9/30/2013
Topographies of The Obsolete: Vociferous Void
Images from the opening on 27th. September of Topographies of The Obsolete: Vociferous Void, exhibition at the former Spode factory, Stoke on Trent, have now been added to the Re: place gallery. Congratulations to our sister project Topographies of The Obsolete on an impressive exhibition and a very successful opening! More information at http://topographies.khib.no
9/26/2013
This must be the place (part I) Photos from the exhibition:
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Symmetri from Supernumerary by Anne Marthe Dyvi
Applikert Draperi from Supernumerary by Anne Marthe Dyvi
Heaven Can Wait by Bull.Miletic
Heaven Can Wait by Bull.Miletic
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Les Conseilles by Ellen Røed and Signe Lidén
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| stills from Two films about pressure by Andreas Bunte |
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beyond by Signe Lidén
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9/17/2013
Bull.Miletic - Heaven Can Wait: The Revolving Restaurant as Cinéma Trouvé
An illustrated lecture at Astrup Fearnley Museum, 19 September, 17.00
More information here:
http://www.afmuseet.no/aktiviteter/2013/september/bullmiletic--heaven-can-wait
More information here:
http://www.afmuseet.no/aktiviteter/2013/september/bullmiletic--heaven-can-wait
9/07/2013
This must be the place (Pick me up and turn me round)
Re:place present:
This must be the place (Pick me up and turn me round)
13 September–24 November
KINOKINO Centre for Art and Film
Olav Kyrresgt. 54307 Sandnes, Norway
Olav Kyrresgt. 54307 Sandnes, Norway
Sandnes kunstforeningOlav Kyrresgt. 5 (KINOKINO)4307 Sandnes, Norway
With: Bull.Miletic / Andreas Bunte /Anne Marthe Dyvi / Signe Lidén /Trond Lossius / Morten Eide Pedersen / Ellen Røed / Jeremy Welsh/ Eamon O´Kane/ Line Løkken
The two exhibitions investigate (relationships between) place, time and memory as manifested in artistic works exploring image, sound, text—or combinations of these. How “place” is constituted, reconfigured, deconstructed, augmented, discussed, described, experienced—through a variety of signifying practices—is the core theme and question. The issue of place is considered both in terms of how artistic practices encounter and interact with actual places and, conversely, how creative acts can take the form of “place-making”. The artists represent both of these positions, often combining aspects of both in their investigations of the complex relationships between image (representation) and memory as lived experience of a specific space or place. The artistic strategies range from the interpretive, through the investigative, to the constitutive.
Re:place seminar at KinoKino 14. Sept
14. September12.00-17.00at KinoKino
Programmet vil bestå av en diskusjon med de deltagende kunstnerne i utstillingen, moderert av Rob Young, skribent og med-redaktør for det engelske musikk magasinet «The Wire», samt presentasjoner av Michelle Teran, Andreas Bunte og Ruben Sverre Gjetsen.
Seminaret lørdag 14. september vil ta utgangspunkt i temaet for prosjektet og utstillingen This is the place (pick me up and turn me round): Undersøkelser av (forhold mellom) sted, tid og minne slik de kommer til uttrykk i bilder, lyd og tekst - eller kombinasjoner av disse. "Sted" som tema undersøkes gjennom kunstpraksiser som arbeider med faktiske steder, men også i forhold til hvordan kunstnerisk virke kan skape steder. Kunstnerne i prosjektet representerer begge disse posisjonene, og posisjonene kombineres også i undersøkelser av komplekse sammenhenger mellom bilde, representasjon og minner som levd erfaring på et bestemt sted. Re:place er et samarbeid mellom kunstnere tilknyttet Kunst- og designhøgskolen i Bergen, Statens kunstakademi ved Kunsthøgskolen i Oslo og forskergruppen i komposisjon ved Griegakademiet, Insitutt for musikk, Universitetet i Bergen, og med ytterligere koblinger til KINOKINO Senter for kunst og film, Sandnes kunstforening, Atelier Nord, BEK og Fotogalleriet.
