KLARA SCHILLIGER & VALERIAN MALY

Selected Works

1991 - 2011

1 Selected Works

Curriculum Vitae 03 - 13 In Gold Geritzte Ranken 2008 115 - 118 volagratis : YAOUNDÉ NON È UN BEL POSTO 2019 14 - 17 arrival zone – vapour trail – departure zone 2007 119 - 136 a e i o u V Helix – snailwatching karaoke 2016 18- 24 MarksBlond Blaster 2007 137 - 140

R U M O U R S induced by I G I N G 25 - 30 Seidenschrei – Le Dernier Cri 2006 139 - 146

P L E S U N G A N – 181’440 permutations 2014 31 - 36 Hello ! 2005 141- 154

P L E S U N G A N – 181’440 permutations 2014 37 - 41 The compost heap in us – (100 glasses of booze ) 2004 155 - 158

TTAALLIINN 2013 42 - 45 Mit fremden Federn schmücken 2004 159 - 166

Nairsünalv 2011 46 - 55 I Need You 2004 167- 172

Monument Ginger Society Tirana 2011 56 - 61 Stabile Runde 2004 173- 176

Buch Jonah 2010 62- 67 Sarabande Double 2002 177- 182

Monument Ginger Society Thun 2010 68 - 93 Glas Stern 2000 183- 188

Uwaga Uwaga, Szcz ! Achtung Achtung, Szcz ! 2009 94 - 100 Wassern 1998 189- 193

Raum, fliegend 2009 101- 104 Ohne Titel 1991 194 - 199

Dianes Chasseresses 2009 105 - 110 Impressum 200

Gerölle 2008 / 2009 111 - 114 Epilog 201

2 Klara Schilliger & Valerian Maly

Klara Schilliger (*1953 in Sursee/ ) and Valerian Maly (*1959 in Tübingen/ ) work and live together since 1984. Their artistic field is Perfor- mance Art and Installation. For some of their works they use the term of InstallAction (they learned from Alastair Mac Lennan) and which they use mostly for (long duration-) performances where the public is directly part and participating. The Intermedia Installations and Performances are often – not exceptionally – „works in situ“ – they are concipated directly for the location and social situation of the performance place.

Valerian Maly and Klara Schilliger have lively activities, expositions and performances in established institutions as well as in so called non-profit Off-spaces and festivals in Europe, North-America and Asia.

Apart from their „artistic activities“ Valerian Maly is head of studies for at the University of Arts („MA Contemporary Arts Practice (CAP)“ and also artistic director of „BONE Performance Art Festival Bern“; and Klara Schilliger is teaching occasionally as a guest lecturer at different art schools and universi- ties. Both of them consider their teaching and curating activities as a part of their art life.

In 2008 they were awarded with the art price of the municipality of Berne / Switzerland. In 2010 Klara Schilliger and Valerian Maly founded together with Lara Stanic and Cyrill Lim the „GingerEnsemble“, a performance collective related to non-hierarchical and process-orientated compositions.

Klara Schilliger and Valerian Maly move as a matter of course between the different genres of arts, but without any pretended multimedia allures: „One must find a position inmidst of the turbulences of values, where art originate (Harold Rosenberg, The Tradition of the New, 1961)

3 Stipendien und Preise

2011 Atlantic Center for The Arts ( ACA ), New Smyrna Beach, Florida ( USA ) 2009 Preis der Kunstkommission der Stadt Bern 1995 Werkjahr - Stipendium Stadt und Kanton Luzern

Gemeinsame Performances, Installationen und Install Actions

2020 Tickling by and for Örn Alexander Ámundason und Una Margrét Árnadóttir, Reykjavík. PARTOUT. Arsenic, Lausanne 2019 volagratis : YAOUNDÉ NON È UN BEL POSTO PANCH – Lupe Luzern im (ort) Raum für Performance, Emmenbrücke, 2019 Chirologia & Chironomia d‘après „Le Moindre Geste – The Slightest Gesture“. Galerie du Granit, Théâtre Belfort John Bulwer (1606 -1656) Un acte apotrope P P P P P P Proud Paperclub Parade Kultur.Macht.Raum. 15 Jahre PROGR Zentrum für Kulturproduktion, Bern Procession & Passage for PROGR

2018 Punica Granatum Unwrap the Present, PROGR Atelier 221, mit Rolf Laurejis I F I L L I O U Kunsthalle Mulhouse, LOCUS METROPOLE 9 Robert Filliou: L’Immortelle Mort du Monde République Géniale, Kunstmuseum Bern Autour de Vaduz... (Bernard Heidsieck) Lecture Performance, Rencontre International d’Art Performance, Inter – Le Lieu, Québec 2016 Fabrica Voxa, Espace Multimédia Gantner, Bourogne (VM), Afiriperforma Biennale, Lagos / Nigeria BRLW70, zum 70. Geburtstag von Klarenz Berlow, Alte Feuerwache Köln unwrapp the present – kick, Bern Helix – a hermit-crabs-watching karaoke 7. Performancereihe Neu-Oerlikon a e i o u VIII Helix-a dadaesque beautycure Burmester und Feigl’s „Neo Neo Dada“ BONE Performance Art Festival Bern

4 2015 Biceps Femoris for Horse & Spinet (Valerian Maly) Kingdom of Fools, Filter4, Basel Curating Perfomance Art as an Artistic Practice (Valerian Maly), Month of Performance Art Glas 263 (Klara Schilliger) PPP Performance Plattform PROGR, Bern SiO2 (Klara Schilliger), Festival für experimentelle Musik, München a e i o u I - verwirbelte Luft 2014 R U M O U R S induced by I G I N G Art Now Live Tour, Beijing, Kuratiert von Cai Qing Prolog: R N E B – 24 permutations FOI Future of imagination # 9, Singapore S I N G A P O R E – 362’880 permutations P L E S U N G A N – 181’440 permutations Unclosed Territories # 8, Indonesien 2013 TTALLIIN Dimanche Rougge #20 Tallinn Im experimentellen Raum Video-Interview-Performance mit Mechthild Bauer-Babel, Neue Kunst im Hagenbucher, Heilbronn (Prod. Trinipix) 2011 N A I R S Ü N A L V „ Moment Monument Grischun “, Fundazion Nairs / Scuol-Tarasp Teppichklopfer, tanz mit mir ! „ Schöngrund 15 “, Olten,Fam. Sibylle Meyer, geb. Baronesse Schnorr von Carolsfeld Collars „ beyondnecessity “, Performance Space, Hackney Wick, London Monument Ginger Society Tirana Tirana Art Lab, Quendra Sociale, Tirana

Buch Jonah II „ Performing the Exhibition “, Château Mercier, Sierre, ECAV Dreh Kranz „ zentral ! “, Kunsthalle Luzern Der Türsturz des Herrn Schumacher „ art goes office “, Inselspital Bern Gerölle Jahresausstellung Zentralschweizer Kunstschaffen 2011, Kunstmuseum Luzern 2010 Buch Jonah „ Im Bauch des Wals III “, kuratiert von Sibylle Omlin. Marks Blond Project – Raum für Zeitgenössische Kunst, Bern Coincidence mit Cyrill Lim. Pegelstand IV, GNOM - Gruppe für Neue Musik, Baden Monument Ginger Society Thun Kunstmuseum Thun, „ Utopie & Alltag : Im Spannungsfeld zwischen Kunst und Bildung ” Beijing Ginger Open Performance Art Festival Beijing 2009 paznja – paznja – b / e / r / n ! BONE 12 - Festival für Aktionskunst, Schlachthaus Theater Bern

