alexandra reill
Since 2001
Works in Vienna Austria

PORTFOLIO (11)
BIO
after ten years of film business alexandra reill focused on the development of experimenteal new media projects and - with a special view on interactive dramaturgies - transported all activities to the online platform kanonmedia, orginally founded in 1996 as the gallery kanon, situated in vienna / austria. today kanonmedia serves as a networking / content providing / exhibition platform for innovative & experimental new media projects as much as for the presentation of inhouse productions.
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EVENT

REAL ONES ALWAYS SURVIVE


Dates:
Fri Jun 19, 2009 00:00 - Fri Jun 05, 2009

Location:
Austria

REAL ONES ALWAYS SURVIVE or WOULD WE SAY NO? IV

A tour against racism and polemics in every day language and thinking through a few districts of Vienna in June 2009

The media artist Alexandra Reill together with the social worker Karin Gruber take to the street with their socio-cultural project REAL ONES ALWAYS SURVIVE or WOULD WE SAY NO? IV. The interdisciplinary team tours the districts Leopoldstadt, Landstraße, Margareten, Neubau, Alsergrund, Ottakring and Donaustadt - the vast majority of these districts being working class neighbourhoods. At street fairs, traffic junctions and in markets the team distribute to people in the street [post] cards with images and text quotations out of the media showing the bluntness of prejudices and populist arguments used by racist forces at all times.

Place and Time

9th district: Alsergrund: June 6, 2009
at the Südwind festival in the old AKH
11 am to 6 pm

7th district: Neubau: June 7, 2009
at the street fair in Stiftgasse on Spittelberg
1 pm to 10 pm

2nd district: Leopoldstadt: June 12, 2009
in front of the church Nepomukkirche on Praterstraße
10 am to 2 pm

5th district: Margareten: June 13, 2009
on Margaretenplatz
10 am to 5 pm

3rd district: Landstraße: June 19 and 20, 2009
in front of the subway station Rochusgasse on Rochusmarkt
3 pm to 7 pm

22nd district: Donaustadt: June 19 and 20, 2009
as an installation in public space on Genochmarkt in cooperation with MIK
6 pm to 11 pm

16 th district: Ottakring: June 20, 2009
at the farmer's market on Yppenplatz
10 am to 2 pm

With their historic text and image citations, the cards document the situation of unemployed people in the 30ies, Nazi propaganda on the term work and enthusiasm of the vast majority of the Viennese population for the "Anschluß" 1938. Contemporary motifs are compared to today's polemics surrounding the issue of work and prosperity, areas of social life, still and again strongly used by racist forces defaming and segregating people with different cultural backgrounds without any differentiation, having gone so far lately that they show their preparedness to threaten and kill people.

The card objects point out how deceptive populism is and acts but how powerful it is in its influence on attitudes of people. In this context, the question of how deeply rooted fascistoid and racist attitudes are in Viennese populations, is not blocked out. Not only prompted by current incidents in Austrian society but also on a long-term basis a sustained analysis of contemporary anti-semitism and racism in everyday thinking and language is an issue.

The white cube is probably the wrong place, and maybe contemporary cultural production took to the street a long time ago. In any case, for the transdisciplinary and socio-cultural profile of this project the artistic approach of intervening in public space and directly encountering people works particularly well. As a sign of communication in public space and as a reminder sign in kitchens and living rooms, the printed [post] card itself as much as the changing of the cards from one hand to the other opens up the possibility of outreach to people, mobile discourse and open dialogue. With her project REAL ONES ALWAYS SURVIVE or WOULD SAY NO? IV, a fourth adaptation of the original sequence installed in shops and restaurants in Kirchengasse and Siebensterngasse in 1070 Vienna in autumn 2008, Alexandra Reill stands up to everyday racism and xenophobia, prejudice and populist polemic and the fear of the unknown.

Team
Concept:
Alexandra Reill
Intervention in public space, video documentation:
Alexandra Reill, Karin Gruber
Production:
kanonmedia, Vienna 2009

Press Contact
Alexandra Reill
call: + +43 [0] 6991 820 70 03
write to: 12/24, Richtergasse, A 1070 Vienna
mail to: alexandra.reill@kanonmedia.com
visit: http://www.kanonmedia.com

Support
REAL ONES ALWAYS SURVIVE or WOULD SAY NO? IV is supported by the following Municipalities:

1020 Vienna 1030 Vienna 1040 Vienna 1050 Vienna
1070 Vienna 1090 Vienna 1160 Vienna 1170 Vienna

At this point we would also like to thank Mission Ignition Kagran and Südwind hosting the projects in the context of the socio-cultural interventions on MIK Genochmarkt and within the framework of the Südwind Festival.


