33 degrees in the city, everything is sweating. Under the stage lights, the artificial hairpiece only intensifies the heat.

What kind of pleasure lies in performatively slipping into “Pepi” again today? In his performances, Mayr favors the long-haired wig, predominantly blond. He oscillates—ironically—somewhere between an exaggerated Motörhead masculinity and a blond alloy of assorted stereotypes disguised as a bawdy joke. Mayr remains incognito; he leaves the protective space of the frequently used camping tent and, enveloped in his tent of blond hair, allows a play between intimacy and distancing. Within this field of tension, animalistic, instinct-driven strings begin to resonate, and the audience inevitably finds itself internally attuned to the wild unfolding. (Martina Fitzek)

The publication brings together sound performances, installations, and the instruments—both musical and otherwise—as well as the constructed devices employed in the works. It includes raw visual material, video stills, mobile phone photographs, posters, and drawn sketches. Six texts by friends, colleagues, and companions accompany the material. “I would say it is an artist’s book.” (Albert Mayr)