5 Gerölle „ recalling Terry Fox “, Moltkerei Köln In memoriam TF “A tribute to Terry Fox”, Nationalgalerie im Hamburger Bahnhof, Museum für Gegenwart Berlin uwaga – uwaga – s / z / c / z ! Performance Intermedia Festival 2009 SzczecinSZCZ Raum fliegend Migma Performancetag, Verkehrshaus Luzern 2008 Dianes Chasseresses anlässlich Preis der Kunstkommission der Stadt Bern, Schlachthaus Theater, Bern Gerölle „ A Tribute to Terry Fox “, Hamburger Bahnhof – Museum für Gegenwart, Berlin Gorushima Kunsthaus Zug, gemeinsam mit Dorothea Rust und Malcom Goldstein In Gold geritzte Ranken „ Querfeldein “, ein Projekt für zeitgenössische Kunst im Goms / Wallis Faden – Zeit Gemeinde Jenaz, „ 14 Räume für die Kunst oder wenn es dunkel wird im Tal – ein Museum in Bewegung “, ein Projekt der HASENA, Prättigau 2007 Departure Zone Airport Narita, Tokyo. Artist as Activist – Int. Performance Art Vapour Trail Chiyoda - Ku, Tokyo. Artist as Activist – Int. Performance Art Arrival Zone Airport Narita, Tokyo. Artist as Activist – Int. Performance Art Marks Blond - Blaster Marks Blond Projekt R.f.z.K., Bern 2006 Pelele pelele Fabrik Burgdorf Bscht music Mlode Miasto Live Art Festival Swinoujscie / Polen rope PI Performance Intermedia Festival, OFFicyna Szczecin / Polen „ usrüefe ! ” – ein Fluchturm zu Bern Stadtgalerie Bern Der Seidenschrei – Le Dernier Cri sonambiente – festival für hören und sehen, Berliner Festspiele / Akademie der Künste Berlin, zusammen mit Ensemble Historischer Tanz der Universität der Künste Berlin, Leitung: Jutta Voß

2005 Der Seidenschrei – Le Dernier Cri Ausstellung „ Farang ”, Kunsthalle Wien 2004 Hello ! Schlachthaus Theater Bern, Festival “Bone” The compost heap in us ( 100 glasses of booze ) Chiangmai University Art Center, Festival “ Asia Topia 6 / 2004 ” Electric guitar I, “ Trace for orchestra ” ( Robert Watts, Concrete House, Nonthaburi, Festival “ Asia Topia 6 / 2004 ” 1963 ), “ Micro I ” ( Takehisa Kosugi, 1964 ), Electric guitar III

6 I want you – Imperfections Patumwan intersection, Art Center Site, Festival “Asia Topia 6 / 2004”, Bangkok Mit fremden Federn schmücken „ fremde im prättigau “, ein Projekt der Hasena, Ascharina und Umgebung Stabile Runde „ Kunst gewinnt ” von Berne en f ête, PROGR_Zentrum für Kulturproduktion Bern / Kunstmuseum Bern I want you – Imperfections Centre Paqu Art Biel, anlässlich der Ausstellung “ I need you ” Die Welt ist eine Scheibe und: rund Kunsthof Zürich Auf der Suche nach dem runden Klang Kunstmuseum Luzern 2003 De Motus Cordis Kölner Gesellschaft für Neue Musik, Loft Köln 60 Würfe für Terry Fox Friedericianum , Ausstellung „ re- / deconstruction “ von Terry Fox Rundes Wasser „ Brückenmusik “, Deutzer Brücke, Köln 2002 Pitch Control Emit Time – ein palindromisches Festival, Hochschule für Musik und Theater Bern Ho bisogno di te complice, Berlin Ho bisogno di te Kaskadenkondensator Basel 2001 Smaragdgrün De Balie, Amsterdam, mit Fredie Beckmans & Yntse Vugts 2000 Ohne Titel ( Glasstern ) Performance Art in NRW, Maschinenhaus / Zeche Carl, Essen Wat is mooi ( was ist schön ) De Balie, Amsterdam, mit Fredie Beckmans & Yntse Vugts 1999 Pitch Control 2. Intern. Performancetage, Giswil Quatto - Quatto ( Auf leisen Sohlen ) Valle Zaccona, Fara / Vicentino Ein Würfel Wurf „ Transit “, Museum für Gestaltung Zürich, mit Carola Willbrand, Gibbs, Lars Brandt, Rolf Hinterecker, Parzival, Kosit Juntaratip, Knopp Ferro Pitch Control Centenarium Mathildenhöhe Darmstadt 1998 Rapid Eye Movements „ Morphing # 4 “, Die KLINIK Zürich Herzblut „ Six Ears “, St. Petri - Kirche, Dortmund Wassern Performancetag 98, Seedamm - Kulturzentrum Pfäffikon 1997 Zweien „ Performatrix “, Kampnagel, Hamburg 1996 1 Sekunde „ Exploseum “ Kunstmuseum Luzern 1 Sekunde „ Kunsthaus Glarus “

7 Ohne Titel 1991 - Städtische Museen Heilbronn, Abt. für Vor- und Frühgeschichte Siebenschön Museum im Bellpark, Kriens Brevis „ Coinzidence VI “, IGNIS, Köln 1995 Dimmer Festival für experimentelle Musik, München Kunst und Knete – ein Drama in sieben Akten Seminar „ Kunst und Markt “, Friedrich Naumann Stiftung, Gummersbach Zwielicht Neue Kunst im Hagenbucher, Heilbronn Vakat + Vakant Performance Index Basel 1994 12 Akter, Electric Guitar I - III ASA - European, Art Frankfurt 1995 12 Akter, Electric Guitar I - III Galerie Apropos Luzern Ohne Titel 1991 - „ Pfeifen im Walde “, Parochialkirche Berlin 1 Sekunde Galerie Kontrast Köln 1 Sekunde,Kammerstück VI, forumclaque, Baden 12 - Akter, Electric guitar I - III, Hausmusik I + II, fischiare, Anthologia ex Thermis Badensibus I + II 12 - Akter, Electric Guitar I - III

1993 Ohne Titel 1991 - «Naturkunden», Heliosturm Köln 1 Sekunde «not wanting to say anything about John», Memorial, Kunstverein Köln 1992 12-Akter und Smaragdgrün Villa Schöne Aussicht Wiesbaden Ohne Titel 1991 - „ Naturkunden “, Kunstakademie Budapest 1991 Smaragdgrün Festival für experimentelle Musik, München 1 Sekunde „ not wanting to say anything about John “John Cage Memorial, Kunstverein Köln 4 Akustische Ereignisse Galerie Pro( s )art Luzern Ohne Titel 1991 - Jahresausstellung Innerschweizer Kunst, Kunstmuseum Luzern „ Open Box “ Kunstbühne, Karl-Ernst-Osthaus-Museum Hagen

8 1990 Smaragdgrün „ Zwischentöne 2 “, Kunststation St. Peter, Köln 1989 Schnitt Intern. Film- Video- und Performancetage ( VIPER ), Luzern Neapelgelb Kunstmuseum Luzern Neapelgelb Theater am Neumarkt, Internationale Gesellschaft für Neue Musik, Zürich

Neapelgelb „ weiss auf weiss “, Kunstakademie Düsseldorf 1987 El Viernes Summer Festival, Shaffy Theater, Amsterdam Berliner Strasse - Vom Verschwinden der Bilder Atelier - und Galeriekollektiv, Wuppertal Farfalle Blickpunkt Musik, Hessischer Rundfunk, Frankfurt am Main 1986 Fischiare IV Zeitgenössische Kunst in Sempach Fischiare III Dramatisches Zentrum Wien 1985 Fischiare II Jahresausstellung Innerschweizer Kunst, Kunstmuseum Luzern Fischiare I Audio - Art Symposium, Künstlerhaus Stuttgart El Jueves 1. Luzerner Literaturfestival, Hotel Eden, Luzern 1984 Pas de deux Kunsthaus Aarau

Einzelausstellungen 2012 Monument GingerSociety Beograd Tirana Art Lab, Quendra Sociale, Tirana 2011 Monument Ginger Society Tirana Treci Beograd, Belgrad 2006 aedicula aedicularum – zu Marks Blond Projekt R.f.z.K., Bern Der Bilderhimmel zu Marks Blond

2002 Ho bisogno di te complice, Berlin 1997 Cantus Firmus Agneskirche, Köln 1996 ( s ) keri Museum im Bellpark, Kriens 1995 Zwielicht Neue Kunst im Hagenbucher, Heilbronn 1994 Taxi – Taxi – Taxi – Taxi forumclaque, Baden Multiple Choice Rhythm ‘ n ‘ Blues

9 Gruppenausstellungen

2019 Mit fremden Federn schmücken „Le Moindre Geste – The Slightest Gesture“. Galerie du Granit, Théâtre Belfor 2017 Mouvement d›escargots pour les CAPITAL(E) LUMIÈRE, Maison Victor Hugo, Besançon CAPITAL(E) LUMIÈRE, Maison Victor Hugo, Besançon Frères Lumière :changement de décors

2012 Der Schreibtisch des Herrn Schranz ARTstadtBERN, Abteilung Kulturelles Stadt Bern 2011 Aedicula Aedicularum „Eindazwischenkommen“, Schloss Wolkersdorf 2010 Buch Jonah „Bauch des Wals“, kuratiert v. Sybille Omlin, Marks Blond Bern pas de deux Aargauer Kunsthaus, „ tempi passati ” 2 grossformatige Fotografien der gleichnamigen Performance 1984