EVENT

REAL ONES ALWAYS SURVIVE


Dates:
Sat Jun 13, 2009 00:00 - Fri Jun 05, 2009

Location:
Austria

REAL ONES ALWAYS SURVIVE or WOULD WE SAY NO? IV

A tour against racism and polemics in every day language and thinking through a few districts of Vienna in June 2009

The media artist Alexandra Reill together with the social worker Karin Gruber take to the street with their socio-cultural project REAL ONES ALWAYS SURVIVE or WOULD WE SAY NO? IV. The interdisciplinary team tours the districts Leopoldstadt, Landstraße, Margareten, Neubau, Alsergrund, Ottakring and Donaustadt - the vast majority of these districts being working class neighbourhoods. At street fairs, traffic junctions and in markets the team distribute to people in the street [post] cards with images and text quotations out of the media showing the bluntness of prejudices and populist arguments used by racist forces at all times.

Place and Time

9th district: Alsergrund: June 6, 2009
at the Südwind festival in the old AKH
11 am to 6 pm

7th district: Neubau: June 7, 2009
at the street fair in Stiftgasse on Spittelberg
1 pm to 10 pm

2nd district: Leopoldstadt: June 12, 2009
in front of the church Nepomukkirche on Praterstraße
10 am to 2 pm

5th district: Margareten: June 13, 2009
on Margaretenplatz
10 am to 5 pm

3rd district: Landstraße: June 19 and 20, 2009
in front of the subway station Rochusgasse on Rochusmarkt
3 pm to 7 pm

22nd district: Donaustadt: June 19 and 20, 2009
as an installation in public space on Genochmarkt in cooperation with MIK
6 pm to 11 pm

16 th district: Ottakring: June 20, 2009
at the farmer's market on Yppenplatz
10 am to 2 pm

With their historic text and image citations, the cards document the situation of unemployed people in the 30ies, Nazi propaganda on the term work and enthusiasm of the vast majority of the Viennese population for the "Anschluß" 1938. Contemporary motifs are compared to today's polemics surrounding the issue of work and prosperity, areas of social life, still and again strongly used by racist forces defaming and segregating people with different cultural backgrounds without any differentiation, having gone so far lately that they show their preparedness to threaten and kill people.

The card objects point out how deceptive populism is and acts but how powerful it is in its influence on attitudes of people. In this context, the question of how deeply rooted fascistoid and racist attitudes are in Viennese populations, is not blocked out. Not only prompted by current incidents in Austrian society but also on a long-term basis a sustained analysis of contemporary anti-semitism and racism in everyday thinking and language is an issue.

The white cube is probably the wrong place, and maybe contemporary cultural production took to the street a long time ago. In any case, for the transdisciplinary and socio-cultural profile of this project the artistic approach of intervening in public space and directly encountering people works particularly well. As a sign of communication in public space and as a reminder sign in kitchens and living rooms, the printed [post] card itself as much as the changing of the cards from one hand to the other opens up the possibility of outreach to people, mobile discourse and open dialogue. With her project REAL ONES ALWAYS SURVIVE or WOULD SAY NO? IV, a fourth adaptation of the original sequence installed in shops and restaurants in Kirchengasse and Siebensterngasse in 1070 Vienna in autumn 2008, Alexandra Reill stands up to everyday racism and xenophobia, prejudice and populist polemic and the fear of the unknown.

Team
Concept:
Alexandra Reill
Intervention in public space, video documentation:
Alexandra Reill, Karin Gruber
Production:
kanonmedia, Vienna 2009

Press Contact
Alexandra Reill
call: + +43 [0] 6991 820 70 03
write to: 12/24, Richtergasse, A 1070 Vienna
mail to: alexandra.reill@kanonmedia.com
visit: http://www.kanonmedia.com

Support
REAL ONES ALWAYS SURVIVE or WOULD SAY NO? IV is supported by the following Municipalities:

1020 Vienna 1030 Vienna 1040 Vienna 1050 Vienna
1070 Vienna 1090 Vienna 1160 Vienna 1170 Vienna

At this point we would also like to thank Mission Ignition Kagran and Südwind hosting the projects in the context of the socio-cultural interventions on MIK Genochmarkt and within the framework of the Südwind Festival.


