2019. Audio-Video-Loop. Monitor. Headphones – commissioned work for the exhibition POWER CAGE at STATE STUDIO Berlin.

How does an octopus see it’s environment? Do the arms of an octopus help it see?
There is the hypothesis that cephalopod eyes may use chromatic aberration to turn monochromatic vision into colour vision.
Billy Roisz imagines a slow motion dive, peeping through a squid’s eye.
She uses camera, DIY-hydrophone, glas jars, crackling bath salt, straw, fizzy tablets and sinewaves to create a high contrast audiovisual underwater world, at the same time gloomy and colorful, hypnotic and eerie.

Who’s Afraid of RGB
2019. Audio-Video. Monitor | Screen. Headphones | PA

Rhizom / Graz / 2019 – Billy Roisz: Signalkaskaden

SIZE MATTERS / Wien / 2019

New Adits / Klagenfurt / 2019

Who’s Afraid of RGB plays with self-referentiality in art, with the relation between artwork and viewer, references to other works of art and to scientific fields, as here to psychophysiology.

Sit On My Heart And Tell Me That You Love Me
2018. Sitzmöbel, Transducer, Raspberry Pi, Fadenvorhang

sound art @ Konfrontationen Festival / Nickelsdorf / 2018

zentrale wien / Vienna / 2018/19

Rhizom / Graz / 2019 – Billy Roisz: Signalkaskaden

New Adits / Klagenfurt / 2019

The ass is a neglected sensory organ in art. The heart, on the other hand, has a hard time in it, because it is considered a clear sign of kitsch, and thus of artless activities. Nevertheless, Sit On My Heart And Tell Me That Me Love Me brings the two body parts together. Billy Roisz thinks the concept of cinema from Valie Export’s „Tap and Touch Cinema“ together with the physicality of amplified bass frequencies and the pretended innocence of rustic seating furniture as a medialized body experience. The color of the installation – strong blue and red – serves as a feint, because here it is not looked with the eyes, but heard with the butt and talked with the heart.
(text: Dieter Kovacic)

at sound art:

at zentrale wien:

Me And My Rhythmbox
Kluckyland / Vienna / 2017
audio-visual installation
heart beat, CRT TV, buttermilk, glas, transducer, rasperry pi

For the installation Me And My Rhythmbox my heartbeat is visible through the milky glass as a flickering red on one of my main instruments over the last years – a crt tv screen – and tactile perceptible and audible(only if you come really close) as a rhytmic vibration of the front window of the art space. so the whole art space becomes a rhythmbox.

soundart/Konfrontationen Nickelsdorf/A, 2014
idea: Billy Roisz, concept & realization: Billy Roisz & Dieter Kovacic
projections, light sensoric devices, aduino boards, motors, CRT TV, agricultural machines, loudspeaker, computer


darkroom. A dark space, darkness, night: designed to amplify our senses of sight and hearing in a restricted environment; and as a space for projecting our inner states – be they of psychological or physiological origin.

darkroom is the interactive installative version of my film ‚darkroom‚, installed in an appliance room for agricultural machines. by entering the dark room audience is crossing a light barrier which is triggering the audio-visual feedback apartus: projections, little motors, sounds start a light and sound show for a little time. the show is going on as long as somebody is crossing the light barrier again and again. if nobody is moving the room falls back into pitch black.


Bring Me The Head of Henri Chretien! (2013)
this film was comitted by Sonic Acts for the Vertical Cinema project
concept & realization: Billy Roisz & Dieter Kovacic


screenings by now (April 2015):
Klangraum Krems Minoritenkirche as part of Kontraste Festival/A 2013
Arminius Kerk as part of IFF Rotterdam/NL Jan 2014
Stedelijk Museum Amsterdam/NL Feb 2014
Leeds Int. Filmfestival/UK Nov 2014
Glasgow Short Film Festival/UK March 2015
South by Southwest Festival Austin/Texas/USA March 2015
STRP Biennal Eindhoven/NL March 2015


Enter the Voidoid: Mondo Mockado
AFO/Linz/A as part of Architektur & Klang 2013
concept/realization: Ana Threat & Billy Roisz
tape machine, microphone, synchronator, CRT TV, sound sensitive glow sticks, net curtains



Magnetic Fields Sao Paulo
Biennale Sao Paulo/BR as part of the ‚mobile radio‚ project oct 2012
concept & realization: Billy Roisz & Dieter Kovacic


During their visit to Sao Paulo the Viennese sound artists dieb13 and Billy Roisz recorded the sonic output of various places of the city on two levels. On the one hand they did ‚classical‘ field recordings like traffic, people, machines, etc., and in parallel they ‚caught‘ the electro-magnetic fields of the same environments. For the acoustic field recordings the artists used default mobile recording devices, but for the recording of the magnetic emissions they used self-made copper-wire coils instead of microphones. For the radio show this sound material were processed(digital and analog), mixed and assembled to a polymorph multi-layered composition – an artistic interpretation of the acoustic and electromagnetic topology of Sao Paulo.