Monument Ginger Society Thun Kunstmuseum Thun, „ Utopie & Alltag : Im Spannungsfeld zwischen Kunst und Bildung ” 2001 Blue Notes – Über Wurzeln stolpern Helle Nächte / Tonspuren. Kunstvereine Binningen, Bottmingen, Reinach Köln Streifen – Pany Streifen Ein Videospaziergang mit Schülern der Gemeinschaftsgrundschule Balthasarstrasse Köln und der Primarschule Pany, Kulturjahr Dalvazza 1999, zur falschen Zeit am falschen Ort: Kunst, ein Projekt der HASENA, Dalvazza 1999 100 Warteschleifen für Darmstadt „ Interventionen, Kunst - Kommentare zur Mathildenhöhe “, Centenarium Mathildenhöhe, Darmstadt 1998 Paletten – Pathos Jahresausstellung der Innerschweizer Künstlerinnen und Künstler, Kunstmuseum Luzern Rapid Eye Movements „ Morphing # 4 “, Die KLINIK, Zürich Catwalk „ A Streetwalk Named Desire “, Ausstellung im öffentlichen Raum, Luzerner Ausstellungsraum Transit „ Lingerie : Eine Unterwelt “, Museum Bellerive, Zürich 1996 Kabinett VI und Schwenk „ Strategien der Kunst in den 90 er Jahren – Beiträge zum Klöntal - Sommer “, Kunsthaus Glarus Ohne Titel 1991 - „ Time Wise “, The Swiss Institute, New York 1995 Glück auf ! Werkjahr - Stipendium Stadt und Kanton Luzern, Kunstmuseum Luzern

10 Heimweh Jahresausstellung Innerschweizer Kunst, Kunstmuseum Luzern Qu‘ est-ce que c‘est que cela ? „ Erozio - Erotik in der Kunst “, ASA – European, Künstlerhaus Mousonturm, Frankfurt am Main Ohne Titel 1991 - „ Zeichen & Wunder “, Kunsthaus Zürich „ Signos e Milagres “, Centro de Arte Contemporanea, Santiago de Compostela 1993 Volumen Klanginstallation gemeinsam mit Jörg Niederberger Stiftung Landis & Gyr, Zug

Bibliografie (Auswahl )

2010 Cahier III Klara Schilliger und Valerian Maly, Monument Ginger Society Thun. „ Utopie und Alltag - Im Spannungsfeld zwischen Install Action von Klara Schilliger und Valerian Maly Kunst und Bildung ” 17. Juli - 5. September 2010, Kunstmuseum Thun 2009 Kunst zum Mitbuchstabieren Alice Henkes in : Der Bund 6. März 2009 2007 Künstler mit kräftigem Atem Alice Henkes in : Kunst Bulletin 10 / 2007 2006 sonambiente klang kunst sound art hrsg. von Helga de la Motte, Matthias Osterwold und Georg Weckwerth Akademie der Künste Berlin, Kehrer Verlag 2004 I NEED YOU – Zum Zusammenspiel zwischen Katalog zur Ausstellung „ I need you “, CentrePasquArt Biel / Bienne Kunst und Publikum mit Texten von Bernhard Bischoff, Dolores Denaro, Beate Engel Human Performance Essays zur Schweizer Performance Kunst der 90 er Jahre, Herausgegeben von perforum.ch, Benteli Verlag Bern, 2004 2001 Blue Notes – Über Wurzeln stolpern Annina Zimmermann und Andrea Saemann ( Hrsg. ), CD Helle Nächte, Basel, mit Kompositionen von Hans - Jürg Meier, Hans Ulrich, Niki Reiser, Michael Harenberg, Nicoletta Wartmann, Valerian Maly Marathon Werkstadt Graz, 2001 2000 Köln Streifen – Pany Streifen VELENO 48, Hasena, Edition Schwarz Hand Presse, Dalvazza 2000 Licht, Klang und Zeit Andreas Sommer, in : Hagenbucher, Band II, Mechthild Bauer - Babel ( Hrsg. ), Heilbronn

11 MORPHING Theresa Chen, Tristan Kobler, Dorothea Wimmer ( Hrsg. ), Zürich 2000 1999 INTERVENTIONEN - Künstlerische Kommentare Institut Mathildenhöhe, Darmstadt 1999, Postkartenset zur Mathildenhöhe zur Mathildenhöhe mit Text von Nadja von Tilinsky

1998 OPEN BOX - Künstlerische und wissenschaftliche Michael Fehr ( Hrsg. ), Museum der Museen, Köln 1988 Reflexionen des Museumsbegriffes 1997 Lichtgesteuerter Klang und Video - Triptychon Kölnische Rundschau, 31.03.1997 Dokumentation der aktuellen Gesellschaft Schweize- GSAMBA, Sektion Innerschweiz rischer Maler / innen, Bildhauer / innen und Inner- schweizer Kunst Architektinnen / Architekten ( Visuelle Künstler / innen ) 1996 Strategien der Kunst in den 90 er Jahren - Beiträge Kunsthaus Glarus 1996, Dokumentationskassette zum Klöntalsommer mit Texten von Annette Schindler und Madeleine Schuppl ( s ) keri - Recherchen und Interventionen von Klara Hans-Rudolf Schneebeli in : Kunst-Bulletin, Schilliger und Valerian Maly im Museum Bellpark Nr. 9, September 1996

( s ) keri Museum im Bellpark Kriens, 1996, Broschüre mit Text von Hilar Stadler Brewing Performances Johannes L. Schröder in: PERFORMANCE RESEARCH, spring 96 1995 Klara Schilliger / Valerian Maly Performance Index, Basel 1995, Katalog Eine Heimwehbank und Stacheldraht am Koffergriff Niklaus Oberholzer in : Luzerner Zeitung, 26.10.95 „Niko Pirosmani und die Gegenwartskunst“ Warte bis Andreas Sommer in: Heilbronner Stimme, 09.10.95 es dunkel ist Zeichen & Wunder Paolo Bianchi in : Kunstforum, Bd. 131, August - Oktober 1995 Signos & Milagres Centro De Arte Contemporanea, Santiago de Compostela 1995 mit Text von Bice Curiger, u.a Zeichen & Wunder Kunsthaus Zürich 1995, Katalog 1994 Konzentration auf Begegnung der Geschlechter Kölner Stadt-Anzeiger, 11.08.94 Paris, Amsterdam, Budapest, Köln Badener Tagblatt, 15.03.94 Klara Schilliger und Valerian Maly „Seiten“ ( No.2 ), Baden 1994 1991 Performance mit Geräuschen Maria Vogel in: Vaterland, Luzern 27.05.91

12 1989 Farben sehen und hören Maria Vogel in: Vaterland, Luzern 21.04.89 1988 Pas de deux und El Viernes Kunsthaus Aarau und Shaffy Theater Amsterdam, Katalog mit Text von F.F. Beckmanns 1985 Audio Art Fritz Muggler in: Neue Züricher Zeitung, 31.10.85 Zwischen Hin- und Weghören Stuttgarter Zeitung, 25.10.85 1984 Vision und Utopie Kunsthaus Aarau 1984, Katalog, mit Text von Beat Wismer Musik für Gäste Galerie Apropos Luzern 1984, Katalog mit Interview von Jörg Niederberger La Divina Commedia Kornschütte Luzern 1984, Katalog, mit Text von René Stettler, Edition mit Audiokassette 1982 Valerian Maly: Thema vom Noch-Sagbaren und Dieter Bitterli in: Luzerner Neueste Nachrichten Unsagbaren

Valerian Maly, Junge Schweizer Künstler Nr. 11 Kunstmuseum Luzern 1982, Katalog mit Texten von Martin Kunz und Tadey Lemke

13 volagratis : YAOUNDÉ NON È UN BEL POSTO

ein Schattenspiel von Klara Schilliger und Valerian Maly

PANCH – Lupe Luzern im (ort) Raum für Performance, Emmenbrücke, 2019

Klara Schilliger und Valerian Maly räumen auf! Anlässlich der „PANCH Lupe Luzern“ treten Klara Schilliger und Valerian Maly eine Forschungsreise nach Yaoundé in Kamerun an. In ihrer Wohnung, ihrem Archiv und Atelier, aber auch in Emmenbrücke beginnen sie ihre Reise und suchen nach Spuren kolonialistischer und contra-kolonialistischer, afrikanischer Kontaminati- on. In einem magischen, apotropäischen Akt verbinden sie sich mit dem Performancekünstler Christian Etongo und „Perform‘Action Live Art - Art and Ecology : Performance Art against Pollution“der Universitäten Yaoundé und Soa in Kamerun.