EVENT

FEELINGstrange


Dates:
Thu Jan 15, 2009 00:00 - Tue Jan 13, 2009

Location:
Austria

FEELINGstrange
A participative exhibition project
developed on the basis of media pedagogic workshops on intercultural learning in the grammar schools in Scheibbs and Wieselburg in Lower Austria

Concept: Sini Coreth and Alexandra Reill

Theme
By far not enough people are conscious of the qualities and options of intercultural ways of co-existence. Fear of the other, the unknown, entices to segregate in form of active physical or at least as bad - psychological aggression. Preconceived opinions serve as blockades and impede open and attentive encounters with the new and the unknown. Extracurricular initiatives, groups and persons can contribute important input for intercultural learning processes in institutions by providing their cooperation partners in schools with their expert know-how.

Based on the art works Furious DVD 2007 by Sini Coreth, who researches processes of segregation and uncontrolled violence, and the installation Would we say No? II by Alexandra Reill, the theme of which is xenophobia and the fear of "swamping by foreigners", in the workshops called Intercultural Mobbing or Cooperation these contexts were the framework for discussion with teens attending the highschools in Wieselburg and in Scheibbs in Lower Austria who then produced their own video clips and fine art works in cooperation with their teachers and the artists.

The teachers and the artists Sini Coreth and Alexandra Reill coached the teens in going through the material which was produced cross-disciplinarily in the German language and arts classes. Sini Coreth combined and edited the teens' video clips so that a common film could be produced collectively. This version was shown to the teens who could add additions, demand changes or veto, thus defining the final cut and on this discussion having a platform for discussing options of cooperation. These talks were documented by the artists and together with the video FEELINGstrange are shown in the exhibition.

The opening of the exhibition FEELINGstrange presenting FURIOUS 2007 DVD and the photo series Tehran 2008 by Sini Coreth, the installation Would we say No? II by Alexandra Reill and the teens' video FEELINGstrange as well as drawings produced on the theme by the teens in the framework of the workshops on intercultural learning takes place in the Gallery Nemecek in Wieselburg on January 15, 2009, 6 pm. The director of Landesmuseum Niederösterreich, Carl Aigner, will deliver an opening speech.

Sini Coreth, FURIOUS DVD 2007

Fire is on our monitors,
fire forges emotions,
emotions are at war with the titans of our egos
trying to escape hopelessness.

FURIOUS, a glimpse of our daily life. Our contemporary society knows only output and competition thus not having an eye any more for people who cannot conform with dictated conditions and rules. Slowly, they are driven towards the edges of society by a centrifugal force speeding up so fast that it cannot be imagined. Misunderstood by their social environments, by their family, educational backgrounds or professional settings, they start retreating into inner isolation.

Suddenly, a situation can turn into a spark, all that is repressed turns into a blustering FURIOSO and breaks out. Emotions and memories are set free letting people stop at nothing, not even at their own life.

Alexandra Reill, Would we say No? II, 2009

Would we say No? II is an installation constellating A6-post card-like cards with plotter print sujets comparing faschist and faschistoid arguments used in the 30ies and 40ies as much as today in defining the role of work to find out that the fear of unemployment and poverty as much as the fear to loose possessions, the own, directly leads to the fear of "being swamped by foreigners" and to the segregation of people whose cultural roots are not fully identical with the own ones.

The sujets are a collection of media impressions out of newspapers and TV, images and text citations forming an installation in form of centimeter-high packages of post cards piled on an old wooden kitchen table and ready to be picked up by everyone who would like to take his own package. The table is surrounded by living room tableaus reflecting the commonness of polemic argumentation with their feel of implicitness.

