The situation was comparable in 2014 at a concert in the Kunsthaus Graz, where the two performed in Grosse’s painting, towering, several metres high. Once again, they engaged in a verbal and musical dialogue about their art, whereby the text written by Grosse for this occasion referred, among other things, to a portrait of a man by Rembrandt, an illustration of which hung in the exhibition. Rembrandt’s virtuoso way of superimposing layers of painting was relevant to her own work.
In 2017, Grosse and Schneider released their first album together on the TAL label. Its title Tiergarten refers to the park in the centre of Berlin, which Walter Benjamin describes in his collection of writings Berlin Childhood around 1900. In this, Benjamin applies the principle of “dérive” (as aimless strolling with detours and deviations), later elaborated by Guy Debord, to which Grosse’s and Schneider’s method of making music is also subjected.
Grosse and Schneider do not rehearse and do not do soundchecks. Before concerts, they only meet for a conversation to tune into each other and to sound out topics that they wish to take as a basis for their performances, into which they usually, although not always, integrate texts as material. Their music-making is always a spontaneous act in the here and now, which does not follow musical parameters as much as the principle of dialogue. They generate their sounds on analogue synthesisers, avoiding references to specific instruments.
While Grosse creates time clusters of great intensity in her painting through the superimposition of countless layers of paint and the multiple covering of partial areas, her music is subject to linear progression and thus to a different form of temporal experience. Nevertheless, it is also a matter here of generating different intensities.