14 15 16 17 a e i o u V Helix – snailwatching karaoke

7. Performancereihe Neu - Oerlikon, 2016

Manchmal sitzen wir – völlig ausgelaugt, ermüdet und erschöpft – in einem Garten und gaffen einfach vor uns hin – allerdings meist mit einem schlechten Gewissen, gar nicht ganz so entspannt, sondern mit gewissem Druck; denn wir haben eine Performance, einen Text oder sonst was zugesagt ... und haben so überhaupt gar keine Idee … „Nee, die Ideen,“ seufzen wir dann – frei nach André Thomkins, dem Grossmeister der Palindrome – und starren raus in die Welt. Dann regnet es, und wir bleiben sitzen – so geschehen im Sommer 2016 in Weissenbrunn vorm Walde in Thüringen – und Schnecken kriechen an den Halmstängeln hoch, diese biegen sich, und immer mehr Schnecken kommen raus, bei uns vorbei und wir halten Audienz für das Schneckenvolk. Dann fällt uns ein: Aha ! In Neu - Oerlikon gibt es doch einen Turm, der eine Wendeltreppe hat, ja eigentlich ein sich in den Himmel schraubendes Schneckengehäuse ist. Wir seufzen „a e i o u“ und schon sind wir froh ! Daran arbeiten wir dann weiter ...

Es folgen „Helix – a hermit-crabs-watching karaoke“ am „Blago Bung 12“ Festival, in der Emily Harvey Foundation, New York– statt Schnecken werden es aus gesetzlichen Gründen Einsiedlerkrebse, die am Broadway tanzen, und in Berlin und Bern eröffnen wir unser magisches Schnecken-Schleim-Schönheits-Studio anlässlich der fulminanten „NeoneoDada“- Revue mit „a e i o u VIII Helix – a dadaesque beautycure“. Zu all dem wurde Forschung betrieben mit den Schnecken; nächtelange Beobachtungen vom Fressen, von Paarungen und absolut verblüffend-rasanten Schneckentempi, was dann in die Realisation des Videos „Mouvements d’escargots pour les Frères Lumière – changement de décorts“ für CAPITAL(E) LUMIÈRE, im Maison Victor Hugo, Besançon, von Montagne Froid mündet ... So ergibt sich eins nach dem andern.

18 19 20 21 22 23 24 R U M O U R S induced by I G I N G

Art Now Live Tour, Beijing Kuratiert von Cai Qing

Mittels Münzwurf befragen wir das I Ging, ein altes chinesisches Orakel. Der Fragenkatalog weist uns durch die Performance, was wir zu tun haben. Die Antworten werden dem Publikum ins Ohr geflüstert. Entstehen so etwa Gerüchte? Mitglieder des Sicherheitsdienstes sind im Publikum und beobachten uns, während wir allmählich unsere Augen, Nasen, Ohren und Münder mit tropfendem Kerzenwachs verkleben, so dass die Kommunikation nach und nach beschwerlicher und schliesslich verunmöglicht wird.

25 26 27 28 29 30 Prolog: R N E B – 24 permutations S I N G A P O R E – 362’880 permutations

FOI Future of imagination # 9, Singapore Kuratiert von Jason Lim, 2014

Prolog: R N E B – 24 permutations Anlässlich des Sommer-Festes im Kulturzentrum PROGR in B E R N beginnen wir unsere Performance in Singapore mit einer Skype-Verbindung in die Heimat und grüssen die Anwesenden mit allen 24 möglichen Buchstabenkombinationen, die der Name unserer Hauptstadt birgt.

S I N G A P O R E – 362’880 permutations Die enge Gasse in Little India erweist sich als idealer Ort für unsere Aufführung. Wir singen, flüstern, rufen und skandieren die Buchstabenfolgen von Singapore und spielen sie auf einem Gamelan – 362‘880 Permutationen bietet das Wort. Diese vielfältigen Wortgebilde und Klangmuster verschmelzen mit dem Rauschen und Dröhnen der Megacity, die nie zur Ruhe kommt.

31 32 33 34 35 36 Asien -Tour 2014 P L E S U N G A N – 181’440 permutations

Unclosed Territories # 8 Kuratiert von Melati Suryodarmo Plesungan / Surakarta, Indonesien

Mitten im Tropischen Regenwald steht diese Plattform, die uns als Aufführungsort dient. Das traditionelle indonesische Instrument Gamelan, das wir im Schrank unserer Unterkunft entdeckt haben, integrieren wir in unsere Performance P L E S U N G A N. Die Buchstaben werden den einzelnen Tönen zugeordnet. Die mutierenden Klangmuster verbinden sich mit den gestammelten und gesprochenen Wortgebilden und mischen sich mit den Urwaldgeräuschen der Nacht.

37 38 39 40 41 TTAALLIINN

- an exclamation -

Dimanche Rouge # 20, Tallinn, 2013

Klara Schilliger und Valerian Maly nehmen den Namen der Stadt Tallinn wortwörtlich, ja durchaus buchstabengetreu. In schweizerischer Präzision geschult, sticht den Performern sofort eine Imperfektion ins Auge: Warum werden denn hier nicht alle Buchstaben doppelt geführt? Überhaupt: Was ist denn das für eine Welt, was für ein Weltbild, wo nicht alles doppelt geführt, doppelt benannt wird? Es gibt Mann und Frau, Igel und Hase, Topf und Deckel, es gibt die doppelte Buchhaltung und es gibt Russen und Esten ... Und es gibt zwei Ohren, zwei Augen und zwei Nasenlöcher. Und diese wecken ihr besonderes Interesse: Seit 2013 widmen sich Klara Schilliger und Valerian Maly der Lösung eines der grössten Probleme der Portraitmalerei: „The Nostrils Problem“ – Das Nasenlöcherproblem. Denn während meist Frisur, Nacken, Wangen und Augen, Hals-, Nasen- und Ohrenpartien mit Hingabe gemalt und akkurat aufs Bild, in Szene gesetzt werden, schnauben den Betrachter*innen doch meist einfach zwei schwarze Löcher an … Einfach noch so schnell hingetupft, mit der Spitze des Pinsels.

Maly / Schilliger haben übrigens Jahrzehnte einem Laster gefrönt: Sie rauchten Zigaretten der Marke Rreevvaall.

42 43 44 45 NAIRSÜNALV

Install Action

Büvetta Nairs, Tarasp 2011

46 47 48 49 50 51 52 53 54 55 Monument Ginger Society Tirana

Tirana Art Lab – Center for Contemporary Art in Albania Qendra Sociale, Hoxha Tahsin, Tirana

Bau: 11. April bis 6. Mai 2011; ausgestellt bis 20. Mai 2011 Mit Unterstützung des „Swiss Cultural Exchange-Program“ der Pro Helvetia

Ginger Society Tirana: Rozi Malo, Arber Zaimi, Sead Kazanxhiu, Ema Andrea, Enio Hajro, Olson Lamaj, Abedin Kadhaj, Katiusha Kadhaj, Leart Kola, Nikolin Bujari, Stivi Kola, Pezana Rexha, Amos Zaharia, Matilda Odobashi, Ilda Ibro, Denis Golgota, Myslym Demetja, Ilir Kaso, Armando Qoshku, Valerian Maly, Adela Demetja, Flavio Qarrt, Ernard Dyli, Marvina Çela, Sokol Qafleshi, Donika Çina, Darsel Demetja, Florjan Fejollari, Erilda Selaj, Endri Dani, Ermal Merdani, Klara Schilliger, Entela Hoxha, Alketa Ramaj, Aklervi Kadhaij, Romina Ruda, Sembie Gishto.

56 57 58 59 60 61 Book of Jonah

Install Action

Marks Blond Project – Raum für zeitgenössische Kunst, Bern 2010

For their performative installation “ Book of Jonah ”, the artist couple Klara Schillger and Valerian Maly appropriated the corresponding Biblical text in interlinear translation ( Hebrew, German ). In a two - week long action, the performers drew the word for word transcription of the original Hebrew text with charcoal crayons on the walls of the project space “ Marks Blond ” in Bern. The charcoal crayons used in the process were themselves produced in a performative process accor- ding to a formula by Cennino Cennini ( c. 1370 – c. 1440, Florence ) from the “Libro dell ’arte o trattato della pittura” ( “Book of Art or Treatise on Painting” / known as “The Craftsman’s Handbook” ).