As exhibition closing event a discussion panel on the theme of FEELINGstrange takes place on Friday, January 23, 2009, 10 am, in the highschool of Wieselburg:

Speakers
Mag. Carl Aigner, director of Landesmuseum NÖ
Dr. Hermine Krieger, psychiatrist
Mag. Robert Kabas, artist and art teacher, BORG Scheibbs
Karina Berger, workshop participant, BORG Scheibbs
Mag. Ludmilla Geiblinger, art teacher, BRG Wieselburg
Koloman Heil, workshop participant, BRG Wieselburg
Sini Coreth, artist
Alexandra Reill, artist
Moderation: Mag. Michaela Gutsjahr, German teacher, BRG Wieselburg

The discussion penal leads to an open cooking workshop in cooperation with the participants of the video workshops, their relatives, teachers and members of the PTA as well as anybody who would like to participate so that the final closing event of the process is a common dinner.

Our thanks go to
Rezac Lindwurm Wieselburg
Ebner Ernst Event and Party Service

Press Contacts

Sini Coreth

T: ++43 7413 7071
Email: sinicoreth@aon.at
http://www.sinicoreth.at

Alexandra Reill
kanonmedia, ngo for new media
write to: Richtergasse 12/24, 1070 Wien
call: ++43[0]6991 820 70 03
mail to: alexandra.reill@kanonmedia.com
visit: http://www.kanonmedia.com
---


EVENT

HOME SWEET HOME


Dates:
Tue Nov 11, 2008 00:00 - Sun Nov 09, 2008

Location:
Austria

The Jewish Theater of Austria presents:

HOME SWEET HOME
documentary film, 52 min.
Concept, Interviews, Editing: Alexandra Reill
Camera: Thomas Königshofer, Alexandra Reill
Production: kanonmedia, Wien 2008

World Premiere:
Tuesday Nov. 11th, 2008, 20 pm
Admiral Kino, 1070 Vienna, Burggasse 119
Reservations: reservierung@admiralkino.at

Greetings and Introduction: Thomas Blimlinger, Head of the District of Vienna Neubau, Warren Rosenzweig, Jewish Theater of Austria

HOME SWEET HOME is the [auto]biographic tracking of fascist history inherited by Viennese mainstream society following the Second World War. As a child of the first post-war generation who was raised in Vienna in the 60’s and 70’s, filmmaker Alexandra Reill compares the evidence discovered in her own family history with the memories of other children of the first four post-war generations of the “society of majority”.

What myths of denial still exist, even today, in the identity of mainstream Austrian society? To what extent do they contribute to the collective conditioning of character, self-knowledge, daily experience, action, and memory? How are they represented by oral tradition in the family? How do four generations of the children of a war society, once overrepresented by the perpetrators of Nazi crime and opportunism, bear up to the responsibility of this dark legacy? What conditions are necessary to assume responsibility for history and its consequences today?

Following the screening, a public discussion with: Filmmaker Alexandra Reill, Eva Brenner, Projekt Theater Studio Wien, Warren Rosenzweig: Moderation: Ulli Fuchs, Project Coordinator of Remembering for the Future (Erinnern für die Zukunft)
---

A Family Story
Alexandra Reill is the daughter of a German woman who grew up in a stronghold of the Nazis - Nuremberg - and who married the son of a Viennese lawyer during the Second World War. The film maker's mother met the blond and attractive young man when she was 20 and working as a nurse in a battlefield hospital at Tegernsee in Southern Germany. Soon after having moved into the parents-in-law' flat in Richtergasse in the Seventh District of Vienna she had to see her young husband flee from Vienna, taking with him her typewriter - this symbol for somehow being able to secure existence during the ar as even then she could earn little money with typing - and his mistress. In a letter the husband left behind he explained to her that the wedding had been harum-scarum. Out of love - as Reill's mother always used to say even in her late days - she finally agreed to divorce.

When Reill's mother was in her thirties she met the father of the film maker and for many years became his mistress. When she fell pregnant the father did not accept the "illegitimate" baby. So, as a single parent she had to be a sole wage earner and could not take care of the baby. She brought the little girl to a working class family in Kagran where the girl spent her first six years - in a Socialist family. Only when school started the child was taken back to the "city" and from then on together with her mother lived in a large and at that time fairly bourgeois flat on Mariahilfer Straße which in the meantime the mother had succeeded to rent. Also, the woman made sure that the girl was enrolled in a Catholic convent school to receive good education.

