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A little break to pause

(Pausing) between the years – what's next guerillaclassics?

A little break to pause


Dear friends
What a crazy year! After almost two years of Corona I thought every event would be a gift. I was almost craving to go to events again. But somehow some things became different. Many concert halls were less crowded than before the pandemic. guerillaclassics does not play in concert halls. 
Fortunately guerillaclassics creates space, wherever we go.
We asked ourselves: Who are we? In the team and with artists we discussed questions like: What does it mean to give power? Who takes power? Will the powerless burn things down before a new order can evolve? Who is in power, who will be? And what about power vs. responsibility? Aaand: What do all these questions have to do with guerillaclassics and our purpose?
guerillaclassics projects play between and in big cultural institutions, companies, public spaces. They play with artists working with guerillaclassics and for audiences in museums, on streets, in clubs and hidden factory buildings in Seebach or Kinshasa. People are coming together again after the two Corona years and in this process there is friction, conflict and also closeness happening.
With the abundance of fields of work and research, of topics and the diversity of the people that I personally came in touch with again this year as the director of guerillaclassics, one central topic stood out to me:
Even though we have already broken off projects due to tensions and disagreements with guerillaclassics, there are apparently continuous ways in which the work can go on, differently, but further and continuously and also again and again with new and “old” artists and participants. This loyalty and commitment touches me. The love for music and the will of all who work with guerillaclassics to bring these different sounds to the people flows and is as strong as ever. And for this trust in all directions, despite the many mistakes and adversities, for the courage to always want to learn and see and hear new things – for this I am grateful.
In this sense, I pause quietly with the view of the past year and ask myself: what will 2023 – out of all this – bring?
And a quiet voice says: "I don't know. It will be exciting. It will be beautiful. And it will bring people together. And the music that will emerge will do what power is not so good at: It will transform inexplicable themes into a whole lot of feelings that will create the most unexpected, 'random' links..."
So I pause now and wish all of you, peaceful days and a transition into a new year – full of music and... serendipity !
with the guerillaclassics-team today consisting of Jakob, Sam and Sandra


How to... festival? This was the question we asked ourselves at the beginning of the year. We wanted to celebrate the fifth anniversary of guerillaclassics: In several brainstorming sessions, all artists associated with guerillaclassics were invited to contribute their ideas and develop new formats and programmes for a festival in the summer.

Berlin calling! was the motto at the end of March. As part of the transformation process, we spent a weekend together in the German capital and dealt intensively with the association structures, current issues and internal and external challenges in a mediation workshop. 

If John Denver's Leaving on a Jet Plane makes for moist eyes at airports, then it's Bosnian Sevdalinke at bus stations. In May, soprano Jelena Dojcinovic and accordion player Nermin Tulic bid farewell and welcome to travellers at the Sihlquai bus station and the old Letten train station with love songs from Bosnia.

What does it sound like when a violinist can hardly lift her bow while playing because her arms and hands are wrapped in bandages? In Yoko Ono's Sky Piece for Jesus Christ, the orchestra becomes a sculpture: while playing, the musicians are wrapped in gauze bandages. In early summer, Ensemble Bayona brought Ono's piece to Bern and Aarau in a guerrilla action – and got themselves into trouble. 

In July we let ourselves drift – with the music of the free flow festival. For the fifth anniversary of guerillaclassics, everything revolved around music, creation and coming together for five days. There were around 50 musicians with whom we had already worked in the past – as well as some we had the pleasure of meeting for the first time at the festival. Together they presented programmes that had been developed over months for the festival.

Open air concerts in October? For sure! After a successful launch in fall 2021, we once again transformed the amphitheatre next to the picturesque pond at the Uni Irchel into a stage. Curated by clarinettist Riccardo Acciarino, three different ensembles surprised the students during the lunch break with pieces by Bach, Brahms and Kovacs.

Wanted: new team members!


In the course of the transformation process, which has now lasted a year, it has not only become clearer to us how and what we want to work on in the future – we have also been able to uncover some weak points in our structures and know-how. How do we manage to close knowledge gaps, work on our blind spots, position ourselves more broadly and at the same time dive even deeper into certain topics? By doubling our team! As of 1 March (or by appointment), we have two new positions available: Co-Leadership & Production (60%) and Content Research & Communication (30%). More information about the tasks and requirements can be found here.


guerillaclassics can exist thanks to generous contributions from private and institutional donors. We are very grateful for donations!

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