The two performers made use of their meditative work in the project space on Spichergasse in Bern for a wide - ranging reflection on the process of writing and the act of putting something into writing, on the corpus of text and the corporeality of letters. On separate occasions, the Jonah text of the interlinear translation was read before the public in German, Hebrew and also Arabic ( Koran : Sura 37, “As - Saaffat” ).

Sibylle Omlin

Accompanying the performative installation is “ Da Colle Valdelsa ” ( 2010 ), a pigment / color print on Moab Entrada, 42,5 × 57 cm, signed and dated on the reverse; Edition of 7 copies.

62 63 64 65 66 67 MONUMENT GINGER SOCIETY THUN

Install Action

Ceremonial Act Ginger Society Thun, June 20, 2010 Kunstmuseum Thun, „Utopie & Alltag : Im Spannungsfeld zwischen Kunst und Bildung” July 17 to September 5, 2010 Concert Ginger Ensemble Bern, Kunstmuseum Thun, September 5, 2010

Monument Ginger Society Thun. Install Action by Klara Schilliger and Valerian Maly Existing structures and discourses should not be seen as static and stable entities, instead, a view should be more strongly directed toward historical discontinuities, ruptures and, above all, the Building – Shaping : With the construction of a colossal ginger, the Ginger Society Thun, establis- construction requirements of structures. hed on June 20, 2010 in the Thunerhof, is actually playing a complex game. A temporary Holding a ginger rhizome in one ’ s hand, it is hard to imagine how it grew; with protrusions from monument is built for ginger, in its botanic definition as a rhizome, as a metaphor for a non - hier- all sides, what is up or down, left or right is hard to determine with any certainty. Ginger grows archical object. Monuments are usually erected to exalt important personalities, cathedrals are in all directions ; wherever it finds space and nutrients, it forms a widely ramified storage network. built on a monumental scale, a claim to power is demonstrated. A monument ( from the Latin Rhizomatic structures are ubiquitous today, with Wikipedia as a vivid example : though it is true monere to remind; mens mind ) is defined as a significant or important memorial of large that certain organizational structures can be created within this scientific world, these are dimensions; in particular, a monument should permanently preserve the memory of historically nevertheless again by internal links and lines of connection. important persons or events. And thus, we commemorate the importance of ginger, and pay By building the Monument GingerSociety Thun, a temporary utopia was created within the exhibiti- homage to its sublime pungency ! on “ Utopia and Everyday Life ” – but always with a wink. The utopia – according to its original Importance : Toward the end of the 70 s and beginning of the 80 s, a strange word from botany meaning, a non - location ( from ancient Greek οὐ - ou - “not” and τόπος tópos “ place ” ) – was suddenly appeared in the context of art : the rhizome. In their famous text on the rhizome, which assigned a space in the former dining hall. Utopia is effectively understood as wishful thinking appeared as the introduction to their book Mille Plateaux ( A Thousand Plateaus ) in 1976, Gilles characterized by the fact that though it may be conceivable and, in many cases, desirable, it is, in Deleuze and Felix Guattari point to the characteristics of rhizomatic plant structures as an just as many cases, not yet or no longer viable against the prevailing historical - cultural back- alternative to the hierarchical scientific model of the tree, because in contrast to the latter, they ground. The colossal ginger is a monumental sculpture constructed out of wooden slats, wire and are open to potential changes in ways of thinking as, for example, shifts of perspective in research papier maché whose permanence lies in its intentional transience, whose shape is too complex to and understanding. Crossovers and intersections are favored, as well as elements belonging to imagine and whose volume is too extensive to be wholly grasped. To test utopias, in this case, also many levels of organization. With their appeal to an open way of thinking in multiplicities means working together with the people of Thun to build a sculpture, collectively shaping, over ( “Make rhizomes, not roots ! Don ’ t be one or many, be multiplicities ! ” ), Deleuze / Guattari the course of three weeks, an entity that is as non-hierarchical as possible. formulate a critical approach to structuring concepts, normative ideas and theoretical principles. Klara Schilliger and Valerian Maly

68 Planning and Prototype of the Monument Ginger Society Thun

69 70 71 Market Stand and Founding Ceremony of the Ginger Society Thun, Thunerhof, June 20, 2010

72 73 Construction of the Monument Ginger Society Thun

74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 Founding Concert of the Ginger Ensemble on the Occasion of the Finissage, September 5, 2010

90 91 92 Participants in the Install Action Monument Ginger Society : Kaspar Hochuli und Joder von Rotz ( construction supervision ), und Otmar Aebersold, Therese Aeschbacher, Maya Amstutz, Pia Anliker, Iris Bischoff, Denise Blum, Gérard Blum, Lea Bolognesi, Sina Bolognesi, Diana Dericks, Silvia Egli, Peter Engel, Erika Fourti, Petra Giezendanner, Annemarie Gisler, Nicole Gonin-Burger, Kathrin Grunder, Jenny Grunder, Christa Gubler, Tanja Hählen, Helen Hirsch, Cornelia Hochuli, Felix Hochuli, Franziska Hochuli, Sina Hochuli, Jürg Hofstetter, Carola Jakob, Pamela Jakob, Simon Jakob, Therese Kropf, Cyrill Lim, Yaphel Lobsang, Helena Lüthi, Marianne Lutz, Gabriela Moeschinger, Noelle Pia, Lisa Ratjczak, Verena Renggli, Dan Reusser, Lucien Rusch, Helena Saehrendt, Lorenzo Salafia, Sabine Schall, Sibylle Schneider, Rajethan Shanmugam, Sara Smidt, Lara Stanic, Rahel Stöckl, André Suter, Michael Tamke, Raphael Thut, Barbara Vetter, Christine Vögeli, Esther von Rotz, Salomé von Rotz, Sepp von Rotz, Devis Wegmüller, Josephine Wegmüller, Loris Wegmüller, Mende Wegmüller, Jelena Widmer, Hans-Ueli Wüthrich, Andrea Zurfluh.

With special thanks for support to : Kultur Stadt Bern, Amt für Kultur / Kanton Bern, Stadt Thun, as well as Atelier Simon Tschachtli Bern / Visual Interaction; Sphere Design Bern / 3 d - Animation; Walter Tschanz / Coop Bau and Hobby Thun - Strättligen; Ludwig Scheidegger / BAG Frutiger AG Thun; Hugo Ryser and Manuel Schüpfer / Media Lab HKB; Urs Gehbauer / Werkstattleiter HKB; Sepp Rüeggsegger, Oberdiessbach.

93 UWAGA UWAGA, S / Z / C / Z ! – ACHTUNG, ACHTUNG ! S / Z / C / Z ! UWAGA UWAGA, S / Z / C / Z ! – ATTENTION, ATTENTION ! S / Z / C / Z !

Install Action ulice w centrum miasta / downtown streets 19. / 20.06.09, Performance Intermedia Festival 2009 Szczecin S Z C Z

06.19.09, Muzeum Narodowe / National Museum Performance Intermedia Festival 2009 Szczecin

During the Performance Intermedia Festival we drove daytimes in, through and around Szczecin in a car equipped with a loudspeaker :

“ UWAGA UWAGA ! S / C / Z ! OBECNIE NA TERENIE MIATA PRZEBYWA WIELU ZLODZIEI CZASU ! PROSIMY O ZWIEKSZONA OSTROZNOSC ! ” “ Attention, Attention ! S / Z / C / Z ! There are a lot of time thieves out again today ! ” “ UWAGA UWAGA ! S / C / Z ! OBECNIE ZNOW PRODUKOWANE SA ZNACZNE ILOSCI CIEPLEGO POWIETRZA ! ” “ Attention, Attention ! S / C / Z ! There ’ s a lot of hot air being produced again now ! ” “UWAGA UWAGA ! S / C / Z ! PORUSZA SIE PAN PO NIEPEWNYM GRUNCIE ! ” “ Attention, Attention ! S / C / Z ! You ’ re moving on slippery parquet ! ”

94 95 A tradition at the Performance Intermedia Festival is the “ late night ” at the National Museum Szczecin : for one hour – throughout the whole museum – various performances simultaneously take place. Whereas in 2006 we performed in the stairwell with a used deep sea rope, this time we chose the African department. For one hour long, we posed quietly frozen alongside imposing African sculptures and figures, and modulated the consonants S Z C Z with our mouths ; a conti- nuous phonetic transformation of hissing and buzzing noises filled the space vested with fetish objects. In our hands, we held a compressed bale of hay that we pulled apart, little by little, over the course of this hour. Every now and then, we blew gold leaf over the straws.