Every day when the after-school care club of the convent school closed at 5 pm, the little girl was the last one waiting in the checkroom to be picked up. Every day the mother had to work overtime and could not pick up her child on time. But every day the foster grandfather from Kagran - a grandpa out of a fairytale book and dearly beloved by the child - took the tram No. 25 to spend one hour for travelling from Kagran to Neubau to pick up the girl on time. Every day equipped with sweets or a sandwich for the child he took care of her until the mother - tired from work - came home in the evening. Then he took the No. 25 again to travel back home which took him another hour. It was like a world-tour - not only because of all the long hours he invested every day but also because it was a tour between two completely different worlds.

The 70ies and thus the youth of Alexandra Reill include the memories of a clique of girls not stopping to ask the mother reproachful questions about the lack of resistance against the Nazis. Again and again they asked. The standard reply was "We did not know, nobody knew". This answer never ever was believed by the girls and because the same answer was repeated again and again and as if set in stone the teenagers became furious, stayed furios for quite some time until finally they decided that they were not prepared to to hear anything about the whole story any more - claiming that they were not part of the war generation, that they were born later and therefore do not have to assume responsibility for the atrocities which had taken place during World War II.

The beloved grandfather died in the early 90ies, contact with the foster family got looser but every year around Christmas the grandchildren and Reill as the foster grandchild meet for coffee and cake and take a look at old photos.

Christmas 2007 - about 20 years after the death of the grandfather: in her hand Alexandra Reill holds photos shot during the Second World War. She is wondering how neatly dressed her grandmother, a tailor born in the working class neighbourhood Ottakring, and her daughter were. The daughter's coat even had a fur collar. Poverty was huge ..., the family never had been a rich family, on the contrary .... How hard must it have been for the tailor to be able to make such neat clothes for the daughter ....

Her - if they were relatives it would be her - older sister says that the family was not suffering poverty during the War and that the grandfather always sent parcels back home when serving on the Russion front as a soldier. How could he manage? Well, he had been a commercial traveller by profession before the war, you have to be smart in such a job, he probably knew how to be smart during war times also, so ....

A faded document ... Reill's sister - in the meantime already in her 50ies and needing glasses for reading which she can't find ... Reill helps her to decipher the old stamp and the Kurrent fonts: official notice of denazification.

The grandfather was exculpated of having been a SA-Scharführer but he was not exculpated of having been a SA-Rottenführer.

Documented. Proven. SA-Rottenführer.

Her beloved grandpa, the fairytaile grandpa, the socialist. This is the reason why he could send parcels, this is the reason why such neat clothes were available. This is what the answer meant he always gave when she was asking questions about the war when she was a child: "Don't ask, it was very cruel, just don't ask". Never he said anything else.

Whom should she exculpate more now? The mother who as a "good" German "who had never known about anything" or the fairytale grandpa where no such denial ever occured but who now - in the biography of the film maker and long after his death - only then - turned out to have been an SA-man?

Now she is in the role of the committer - how can she handle her child's love embracing the best grandpa in the world now that she knows that he was a SA-man? How does this love of a child change? What are the changes now? What needs to be changed through this terrible fact?

Coming from a Vienna mainstream society of active committers of crime and Nazi opportunists and being a child of the first post-war generation, Alexandra Reill tries to reflect her identity. This tracking of traces is compared with the memories of other members of post-war mainstream society in Vienna. Which oral tradition has been handed down by parents, grandparents, great-grandparents? The interviews prove a collectively ongoing tradition to maintain myths of denial - myths which are just of the same kind the film maker knows from her own family. The comparison of memories reveals a common spoken way of phrasing, common myths and records in peoples' minds of which they think that they are personal family memories, that they are individual - without realizing that the vast majority of these memories often literally is the same like in all the other families with such oral tradition. These memories are not individual memories, they form the framework for a society's identity and they come from the myths of denial created by a vast majority of committers and opportunists in the Vienna mainstream society of the 30ies and 40ies. And still today, most of them are fully present in daily life.

Press Contact
Alexandra Reill, kanonmedia, call: 06991 820 70 03
Download press material: http://www.kanonmedia.com/portfolio/films/wmw.html

Support
The film and its world premiere is supported by the Municipality of 1070 Vienna/Department of Culture of the City of Vienna, the Jewish Theater of Austria, Admiral Kino and the project Erinnern für die Zukunft of the Municipality of 1060 Vienna. kanonmedia also would like to express its thxs to all interview partners having contributed with their memories and oral family traditions to this film.

