Für den Besuch des Konzerts »Electrical Jungles« benötigen Sie ein Ticket.
Bitte tragen Sie Ihren 8-stelligen Login-Code im untenstehenden Feld ein und bestätigen diesen mit einem Klick auf »Anmelden«.


To attend the concert »Electrical Jungles« you need a ticket.
Please enter your 8-digit login code in the field below and confirm it by clicking on »Anmelden«.

Den Login-Code finden Sie auf Ihrem Ticket unterhalb des Barcodes (darüber steht »LOGIN-CODE«).


You will find the login code on your ticket below the barcode (it says »LOGIN-CODE« above it).



Mit einem Klick auf untenstehende Schaltfläche wird der Ton aktiviert. Während des Konzerts können Sie den Ton jederzeit über die Schaltfläche links unten deaktivieren oder wieder aktivieren.


Wir empfehlen Ihnen, das Konzert mit Kopfhörern anzuhören!


Click on the button below to activate the sound. During the concert you can deactivate or reactivate the sound at any time by clicking on the button at the bottom left.


We recommend that you listen to the concert with headphones!

Ton aktivieren

Kinga Tóth / Silvia Rosani

Kinga Tóth / Silvia Rosani

Kinga Toth (*1983, Sárvár, Hungary) writes and publishes short stories, poems and drama pieces in Hungarian, German and English languages. She is a musician, extensive vocalist, visual and sound-poet, presents her work in performances, exhibitions and installations international (e.g. MANIFESTA 11 Zürich; CROWD; OFF Biennale; Wechselstrom Galerie; Akademie Schloss Solitude). She is also philologist and teacher and has worked as a journalist and copy editor of art magazines, and as cultural program organizer. Tóth’s international publications include collections of poetry PARTY (PRAE, 2013, Hungary; BIRDS LCC, U.S.A. 2018), All Machine (2014, Hu and Allmaschine, Akademie Schloss Solitude, 2014), Village 0-24 (Eng, Melting Books 2016), Wir bauen eine Stadt (De, Parasitenpresse 2016) and a visual-art catalogue: Textbilder (GEDOK, 2016-2017) Her novel, The Moonlight Faces (The Lost Words Verlag, Netherlands; Magvető 2017) won the Hazai Attila and the best novel special prices in Hungary, with the English and German manuscripts she joined the International Writing Program in the U.S.A., the LCB, GEDOK, Bosch program in Germany. Her work has been published internationally in many magazines and journals including Solitude Art Yearbook, Stuttgart and Die Welt ist nicht erfunden, Solitude (2014) Huellkurven (Austria),), tapin2 (Fra), Colony (Ire), POETRY (USA), Lyrikline (De), York Literary Review (Ir), Wretched Strangers anthology, Words without borders Anthology. 2019/2020 she won the Hugo Ball Förderpreis for her intermedia art and literary work and 2020 she won the Bernard Heidsieck Price in centre Pompidou for her literature-media-performance work. www.kingatoth.com.


Silvia Rosani studied composition in Italy and at Mozarteum Universität (Salzburg, Austria) while also completing a degree in electronic engineering. Later, she moved to London to study for a PhD in Music, which she completed in 2016. She has been working as Associte Lecturer at Goldsmiths, University of London since 2013 and has recently started teaching Electronic Music Composition at the Conservatoire in Benevento and in Novara (Italy). Silvia Rosani’s research and artistic practice focus on the disruption of the boundaries between audience and performers through the use of audio-visual elements and technology. Her work aims to offer a multitude of listening perspectives rather than acknowledging a superior one, which she identifies with privilege. Fascinated by the role swapping between sanitary staff and patients Gilles Deleuze and Félix Guattari implemented within their clinic La Borde, Silvia investigates ways to create temporary low-hierarchy communities within the performance space by swapping roles between musicians and non-musicians. Her hope is that the feeling of empowerment the audience experience during the performance will persist for a while and permeate their everyday life, thus provoking some sort of transformation. Silvia is able to design performance frames within which these opportunities arise by combining the use of software for the implementation of machine learning algorithms and sound analysis and re-synthesis with the Internet of Things, or by preferring sound production systems, which control the vibration of objects in the performance space, thus turning the objects into hybrid instruments. Such objects allow non-musicians to experience the  physical relationship musicians have with their own instruments and, since they are sound-based rather than tone-based instruments, these hybrid instruments encourage sonic explorations without intimidating the visitors, who are not familiar with the Western music notation and theory. www.silviarosani.webs