96 97 98 99 100 RAUM, FLIEGEND SPACE, FLYING

Performance migma Performance Days Lucerne 03.21.09, Verkehrshaus Switzerland

1 hour and 48 minutes. That ’ s how long the first manned orbit of the earth lasted in 1961, piloted by cosmonaut Yuri Alekseyevich Gagarin, whose orginal space suit is exhibited alongside the suits of other famous space travelers in the Verkehrshaus Lucerne. 1 hour and 48 minutes is also how long our performance lasted, during which we set off on a real - virtual trip in space suits specially designed for the performance. Based on photographs of galactic constellations that we discovered in the department of space travel, we had 6,480 small bells sewn onto our suits ( analogous to the seconds of duration of the orbit ); a protective suit of bells, similar to a coat of armor. With Gagarin in our midst, we circumnavigated the earth in the display case that served as our capsule. Equipped with headsets, in a kind of automatic speech - song, we called out things and actions that served as a description of earth from an imagined distance of 237 kilometers.

101 102 103 104 DIANES CHASSERESSES DIANAS HUNTRESSES

Install Action

Award Ceremony of the Prize of the Art Commission of the City of Bern 2008 Set Design : Diana Dodson to Klara Schilliger and Valerian Maly Diana I : Norbert Klassen Schlachthaus Theater Bern, March 8, 2009 Diana II : Barbara Meier-Cesta Diana III : Manuela Trapp Faun I : Rudolf Steiner Act I Faun II : Ralf Samens Cupid : Johannes Gfeller As recipients of the Prize of the Art Commission of the city of Bern, we used the award cere- Aktaion : Stefan Pallmer mony itself as an opportunity to turn a long - cherished idea into reality : the mise - en - scène of the Pheasant : Beate Engel painting “ Dianes Chasseresses ” ( “Dianas Huntress es” ) by Susanne Schwob as a tableau vivant, cast Rabbit I : Eva Winkler with protagonists of the Bern art scene and friends. Rabbit II : Sara Smidt Snipe : Rolf Winnewisser This painting is an assemblage of motives from Peter Paul Rubens ’ work and depicts Diana, Squirrel : Claudia Jolles goddess of the hunt ( in triplicate ), resting after a hunt and surrounded by fauns. On the right is Gray heron : Gisela Hochuli Aktaion who was transformed into a deer and slain by Diana. This painting belongs to the Badger : Simon Rambert inventory of the apartment of the Foundation Susanne Schwob where we live and work. Peacock : Daniel Suter A requirement of the foundation, however, is to leave this painting on the wall, in other words, Woodcock / wood grouse : Vincent Chablais to live with it. We literally live with this painting and, hence, on March 8, we staged it as a tableau Roe Deer I : Klara Schilliger vivant. The cast remained secret up until the award ceremony ; even the protagonists had no idea Roe Deer II : Valerian Maly of their good fortune. The “ actors ” were “ plucked ” from the audience, which caused a bit of a stir and some amusement. Improvised “ faunic ” music accompanied the action, performed on clarinets Music : Donna and Ernesto Molinari ( clarinets ) and Teresa Hackel and recorders. and Claudia Heinisch ( recorders ) The award ceremony as staged photograph – as theater within theater. Photograph of the tableau vivant : Adrian Scheidegger

105 106 107 108 109 Act II

After the dinner that followed in the Villa Schwob, the photograph of the tableau vivant was ceremoniously hung next to the original.

110 GERÖLLE COLLARS

Performance a tribute to terry fox 01.17.09, National Galerie at the Hamburger Bahnhof Museum for Contemporary Art Berlin recalling terry fox 10.08.09, Moltkerei Cologne

As both a testimonial and bow to our artist friend Terry Fox, who passed away in October 2008, we re - staged one of the small miracles of his “ Children Tapes ”, an early video piece from 1974. Starting from five bent matches arranged in the shape of a star, the force created by the drops of water added to the center slowly displaces them to create a pentagram.

As a salute to the sound artist Terry, we brought two suitcases full of horse collars ( complete with bells ) from Central Switzerland. We very gently put on one after the other – always being careful, as much as possible, not to make a sound ; an impossibility, for movement always produces a sound. The most delicate bell sounds of varying pitches soon lead to an enormous density of massive collar sounds.

“ Klara Schilliger and Valerian Maly celebrate the avoidance of noise by piling on horse collars as slowly as possible. The audience holds its breath for the duration. John Cage ’ s 4:33 Minutes, that was yesterday ! Today Klara Schilliger and Valerian Maly fill the time with silent tension. Music here is music as long as it doesn ’ t sound. And where Cage has the pause sound as a special occurrence in music, here the two performers demonstrate music as the avoidance of sound. A strange and, thus, highly modern virtuosity of the 21st Century which finally gives way to an ecstatic dance. ” ( Frieder Butzmann )

111 112 113 114 IN GOLD GERITZTE RANKEN section also includes information on technological investigations of the retable as well as TENDRILS CARVED IN GOLD its formal derivation, embedded in an account of the artistic situation in the late Middle Ages.

Install Action With its photographs of the outer and inner spaces and with detailed views of the high altar, the art guide presents an attractive series of pictures. on the occasion of the Exhibition “ querfeldein – Contemporary Art in Goms ”, Münster - Geschinen 2008 At the same time, however, this art guide is also an artists ’ notebook. In an introductory text, Klara Schilliger and Valerian Maly describe the altar from their perspective. Starting point for this is a photograph of the altar shrouded behind a purple cloth during Holy The late Gothic high altar of the Parish Church of Münster was the theme and point of Week – notes on the visible, as the invisible, on appearing and disappearing, on empti- departure for the interventions and research of Klara Schilliger and Valerian Maly. ness and fullness, on questions about the picture behind the picture. Incorporated into a partial issue of the art guide is an artists ’ “ insert ”: a transparent paper which quotes, in “ Tendrils Carved in Gold ” is a two - part work that consisted of the production and random order, terms such as “ baldachin ”, “ predella ”, “ acanthus ”, “ superstructure ”, publication of an art guide ( Easter 2009, to coincide with the 500 year anniversary of “grisaille painting ”, “ floral arabesque ”, but also “ Barbara ”, “ Holofernes ”, “ King David ”, the consecration of the high altar ) and an extensive large - scale Install Action involving “ Jesse ”– as a kind of associative poem which is laid over the art history text. various objects that took place beforehand, leading up to and referencing the appearance As a special edition, some of the notebooks are covered in gold leaf. of the art guide. The Install Action The Art Guide From the end of June 2008 until Easter 2009, old windows began turning up at The high altar is esteemed by experts as a cultural artifact of national importance. The different locations in Münster and surrounding areas. These were engraved with words work of the Lucerne wood sculptor Jörg Keller was created in 1509 and can certainly be such as “ press brocade ”, “ sudarium ” and “ drolleries ” – as in the “ insert ” of the art compared with the works of famous artists such as Tielman Riemenschneider or Jakob guide, terms that came from Walter Ruppen ’ s description of the altar from 1968. As a Russ. All the more regrettable that for some time now, no convenient publication on the visual reference to the high altar, each window was also furnished with a piece of gold historical art monument had been available, as is customary for other art monuments. leaf. The windows were collected and modified starting in May 2008 during building Our main contribution to the exhibition “ querfeldein ” consisted in the publication of a restorations in Goms. Like mushrooms, the windows appeared and disappeared as a new art guide through the Society for Swiss Art History GSK ( in collaboration with the rather coincidental, inconspicuous-conspicuous event, installed in an unpredictable association “ Culture Landscape Münster - Geschinen ” ). temporal - spatial order. Through the window panes, one could see portions of the village or the landscape. Together with the engravings, they evoked associations with In the main section, art historian Benno Mutter from Goms describes the high altar. In this altar : a kind of glass book whose pages were scattered over the village and the addition to narrating the sceneries and the describing the saints and their attributes, this landscape.

