Since the nineties, Elisabeth Harnik’s work as an artist is characterised by two aspects: improvisation and composition. For Harnik, these two activities, which are usually treated as entirely separate entities in music, are two sides of the same coin. This already becomes evident in her improvisational playing, in which she frequently works with piano preparations and extended playing techniques. Exploring, juxtaposing, merging and fusing sounds, she marks out different paths through the soundscape. In doing so, starting from a feminist perspective, she establishes new lines of tradition, often dedicating her works to female artists who represent role models or milestones in her creative work. (Susanne Kogler)