are Leonhard Lass and Gregor Ladenhauf, both born in Austria. Leonhard Lass (visuals) lives and works as a visual designer and artist in Barcelona, Spain. Gregor Ladenhauf (audio) lives in Vienna, Austria and works as a musician and artist.

Depart's projects explore the depths of field between text, image and sound and range from interactive installation pieces to netbased applicatons, performances and A/V live shows. With their personal approach to multimedia, Depart create unique moments that are coined by a formally rigorous and profound aesthetics. They unite precision and emotion in an abstract and multi-faceted discoball to mirror fragments of the audiences experience.


Depart have a clear incentive: to leave you with an immediate, yet timeless mark. They would rather constantly depart than be stopped in their tracks, they want to remove themselves and their audience from within and out of the boundaries of the self, the farther the better. For this purpose Lass and Ladenhauf have chosen the path of confusion and camouflage tactics, served up on a silver platter. The works of Depart can be enigmatic in parts, quite often they are deliberately dark and dazzling at the same time and mostly contain a highly potent mixture of virtual mechanisms, poetic moments and hermetic symbolism. Depart are waving the idea of a Gesamtkunstwerk always like a flag indeed behind their backs, always employing a certain kind of hocus-pocus, which in their opinion works as an immersion booster.


Nonetheless, Lass and Ladenhauf have managed to find a very individual style that is trademarking their works independently of the enabling technologies. They seem to integrate mythological, archaic content as effortlessly into their works as walking a very fine semiotic and semantic line alongside experimental poetry. Thus reaching their declared goal, a kind of abstract poetry of the moment, they are able to bestow a certain kind of aura on their works, that are increasingly taking the form of installation and object oriented projects. Depart are trying to tell stories, without talking too big and shooting their mouth off, all the more trying to be controversial to themselves.


Source: Depart



Depart, architecture, mystic


Audio-Vision: Sound on Screen (1994) by French critic and composer Michel Chion reassesses audiovisual media since the revolutionary 1927 debut of recorded sound in cinema, shedding crucial light on the mutual relationship between sound and image in audiovisual perception. (Colombia University Press)

Audiovisuology: See this sound (2010) - An Interdisciplinary Compendium of Audiovisual Culture. This all-embracing compendium brings together texts on various art forms in which the relationship between sound and image plays a significant role and the techniques used in linking the two. The entire spectrum of audiovisual art and phenomena is presented in 35 dictionary entries. (Cornerhouse)

Expanded Cinema (1970) - In a brilliant and far-ranging study, Gene Youngblood traces the evolution of cinematic language to the end of fiction, drama, and realism. New technological extensions of the medium have become necessary. Thus he concentrates on the advanced image-making technologies of computer films, television experiments, laser movies, and multiple-projection environments. Outstanding works in each field are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists. (John Coulthart)



Synken (2007) by Berlin based Transforma is a fantastically spaced out, darkly romantic image-world. On a journey through splintering landscapes, strange characters try to make sense of their surroundings. A mysterious vagabond works as a medium between parallel worlds. Audio by O.S.T.. (Transforma on Vimeo)

One Minute Soundsculpture (2009) by Daniel Franke (We Are Chopchop) scored by Ryoji Ikeda and filled with visual shenanigans that correspond to the soundtrack. (We Love You So)

Scanner: Light Turned Down (2001) by London-based D-Fuse is a performance focusing on the rhythmic relationship between light and sound as well as a live interchange between artists charting a conversational movement of colour, musical fragments, texture and image. (D-Fuse on Vimeo)

Koyaanisqatsi (1982) [ˈkɔɪɑːnɪsˌkɑːtsiː], also known as Koyaanisqatsi: Life out of Balance, is a 1982 film directed by Godfrey Reggio with music composed by Philip Glass and cinematography by Ron Fricke. The film consists primarily of slow motion and time-lapse photography of cities and many natural landscapes across the United States. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. (Wikipedia)

Robert Seidel (*1977) is an experimental filmmaker and projection artist based in Germany. He began studying biology, but went on to gain a media-design diploma from the Bauhaus University Weimar. His films have been shown in art museums as well as at more than 250 festivals (Prix Ars Electronica, onedotzero, Dotmov, etc.), and honoured with prizes such as an Honorary Award at the KunstFilmBiennale and the prize for Best Experimental Film at the Ottawa International Animation Festival. (IdN)