---
kanonmedia
ngo for new media
alexandra reill
call: ++43[0]6991 820 70 03
mailto: alexandra.reill@kanonmedia.com
visit: http://www.kanonmedia.com
---


EVENT

Art Following the Trend? Artists' Voices. on Relations in the Artistic Processes in Theater and in the Fine Arts


Dates:
Tue Jun 03, 2008 00:00 - Sun Jun 01, 2008

Location:
Austria

Art Following the Trend? Artists’ Voices.

Discussion Panel / Depot / 2008/06/03, 19:00
Where: 1070 Wien, Breite Gasse 3

Artists and cultural workers
talking about
relations of artistic processes in theater and in the fine

Participants:
Michael Aichhorn, theater and painting
Stefan Bläske, theater research
Leander Kaiser, painting and philosophy
Stylianos Schicho, painting

Moderation:
Alexandra Reill, kanonmedia

Cultural workers out of the fields of painting, philosophy, theater and science research characteristics and immanent features of artistic production processes in the performing and in the fine arts. Where do exist the same claims, the same standards, the same questions and where does a genre claim its own processes of production? How does actionism continue to have effects on theater, film, TV and fine arts? What are the influences of digital information societies on contemporary art production and artists' communication and how do the latter re-influence contemporary societies? A discussion of these aspects of contemporary art production together with the audience tries to research absoluta and relativa of art production and their relevances for contemporary developments in culture work.

visit:
http://www.kanonmedia.com/portfolio/voices.htm
http://artistsvoices.blogs.sonance.net/

Art Following the Trend? Artists’ Voices.
The overall project.

Participants:

Our thxs go to all artists who participated anonymously in the survey Art Following the Trend? Artists' Voices.

Participants in the Public Video Interviews:

Michael Aichhorn, theater/fine artist, A
Evrim Asutay, singer/actress, TR
Stefan Bläske, theater scientist, A
Ricarda Denzer, video artist/film maker, A
Korhan Erel, sound artist, TR
Heidulf Gerngross, architect, A
Genco Gülan, performer/media artist, TR
Kurt Hofstetter, media artist, A
Leander Kaiser, painter, A
Gerald Kofler, journalist/photographer, A
Tina Leisch, theater-/film director, A
Franziska Maderthaner, fine artist, A
Alexander Nikolic, film maker/communication guerilla, cosmopolitan
PRINZGAU/podgorschek, art in public space/concept art/fine art, A
Marie Ringler, culture politics, A
Stylianos Schicho, painter, A
Marika Schmidt, film maker, A
Walter Stach, fine artist/art mediator, A
Paul Stepan, cultural scientist, A
Eve Tsirigotakis, TV journalist, GR
Michael Wimmer, art mediator, A
Herbert Wulz, in-/exformatic designer, A

Participants in the Public Text Interviews:

Nicole Baier, film-/video-/media artist, A
Sarawut Chutiwongpeti, mixed media/video installationen, THA
Anita Hafner, visual artist, A
Jeremy Hight, concept art/text/music, US
Salvatore Iaconesi, artistically inclined being/process art/media artist, I
Mandana Alavi Kia, dancer/performer/singer/painter, IR
Brigitte Neufeldt, media artist, D
Alexander Stanzel, fine artist/photography, A
Myriam Thyes, media artist, D

visit:
http://www.kanonmedia.com/portfolio/voices.htm, http://artistsvoices.blogs.sonance.net/

Team
Concept, coordination, moderation, research and study: Alexandra Reill
Technical Coordination Live Interview Screenings: Herbert Wulz, Alexandra Reill, Depot
Camera: Alexandra Reill, Eve Tsirigotakis, Oscar Wlaschitz
Editing: Alexandra Reill
Production: kanonmedia
12/24, richtergasse, a 1070 vienna,
call: ++43-[0]6991-820 70 03, mailto: alexandra.reill@kanonmedia.com

Sponsors
Art Following the Trend? Artists' Voices. was supported
by the Department of Science and Research
and the Department Local Acitivities 1070 Vienna
of the Department of Culture of the City of Vienna in 2007.

Our thxs also go to sonance.artistic.network and the company datonet for supporting us with cost-free webspace, the company 3 ELEMENTS for free support with technical event equipment, WordPress and the surface designer of Blue Moon 1.0 Stephen Reinhardt fot being able to use the CMS under a free license.

Vienna/Gümüslük, 2006-2008
kanonmedia