March 13th 2014, 19h
Concert at Dampfzentrale in Bern with guests Hans Koch and Hans W. Koch.
And with Ginger-Spaghetti during the intermission.
September 21st 2013
Moritz Weber interviews the GingerEnsemble for the SRF2 Musikmagazin.
Exhibition "Urban Sounds"
September 20th to November 4rd, 2013
The project "SLUŠAJ SAVAMALA" is a part of the exhibition Urban Sounds at the Haus für elektronische Künste Basel.
In cooperation with the Hochschule der Künste Bern, department Music & Media Art.
April 10th 2013, 20pm at Walcheturm Zurich
April 13th 2013, 18pm at Kunstpavillon Luzern, hosted by Forum Neue Musik Luzern in cooperation with sic! Raum für Kunst
April 18th 2013, 20pm at gallery HUB 12 Belgrade as a part of the project "Urban Incubator: Belgrade" and "SLUŠAJ SAVAMALA"
October 28th 2012
MARTINSBERG II GNOM Baden
During four events the Baden architecture icon HAUS MARTINSBERG, built by Armin Meili in 1952 and commisioned by Brown, Bovery & Co., is proclaimed an experiencable sculpture.
Concert at 17.00 pm at Haus Martinsberg - Berufsfachschule Baden BBB
Workshop and concert
April 2nd to April 21st, 2012
ĐUMBIR Monument GingerSociety Beograd
Another monumental ginger sculpture has been initiated by Valerian Maly and Klara Schilliger as a part of their project GingerSociety. In cooperation with the artists-collective "Treci Beograd", the GingerEnsemble and local volunteers an oversized ginger will be constructed in public space.
Treci Beograd: Monument GingerSociety
On this occasion the GingerEnsemble will give a workshop between
April 16th to April 20st with a concert at REX Cultural Center Belgrade
Concert and foundation
September 5th 2010
Concert on occasion of the closing event of the exhibition "Utopie & Alltag: Im Spannungsfeld zwischen Kunst und Bildung" at Kunstmuseum Thun
The GingerEnsemble founded on the occasion of the InstallAction “Monument GingerSociety Thun” appears 2010 for the first time in concert - and as a prelude to the InstallAction - with a program of non-hierarchical compositions. The monument – a colossal papiermaché ginger which stands as a metaphor for rhizomatic scientific models – provides the template, spatially and thematically, for the program of “non-hierarchical compositions”. And so, with an open mind and great enthusiasm, the GingerEnsemble enters a field of contradictions. A program of non-hierarchical compositions is a noble aspiration for an essentially utopian undertaking. As a rule, clear hierarchies apply in music, whereby the hierarchical sequence of composer-interpreter-listener can certainly also mutate unpredictably.
Since the unraveling of aesthetic conventions at the beginning of the 20th Century and as a result of art movements that arose from it such as futurism, Dadaism and experimental music, artists in the early 1960s came together to create a performance art that understood itself as a process-oriented, “flowing” sound event: fluxus! In the interplay between music, theater and the visual arts, the boundaries between the arts were to be lifted. While authorship continued to play a role, artists resisted any efforts at being co-opted and even copyrights were declared ineffectual and inadequate. One characteristic that unites the works of fluxus artists is an anarchic humor: “Anyone who believes fluxus to be something serious is mistaken. But anyone who maintains that fluxus is something that is not serious is likewise mistaken. The uniqueness of fluxus is that it also does not lie in between… Fluxus is everywhere at the same time. Its secret is: it does not exist at all, but it exists.” (Al Hansen)
The GingerEnsemble, which grew out of the Department of Music and Media Arts at the Bern University of the Arts, dedicates itself to experimental music with a kind of “historical performance practice” and places itself in the tradition of the “composer/performer” as exemplified by the legendary “Sonic Arts Union” with Robert Ashley, David Behrman, Alvin Lucier and Gordon Mumma – a collective of experimental musicians that was active between 1966 - 1976.
The repertory of the GingerEnsemble includes pieces by David Behrman, John Cage, Tom Johnson, Takehisa Kosugi, Alvin Lucier, Steve Reich and Robert Watts. So as not to lean too heavily on the “historical”, however, exciting original compositions and performances by the members of the ensemble will also be presented. By means of algorithmic composition, electro-acoustic music, and the experimental use of new media, aspects of perception will be investigated. Non-hierarchical composition may also refer to the radical paradigmatic shift that occurs in experimental, process-oriented music between an audience and author, but also between the recipient and participant.
With the program non-hierarchical compositions, the artists of the GingerEnsemble create a bridge between French poststructuralist philosophy and experimental avant-garde music from the USA: All of the “historical” compositions were created around the year 1974 – the year in which one of the most famous prologues was written: “Rhizome” by Gilles Deleuze and Félix Guattari.
Cyrill Lim www.klangkunst.ch
Valerian Maly www.malyschilliger.ch
Klara Schilliger www.malyschilliger.ch
Lara Stanic www.larastanic.ch
After years on the contemporary music scene, the in Belgrade born musician and artist Lara Stanic developed her own stage performances, sound installations, radio works and compositions for dance and theater productions. Incorporating electronic and digital media with the physical body of the musicians as well as concert and interpretation situations are common themes of her performances. In her experiments with electronics, which are often self-made, she uses technology playfully and poetically.
Klara Schillliger and Valerian Maly work and live together since 1984. Their artistic field is performance art and installation. They use the term of InstallAction for works, where the public is directly involved. Their intermedia installations and performances are often – but not exclusively – site specific works, preceded by project-related research. Klara Schilliger and Valerian Maly move naturally between the different genres of art, but without any pretended multimedia allures.
Cyrill Lims examination of the aspects of perception and reflection of the used media leads mainly to performances and installation works that tries to experimentally gauge the physical qualities of space and material to offer a tangible experience on a musical level.
c/o Valerian Maly