115 116 117 118 ARRIVAL ZONE – VAPOUR TRAIL – DEPARTURE ZONE

Install Action for the Narita Airport and Shimbashi Station, Tokyo Festival “artists as activists”, Tokyo 2007 arrival zone / departure zone took place at the airport immediately after arrival and before departure – vapor trail took place in the middle of the week in the middle of Tokyo.

arrival zone

Immediately after having set foot on Japanese soil, Klara Schilliger and Valerian Maly greeted passengers arriving from various international and national destinations with signs and flowers, as is customary in the arrivals hall where hotel bellboys or chauffeurs come to pick up their new guests. But instead of surnames and places of lodging, the signboards were inscribed with words from everyday life such as “ death ”, “ money ” or “ love ”, the names of famous foreign personalities who have influenced Japanese history, as well as popular and unpopular Japanese public figures. The result was a continuous “ name and term dropping ” from history to the present, from slang to more specialized names and terms ( such as “ Admiral Mathew Perry ”, “ Marcel Duchamp ” or “ bubble economy ” ). A quiet performance. Poetic, but not without provocation.

119 120 121 122 123 vapour trail

The two Swiss artists arrived in Tokyo with very heavy luggage : their suitcases were filled with stones from the Aare, the river that flows through their home city. In Tokyo, they had the stones frozen into two blocks of ice. In the square in front of the Shimbashi Station – the busiest train station in Tokyo – the artists set to work on a large imaginary symbol. They dragged the blocks of ice with the stones frozen inside it over the square : Valerian Maly carried his on his back while Klara Schilliger pulled hers along on a cord. With the water from the melting blocks of ice and the stones falling from them, they gradually drew a path – in the form of a pentagram – in the metropolis of Tokyo. Trails of condensation. As in heaven, so on earth.

124 125 126 127 128 129 130 131 132 departure zone

Whereas “ arrival zone ” was a quiet performance – consisting only of signboards inscribed with names and words being held aloft – the performance “ departure zone ” was acoustic “ sound poetry ”. Klara Schilliger and Valerian Maly took leave of Japan with names and words that they learned in Tokyo. Inside their jacket pockets, they also had with them photos clipped from the daily newspapers along with gold leaf. While calling out the words they learned in the departure hall, little by little, they took the picture material and the gold leaf from their pockets, and, gently blowing it away from their open, flat hands, let it float into the airport concourse.

133 134 135 136 MARKSBLOND - BLASTER

Install Action

Inhaling – Exhaling for one hundred artists

Marks Blond Project – Space for Contemporary Art, Bern 2007

On September 29, the Cube of “ Marks Blond Project ” was exploded by the breathing of one hundred artists.

All artists form the previous ninety - nine Marks Blond projects were invited to actively take part in the Install Action MARKSBLOND - BLASTER.

Equipped with harmonicas, they were asked to gradually form themselves into a multi - voiced, slowly pulsating sound by inhaling and exhaling on one tone inside the cube. As soon as the entire body of artists breathed uniformly, the cube burst. The Install Action was captured by a film team on “ digital celluloid ”. The process of filming was part of the Install Action itself, while, at the same time, a film is actually being produced.

137 138 139 140 DER SEIDENSCHREI – LE DERNIER CRI SILK SCROOP

Install Action sonambiente soundart Berlin 2006

Pure silk is the material from which this Install Action is woven. Swathed in panels of silk fabric, the performers wander blindfolded between the dancers of a baroque ensemble who, dressed in period costumes, perform historic choreographies in the space. Only the rustling of the silk and the sequence of the footsteps accompany an inaudible, imagined baroque music. The precisely measured paths and movements of the dancers contrast with the slow movements of the two performers who stroke and squeeze the shimmering fabric and, listening, test its authenticity. For the quality of the silk is recognized by its sound. The typical rustling sound of the fabric, reminis- cent of the sound of stepping onto freshly fallen snow – the “ silk scroop ” – was once regarded as the identifying mark of ladies of the upper class. But the two performers do not only appear as “ silk scroopers ”, they also function as mediums : Speaking through them is Nicola Sabatini, who, in 1603, published the first handbook on stage technique, Practica di fabricar scene e machine ne’ teatri, an introduction to stage design and the construction of machines for the theater.

141 142 143 144 145 146 147 148 HELLO !

Performance

Festival BONE, Schlachthaus Theater Bern 2005

The parrots were furnished with the first names of the artists for the duration of the perfor- mance. Preceding the performance was a survey to ascertain the five most important words – to be counted on one hand. These were to be taught to the macaws during the performance. Unforgettable the scene at the Performance Festival BONE 2004 in the Bern Schlachthaus Theater where the two blindfolded actors attempted to teach two parrots, sitting next to them on perches, to talk. Alternating rhythmically, the performers called in turn, one hour long : “ Klara ! ” … “ Valerian ? ” … “ Klaara ? ” … “ Valeriaan ! ” … “ Love ” … “ Luck ” … The birds flapped their wings and squawked, but remained unteachable, no human sound issued forth from the beautiful paradisal pair.

( Beate Engel, miteinander untergehen ( going under together ), in : sonambiente, Catalogue 2006 )

KLARA SAYS VALERIAN SAYS

HELLO HELLO LOVE LOVE MONEY MONEY HEALTH HEALTH LUCK LUCK DEAD DEAD

149 150 151 152 153 154 I NEED YOU – Imperfections ( Music for Walkman IX )

Install Action

Ausstellung “ I NEED YOU ”, Centre Pasqu Art Biel, 2004

For the exhibition “ I NEED YOU ” at the Centre Pasqu Art, the two performers realized a long - cherished wish : they appeared, so to speak, as D J s, albeit, for a silent discoteque, because the music can only be experienced over headphones. Portable CD players are gradually distributed among audience members containing songs of different styles and epochs that pick up on the title of the exhibition. Each observer is invited to become an active listener and thus becomes part of the action : Those already in possession of one of the CD players will listen to the song contained on it, will hum, whistle or sing and possibly dance to it – forgetting themselves. The “outside ” observer will view a dancing throng out of synch : Each dances according to his own style, but also exactly according to his own rhythm and tries to warble along with the songs - as well as he can.

155 156 157 158 159 160 MIT FREMDEN FEDERN SCHMÜCKEN ADORNING ONESELF WITH BORROWED PLUMES

Install Action

“ Fremde im Prättigau “ – a Hasena project, Dalvazza 2004

Over the course of three weeks, from September 18 to October 10, 2004, Klara Schilliger and Valerian Maly realized their Install Action “ Adorning Oneself with Borrowed Plumes ”. On September 18, in a carpenter ’ s workshop in Ascharina, as evening turned to dusk, they publically performed – as well as they possibly could - the song “ Gute Nacht ” from Schubert ’ s “ Winterrei- se ” ( “ fremd bin ich eingezogen, fremd zieh ich wieder aus ” – “ As a stranger I arrived, As a stranger again I leave ” ). During the recital, the piano is gradually dismantled into individual pieces and completely taken apart : key by key, hammer by hammer, string by string, large parts are sawed into smaller ones. The song is repeated until all of the piano parts are packed into several knapsacks. The performance comes to an end with the artists moving on. Klara Schilliger and Valerian Maly now wander out from Ascharina in different directions, all the while searching for bird feathers. At each place where they find a feather, they leave behind, in exchange, one of the piano parts bearing the inscription “ fremd bin ich eingezogen, fremd zieh ich wieder aus ”. The action / wandering continues until all of the piano parts have been exchanged with bird feathers, the two performers wearing bird costumes – “ adorned with borrowed plumes ”. For many years, – scattered throughout Prättigau - piano parts with the inscription “ fremd bin ich eingezogen, fremd zieh ich wieder aus ” will still be found.

“ Adorning Oneself with Borrowed Plumes ” is in reminiscence of Franz Schubert and of Philip Corner ’ s piece “ piano activities ” ( 1962 ), in which the score consists of only one instruc- tion: to elicit sounds other than melodies from the piano.

161 162 163 164 165 166 167 168 STABILE RUNDE STABLE ROUND

Install Action

Opening of the PROGR_Center for Cultural Production, Bern 2004

The British artist Patrick Hughes set a world record in 1973 with 80 participants for his unsup- ported circle – a “ friendly vicious circle ”. Those present were asked to position themselves one behind the other in a large circle, to then simultaneously sit down on the knee of the person directly behind him. On the occasion of the opening of the PROGR_Center for Cultural Production Bern, the two performers aimed at topping this record with the help of the populace of Berne. Members of the culture scene, politicians and additional audience members were invited to the Waisenhausplatz. Who in fact sat on whose knee, however, was decided by lottery.

