4youreye, found footage, editing


VJ: Audio-Visual Art + VJ Culture (2006) edited by D-Fuse. A major change has taken place at dance clubs worldwide: the advent of the VJ. Once the term denoted the presenter who introduced music videos on MTV, but now it defines an artist who creates and mixes video, live and in sync to music, whether at dance clubs and raves or art galleries and festivals. This book is an in-depth look at the artists at the forefront of this dynamic audio-visual experience. (Laurence King Publishing)

The Art of Projectionism (2007) by Frederick Baker (in German) sets out the principles behind his use of projectors in the film making process. He defines a projectionist school of filmmaking and media art. In this publication he also presented Ambient film, a surround experience that can be shown in specially developed cinemas. (Wikipedia)



Paul Sharits (2008) edited by Yann Beauvais. Known primarily for his experimental cinema and pictorial works, Paul Sharits developed an oeuvre that evolved around two central themes: one, closely related to music and the world of abstraction, the other, within the psychological and emotional arena of the figurative. This complete monograph, drawn from a recent exhibition, explores the connections between these two practices, and in addition provides a general introduction to a remarkable body of work. Illustrated throughout, the monograph also includes several essays, texts by Paul Sharits and interviews. (les presses du réel)

Logic of mind (2006) by Robert Heel. The scenario of this piece is a static shot of a wooden floor. Main elements for the composition are a synthesizer, a drum machine and different parts of the screen for percussive sounds of knocking. (Robert Heel)

Rewind, Play, Fast Forward (2010) – The Past, Present and Future of the Music Video by Henry Keazor, Thorsten Wübbena (eds.) brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future. (transcript Verlag)

Christian Ernest Marclay (*1955) is a Swiss-American visual artist and composer. Marclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Christian Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism." His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument. (Wikipedia)