Magnetic Fields Sao Paulo radio show on soundcloud

messed up in scena
MAK/Wien/A as part of the MAKnite series 2011
concept/realization: Billy Roisz & Peter Kutin
cans, LEDs, transducer, turntable, TVs, amp, electric bass, ventilator, synchronator, projections, soundsystem


Als „messa in scena“ (it.) bezeichnete der italienische Komponist Luciano Berio (1925–2003) den Prozess der Inszenierung seiner Opern. „messed up in scena“ von Billy Roisz und Peter Kutin istkeine Inszenierung einer Bühne, sondern des gesamten Raumes. So wird die obere Ausstellungshalle des MAK durch verschiedene optisch-akustische Systeme strukturiert, die kutin | roisz auch live bespielen. Der Besucher ist eingeladen, sich frei darin zu bewegen und verschiedene Eigenschaften des Raumes zu erfahren. Die Arbeit untersucht mit Hilfe elementar-rudimentärer Parameter unsere Rezeption von nah-fern, helldunkel, laut-leise, groß-klein etc. Der Höhepunkt und Abschluss des Abends ist eine Performance von kutin | roisz.


Shakedown Cardiac Fibrillation – Reality Bites back
brut Künstlerhaus/Wien/A as part of ‚Music here, Music there. Vienna – Moscow‘ 2010
concept, idea & realization: Billy Roisz & Andrey Kuzkin
projection, synchronator, contact microphone, TV-monitor, text, branches, drawings, photos, naked body


The act of translating artistic practices in the encounter of different cultural backgrounds, languages, genres, media and disciplines opens up intriguing production fields for a fresh evaluation of the performance term which is currently being hotly discussed. As a live event the act of performance is limited in time, takes place in the here and now – that used to be a common concept of performance. As opposed to this, the concept of performative installation offers possible strategies for linking actionisms, actions, video or sound inserts, a performance’s notation and its execution with each other. Performative action and the traces documenting them or treating them artistically by means of image, text or sound formats are employed by Billy Roisz and Andrey Kuzkin in order to enlarge the field of action.

In the exchange between the Austrian video and sound artist Billy Roisz and the Russian conceptual artist Andrey Kuzkin, autobiographical sources of text and image, conceptual strategies as well as methods of transfer in audio and video engineering encounter each other as working materials during the 14-day elaboration of their performative installation.


brRRMMMWHEee – extended version
Kunsthaus Graz/A in collaboration with Diagonale 2010
concept, idea & realization: Billy Roisz
8 CRT TV monitors, 4 channel A/V installation


Mit Witz und Selbstkritik tritt sie der Strenge der konzeptuellen Arbeit mit theatralischer Ironie entgegen, inszeniert Geschwindigkeit comicartig als verwischte Spur in Ton und Bild und erstellt farbige Visionen, die an malerische Räume Ad Reinhardts oder Mark Rothkos erinnern. Aus Monitoren und Lautsprechern fügt sie in die Dunkelheit des bauchartigen Space03 eine räumliche Anordnung, die an ein achtköpfiges Kammerorchester gemahnt, deren Mitglieder einen Kanon in immer neuen Interpretationen aufführen. Jeder Screen ist ein Musiker und als solcher seiner eigenen Geschwindigkeit in der Zeit unterworfen, und jeder spielt seine Bilder und Sounds elektronischer Interferenzen in sich ewig verändernden Zusammenhängen durch: Die Formationen sind dabei verwandt, aber nicht gleich. Es scheint, als bleibe das Tempo auch im Zeitalter der Technik subjektiv und relativ. (Katrin Bucher, Katalogtextauszug)

Galerie Stadtpark/Krems in collaboration with Donaufestival 2009
concept, idea & realization : Billy Roisz & Peter Kutin


a continuous bassdrone can be heard in the room. the beating gets fatser slowly.
the line projected on the wall and the onto the tin-foil is moving/shaking in simultan connection to the sound. when a single drop from the bottle
hits the tin-foil, the percussive analoge sound of the drop hitting the foil triggers new sounds and forcines the picture to change…