The seminar will dwell of notions of place in sound and image. Rob Young, writer and co-editor of the music journal «The Wire» will moderate a discusssion with the artists participating in the exhibition This must be the place (pick me up and turn me round). Michelle Teran, Ruben Sverre Gjertsen, and Andreas Bunte, all research fellows at the art academies participating in the Re:place project, will present their work.
9/03/2013
The derivative (touching the curve, sensing the change)
The derivative (touching the curve, sensing the change) is a temporary audio installation by Trond Lossius at the metro station in Hökarängen, Stockholm. The installation is running August 30 - September 5 2013 as part of Augmented Spatiality, a public sound art project for the suburb of Hökarängen in Stockholm in which the artworks, performances and other comprised events are integrated into the social and spatial processes taking place in the public sphere. Augmented Spatiality is curated by María Andueza.
Metro stations can be considered non-places; passengers arrive and spend some time waiting for arriving trains, or pass through the station after having disembarked. Most likely few of them pay any particular attention to the station while there. The space remains ambivalent, and do not incite any sense of belonging. The piece offset this, in particular enriching their experience and awareness of the place for the period of time spent waiting at the station, providing subtle and more explicit alterations and additions to the soundscape at the station.
For arriving passengers, the metro station also serves as a gate, port or entrance to the local neighbourhoods. Although their stay at the platform is brief, Trond Lossius would like to explore the possibilities of the sound installation to provide a flavour of what they might expect as they exit the station and wanders into the neighbourhoods, by incorporating sounds reflecting local culture and soundscapes.
In his works, Trond Lossius generally make use of surround sound played back through multiple speakers distributed throughout the space. For Lossius sound spatialisation (the act of locating sound in space by distributing differentiated audio to multiple speakers) serves a multitude of purposes that includes activating relationships between sound and space, and raising the awareness of and sensitivity to place where the listener is situated. He intends that this sound installation might entice the audience to stay for an extended period of time, contemplating both the work and its site. Trond Lossius proposes using spatialisation to create illusions of sound moving along the platform.
Sound material for the installation will be based on ambisonics surround microphone recordings, made in situ. Rather than recording a specific sound, Lossius records a place, and a clear sense of the place is retained when played back over multiple speakers. These spatial recordings can be further processed, offering possibilities for resulting sound to drift from the authentic to the abstract.
In 1980, the geographer and urban planner Edward Soja coined the term Spatiality to refer to the quality of the space that is inherently social. Having other terms in language related to the spatial, Soja invented this one to denote the space that was produced as a result of the social life. He reflected that way on the production and organization of the social space following the previous work on the topic by Henri Lefebvre.
On this basis Augmented Spatiality has been conceived as a public sound art project for the suburb of Hökarängen in Stockholm in which the artworks, performances and other comprised events are integrated into the social and spatial processes taking place in the public sphere. Addressing on the formation of social space in the city, the project aims to reflect on the ways in which public art and sound creation is assimilated or not by the networks operating in a specific place.
Augmented Spatiality has grown as a collaborative framework of artists, citizens, institutions and public structures in order that the project itself and its development may highlight the ongoing cultural, educational, economical and political events in this suburb of Stockholm. Different topics covering critical walks, gentrification processes, the idea of the local and variations in time of the soundscape and the landscape make of the project a ground of experimentation whose results will be experienced mainly through the listening sensitivity in Hökarängen, a suburb whose history and present time have additionally shaped the whole process.
The well-known sociologist Saskia Sassen asked herself: How could public space be created in the city through architecture and the practice of the citizens? The author proposes in her dissertation to work in modest spaces outside the heart of the cities; modest spaces that are open and are still permeable to differential processes of acting in the city development.
Augmented Spatiality takes place in Hökarängen, a district in Farsta borough, in the southern suburbs of Stockholm municipality. The most representative area of Hökarängen was designed in the 50’s by the Swedish architect David Helldén, influenced by new English ideas about neighbourhood units and community centres. The planning of the modern Hökarängen started in 1940 when an urban planning competition was announced, the so-called Gubbängs-investigation whose premise was a testing ground for the society of the future. Part of the planning that came up from these premises was the pedestrian street, Hökarängsplan, which was the first pedestrian street ever planned in Sweden and is one of the main venues for Augmented Spatiality project.