169 170 171 172 SARABANDE DOUBLE

Performance / Installation complice, Berlin 2002

trip hop – hardstep – elektro – emo - core – ouverture – ragga – breakbeats – gigue – abstract – cappriccio – euro - trance – kindergarten techno – diferencias – deep house – vocal house – EBM – ambient – drum ’ n ’ bass – techno – garage – grunge – dub – acid house – trance – hip - hop – acid jazz – minuet – nu metal – r ’n ’b – Goa – Chicago house – prélude – happy hardcore - bourrée – gabber – trance house – acid trance – trance core – impromptu – hard trance – jungle – passacaglia – sarabande – new romantic – raggamuffin ’ – psychedelic – gavotte – DEF - metal – rave – progressive – tram & bus – big beatz – chaconne – phat beatz – reggae – soul – be bop – Lied – ragtime – pavane – waltz – acid rock – Ländler – aria – hillbilly – magnificat – requiem – skiffle – march – cantata – oratorium – spiritual – gospel – psychedelic rock – canon – impromptu – jazz rock – Nashville sound – baroque rock – white blues – scat – gavotte – fugue – bluegrass – psalm – rock ’n ’ roll – opera – a capella – country – Latin rock – habanera – rondo – hard rock – Boston sound – raga rock – passion – toccata – lacrimosa – …

Spoken words to accompany footsteps on glass surfaces, bursting panes, amplified sounds of bubbling mineral water, gilded press photos, postcard amplifier, candles on a scale, Takehisa Kosugi ’ s “ Micro I, 1962 ”, bird drawings on wall, clay balls as bullets, Robert Watts ’ “ Trace for orchestra 1964 ”, fish scales.

173 174 175 176 177 178 GLAS STERN GLASS STAR

Performance

“ SIX EARS – New Music in St. Petri 1998 ”, Dortmund Performance Art in N R W, Maschinenhaus / Zeche Carl, Essen 2000

The performance ended as dusk was approaching, so that the space became immersed in darkness as daylight faded. The floor was covered with a 7 × 7 meter square of glass plates ( 196 pieces, 50 × 50 cm, 1 mm ).

The performance is based on a simple choreography : Two equilateral triangles, interlocked in a hexagon, are traced into the glass floor by performers walking and playing violins. The paths cross one another, sometimes they run parallel. Each side of a triangle corresponds to the tone of an open string of the violin. The paths are paced off at individual tempos so that, both choreographi- cally and acoustically, a phase shift occurs, an organic minimal music, detached from a strictly through - composed pattern. The use of the open strings as the only sound material results in a changing, harmonically rich sound that is reminiscent of an orchestra tuning. By walking on the glass, the panes rupture and a six - pointed star gradually comes into view through the shards.

The process of the two performers walking and playing the violin is interrupted now and again by separate actions while the violin playing of the other continues. V M distributes pieces of an apple to the audience, K S positions herself on the edge of the square and directs her gaze into the arches, a fish is scaled by K S. While V M, undressed and barefoot, continues to follow the path of shards playing the violin, K S shows press pictures from the series “ Nice Pictures – Bad Pictures ”.

The performance comes to and end after approximately 50 minutes.

179 180 181 182 183 184 THE COMPOST HEAP IN US ( 100 Glasses Of Booze )

Performance

Festival Asiatopia 6 / 2004, Chiang Mai /Thailand 2004

“ Klara Schilliger and Valerian Maly created an experience that pushed the limits in their work which made possible a connection to the current political situation, but beyond that, also revealed a very philosophical dimension in naming the names of prominent figures. Standing on a table were small glasses filled with Mekong whiskey. After a name was called out – anything from Alexander von Humboldt to Marilyn Monroe, to Thaksin – the glass was emptied and in the classic style, thrown against the wall behind the performers, where it naturally shattered, at the latest, on the stone floor. The audience intervened and participated by supplying names of their own. The ending had a surprising, very poetic resolution that dealt with a custom in Chiang Mai ( where, in a temple precinct, one buys small birds in a braided basket which are then set free for good luck ). ” Rolf Hinterecker in : Asia Topia 6 / 2004 Mild Conflict

185 186 187 188 WASSERN WATERING

Performance

Seedamm Cultural Center Pfäffikon 1998

For one time, the Pfäffikon Performance Day was moved to Lake Zurich. The performances took place during a tour with the ship “ Albis ”. With an old standing skiff, the two performers rowed in front of the bow of the motor ship and, in this way, interrupted the tour. From the railing, passengers could follow the action. Armed with buckets, the two artists filled their boat with water while reciting the names of passengers present onboard the motor ship, until the boat sank along with the performers. “ Watering ” is a process that is repeated every year with a wooden boat ; the boat is filled with water so that the wood swells and the planks are made leakproof again.

189 190 191 192 193 OHNE TITEL

Performance 1991 –

Karl - Ernst - Osthaus Museum, Hagen 1991 Kunstmuseum Luzern 1991 Barcsay - Saal, Kunsthochschule Budapest 1994 Kunsthaus Zürich 1995 Centro Galego de Arte Contemporanea, Santiago de Compostela 1995 The Swiss Institute, New York 1996 Städtisches Museum Heilbronn 1996

The performance “ Untitled ” was conceived for an exhibition in a museum and should be integrated into it during the course of a continuous opening day of the exhibition.

For one day, during normal opening hours, the performers sit in a quiet position on two chairs. Dark red velvet cloths cover their heads. Without forewarning, the performers whistle with their mouths during the customary eight - hour opening times. The melodies can correspond with one another, interfere, counterpoint, get ahead of and drown out – to ultimately disappear again into the nothingness from which they came.

194 „ Open Box / Kunstbühne “, Karl - Ernst - Osthaus Museum, Hagen 1991

195 „ Naturkunden “, Barcsay - Saal, Kunstakademie Budapest 1994

196 „ Zeichen und Wunder “, Kunsthaus Zürich 1995

197 „ Signos y Milagros “ / „ Zeichen & Wunder “, Centro Galego de Arte Contemporanea, Santiago de Compostela 1995

198 Städtisches Museum Heilbronn, Abteilung Vor - und Frühgeschichte 1996

199 Photographic Credits

Yaounde Judith Huber a e i o u V Helix – snailwatching karaoke Luis Lumbreras R U M O U R S induced by I G I N G, Beijing Cai Qing FOI Future of imagination # 9, Singapore Watan Wuama FOI Future of imagination # 9, Singapore (Bern) Gisela Hochuli P L E S U N G A N – 181’440 permutations, Indonesien Watan Wuama TTAALLIINN Judith Huber Nairsünalv Ralph Hauswirth GingerSociety Tirana Klara Schilliger und Valerian Maly Buch Jonah David Aebi Dominique Uldry GingerSociety Thun Simon Tschachtli, Bern Kunstmuseum Thun Uwaga Uwaga Bartosz Wojcik; Szczecin ; Artur Magdziarz; Szczecin ; Imprint Raum Fliegend Roger M. Levy, Ebikon Dianes Chasserasses David Aebi, Bern / Burgdorf © 2011 Klara Schilliger und Valerian Maly Gerölle Arne Reinhardt, Berlin Rue du Nord 87 CH - 2300 La Chaux-de-Fonds In Gold geritzt Klara Schilliger & Valerian Maly klara.schilliger( at )gmx. ch Vapour Trial Yoshinori Niwa, Tokyo valerian.maly( at )gmx. ch Marksblond-Blaster David Aebi, Bern / Burgdorf Seidenschrei Sabine Groschup, Wien All rights reserved. No part of this publication may be reproduced, stored in a retrieval Hello Martin Rindlisbacher, Brenzikofen system or transmitted in any form or by any means, electronic, mechanical, photocopying, The Compost heap in us Rolf Hinterecker, Bergisch Gladbach recording or otherwise, without prior written permission from the artists. Mit fremden Federn schmücken I need You David Aebi, Bern / Burgdorf Gestaltung : Sabine Schall, Berlin Stabile Runde Peter Aerschmann, Bern Sarabande Double Sabine Schall und Loredana Fritsch, Berlin Übersetzung : Laurie Schwartz, Berlin Glasstern Clemens Willenberg, Essen Wassern Sabine Schall, Berlin

200 GOTTLIEB. If I only knew, dear Hinze, how you have come by this amount of experience, this intelligence ! HINZE. ( Puss in Boots ). Are you, then, under the impression that it is in vain one lies for days at the stove with one ’ s eyes tight shut ? I always kept studying there quietly. In secret and unobserved does the power of the intelligence grow; hence it is a sign that one has made the least progress when one sometimes has a mind to crane one’s neck around as far as possible, so as to look back at the ground one has already covered. Now do be kind enough to untie my napkin.

Ludwig Tieck : Puss in Boots, Second Act, Berlin 1797

201