Prøverommet at Lydgalleriet
An evening concoction of sound based practices spanning spoken word, poetry, song, electronic and artificially generated music, video installation and things in between. The goal is to bring people together across disciplinary interests for an informal and fun evening. Welcome!
With vocal and electronic music performances by Emily Adomah, Frederic Stritter, Karina Sletten (with Martin Borge), video installation by Søren Krag, AI video animation by Espen Tversland and sculptural sound installation by Sonja Ovaskainen; this evening combines very different approaches.
More about the artists and their projects:
Emily Adomah “'Nature Voices' is the attempt to personify the voices of various areas in nature, such as the sea or the desert, through improvisation with voice and electronics. It is part of a bigger compositional framework with the working title 'pollution', which seeks to examine the relationship between humans, sound and nature. By personifying nature, 'Nature Voices' aspires to encourage more climate awareness as nature’s own voice will ring louder in the multitude of human voices.”
Søren Krag For Prøverommet Søren Krag will present the first iteration of a video-installation project carrying the working title: system of clouds and birds. In the installation consisting of several CRT-televisions, Krag attempts to convey the motion of clouds through experiments in randomness, time-lapse and sound.
Sonja Ovaskainen. 'Good Guy' is a sculptural sound installation, a utopist garden where misogynic structures only exist in the minds of harmless fictional trolls. These creatures have been cursed to accompany each other for eternity. Content notice: this work deals with the topic of sexual assault.
Karina Sletten. "'spectres of love' is a sonic reflection of readings and understandings of my own texts, and works of others around the topic of love. bell hooks wrote "All About Love" in 1999. She calls her chapters different aspects of love, familiar, erotic, friendly – looking at its features in various relationships and looking at autonomy within love – whereas I use the word "spectre", looking at the ghostliness of love, a sort of hauntological reading of the illusion or shades of love. How can love or unmet, unrequited, love, make a shadow, a prism, leading to new renditions of unmet and unrequited love? Can one meet and process generations of uncertainty around what love is or feels like to understand how love is practised healthily? The work has previously been shown at Lufthavna MIR in Oslo, and in Usti Nad Labem, Czech Republic. For Prøverommet I perform this piece with another musician for the first time, guitarist Martin Borge."
Frederic Stritter 'Mosaik' is a live set in progress, using a variety of field recordings and electronics. A play of zooming in and out on particular fragments. Sounds are imitated, abstracted or developed into new ones. 'Mosaik' contemplates two opposing positions: - Absolutely nothing is natural anymore -Humans are natural, hence everything created by humankind is natural.
Espen Tversland "'Nowhere to Ἀϝίδης' is an animation using Artificial Images, AI. The soundscape consists of AI generated samples of death metal music made with Musika. The project is an investigation into open source software and community-driven AI models as artistic tools. I am working on several projects with AI as a tool (or as an external body according to some AI tech gurus). I balance (and fall) into many pitfalls and contradictions with these projects. I know there is a great international discussion on ownership, copyrights, climate footprint and whether AI can create full-fledged art. How does the role of the artist and the creative person change when art, text and music are created with a computer model learning? I'm not yet sure what and where AI is or can/should be used, but for now I'm following the tool down the rabbit hole."