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Elisabeth Flunger, born in Bolzano (Italy) lives in Vienna and is a percussionist, performance artist,
sound artist and composer. She studied musicology and ethnology at the University of Vienna and classical
percussion and composition at the University of Music and Performing Arts in Vienna. From 2005 to 2016
Elisabeth Flunger lived in Luxembourg.
As a percussionist for contemporary music she has worked as a
soloist and with ensembles
such as Klangforum Wien, die reihe, Ensemble des 20. Jahrhunderts, Ensemble Kontrapunkte, Ensemble OnLine,
1987-91 duo with pianist Johannes Marian. Improvisation, indeterminate music, graphic scores.
1987-90 les guetteurs de sons percussion duo in collaboration with
Lukas Schiske, occasionally also as a
quartet with Martin Breinschmid and Eggert Pálsson.
1991-94 Chroma duo with
compositions for piano and percussion, improvisation, performance.
1994-98 duo with singer Margarete Jungen.
After the birth of her daughter Ada, she increasingly concentrated on improvised music
and has since played with numerous musicians,
dancers and writers throughout Europe, e.g. with Sylvia Bruckner, Karlheinz Essl, Hannes Löschel, Jorge Sanchez-Chiong,
Elliott Sharp, Kazuhisa Uchihashi, Elisabeth Harnik, Soizic Lebrat, Ute Wassermann, Susanna Gartmayer, Thomas Berghammer and many others.
Long-term collaborations connect her with
Inge Kaindlstorfer and David Ender (luxflux),
Ute Völker, Stefan Scheib and
Katharina Bihler (The Green Noise, The Big Noise),
Chris Janka and Edgar Friedl (Trio bimm or BAM),
Tomás Tello (Duo ET),
Lee Patterson, Emmanuelle Pellegrini and
Emilie Borgo (Croquer les fougčres).
With the dance and music collective Damen-Improvisation &
HerrenBIGbäng she realized performances in theatres and in public spaces.
In collaboration with LUCILIN 2008-2010 in Luxembourg
she organized the ear studio concerts for
improvised and experimental music.
From 2011 to 2015 she hosted the regular improviser’s session
and soup in her house in Luxembourg.
Elisabeth Flunger also works as a musician, composer and performer
in theatre and dance productions, at Burgtheater, Akademietheater, and Volkstheater in Vienna,
with Rose Breuss, Tanz*Hotel, DamenImprovisation & HerrenBIGbäng, LuxFlux,
and the Compagnie Veronika Riz.
Her most recent installations are
the collective video installation The Green Noise,
the Tinnitus Scenes, 12 miniatures with objects and mini loudspeakers, and
the musical marble run, which she keeps setting up in different
versions and places.
In the context of music and art mediation,
she holds lectures and workshops on improvisation and composition for children, amateurs and professional musicians,
among others, as part of the Klangnetze in Vienna, at the Vienna Künstlerhaus, at the Moers Jazz Festival and with
the Orchestre Philharmonique du Luxembourg.
In her (non-scientific) humorous lecture performances, she uses her music to examine how language and images,
expectations and ideas manipulate the perception of reality (Sound and Appearance, Ceremony, Meeting).
Elisabeth Flunger’s favourite instrument is a collection of trash metal objects, used in concerts,
installations and performances. For this instrument she created a series of solo pieces and developed appropriate playing techniques,
not using traditional percussion techniques, but rather working the objects by physical and spatial manipulation: pile up,
crash down, arrange, put, move, push, throw, pull, swing, rock, shake …
In the chaos of the disordered material, movement and repetition generate figures and patterns similar to music.
Music becomes a game where natural principles like chaos, random, gravity and resistance play an important role producing surprise
and suspense. They generate a situation whose destination is unforeseeable, a project opposed to the ordinary (music and life)
concept of sureness, control and efficiency.