The derivative (touching the curve, sensing the change) is supported by BEK, Nordic-Baltic Mobility Program, SL and The Municipality of Bergen.
Metro stations can be considered non-places; passengers arrive and spend some time waiting for arriving trains, or pass through the station after having disembarked. Most likely few of them pay any particular attention to the station while there. The space remains ambivalent, and do not incite any sense of belonging. The piece offset this, in particular enriching their experience and awareness of the place for the period of time spent waiting at the station, providing subtle and more explicit alterations and additions to the soundscape at the station.
For arriving passengers, the metro station also serves as a gate, port or entrance to the local neighbourhoods. Although their stay at the platform is brief, Trond Lossius would like to explore the possibilities of the sound installation to provide a flavour of what they might expect as they exit the station and wanders into the neighbourhoods, by incorporating sounds reflecting local culture and soundscapes.
In his works, Trond Lossius generally make use of surround sound played back through multiple speakers distributed throughout the space. For Lossius sound spatialisation (the act of locating sound in space by distributing differentiated audio to multiple speakers) serves a multitude of purposes that includes activating relationships between sound and space, and raising the awareness of and sensitivity to place where the listener is situated. He intends that this sound installation might entice the audience to stay for an extended period of time, contemplating both the work and its site. Trond Lossius proposes using spatialisation to create illusions of sound moving along the platform.
Sound material for the installation will be based on ambisonics surround microphone recordings, made in situ. Rather than recording a specific sound, Lossius records a place, and a clear sense of the place is retained when played back over multiple speakers. These spatial recordings can be further processed, offering possibilities for resulting sound to drift from the authentic to the abstract.
Augmented Spatiality
In 1980, the geographer and urban planner Edward Soja coined the term Spatiality to refer to the quality of the space that is inherently social. Having other terms in language related to the spatial, Soja invented this one to denote the space that was produced as a result of the social life. He reflected that way on the production and organization of the social space following the previous work on the topic by Henri Lefebvre.
On this basis Augmented Spatiality has been conceived as a public sound art project for the suburb of Hökarängen in Stockholm in which the artworks, performances and other comprised events are integrated into the social and spatial processes taking place in the public sphere. Addressing on the formation of social space in the city, the project aims to reflect on the ways in which public art and sound creation is assimilated or not by the networks operating in a specific place.
Augmented Spatiality has grown as a collaborative framework of artists, citizens, institutions and public structures in order that the project itself and its development may highlight the ongoing cultural, educational, economical and political events in this suburb of Stockholm. Different topics covering critical walks, gentrification processes, the idea of the local and variations in time of the soundscape and the landscape make of the project a ground of experimentation whose results will be experienced mainly through the listening sensitivity in Hökarängen, a suburb whose history and present time have additionally shaped the whole process.
The well-known sociologist Saskia Sassen asked herself: How could public space be created in the city through architecture and the practice of the citizens? The author proposes in her dissertation to work in modest spaces outside the heart of the cities; modest spaces that are open and are still permeable to differential processes of acting in the city development.
Augmented Spatiality takes place in Hökarängen, a district in Farsta borough, in the southern suburbs of Stockholm municipality. The most representative area of Hökarängen was designed in the 50’s by the Swedish architect David Helldén, influenced by new English ideas about neighbourhood units and community centres. The planning of the modern Hökarängen started in 1940 when an urban planning competition was announced, the so-called Gubbängs-investigation whose premise was a testing ground for the society of the future. Part of the planning that came up from these premises was the pedestrian street, Hökarängsplan, which was the first pedestrian street ever planned in Sweden and is one of the main venues for Augmented Spatiality project.
The derivative (touching the curve, sensing the change) is supported by BEK, Nordic-Baltic Mobility Program, SL and The Municipality of Bergen.
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