Jannik Giger was born in 1985 in Basel. Between 2007 and 2014 he studied at the Hochschule der Künste Bern, the Musikhochschule Luzern and the Konservatorium Basel.
A recurring theme in his video work is the relationship and interaction between composer, interpreter and work. Giger, for example, separates and isolates the conductors as well as the contrabassists of an ensemble in Gabrys (2015). In The Making Of An Exhibition (2014), Giger changes with subtle humor between fictional and documentary levels. He explores the field of superimposed narrative structures that have not yet been measured. In Sunday Lovers (2017), he dismantles not only the components that make up a work, but the instruments as well. The work focuses on the role of staging in advertising, in the exhibition space and in the concert hall, in everyday life and on social media. All this, as in many of Giger’s works, merges into a skillfully staged work that raises the question of how expressiveness and intimacy, individuality, and withdrawal from the mass of standardized gestures and phrases are still possible today.
SAA: What fosters art?
JG: Curiosity, sensitivity, reflection, observation.
SAA: Who is supporting you?
JG: Art and culture communities, private and public institutions, friends, family, foundations.
SAA: Must art be sellable?
JG: Not in the first place, if at all.