RADIO BASED SOUND INSTALLATIONS
For full concept and reflections on radio installations, see bottom of page.
2017 - 2018: Time-Tone Passages, a public radio installation in the Welckerpassage, Bonn-
RADIO TAXI BUENOS AIRES
2016: "Radio Taxi Buenos Aires”, Fundacion PROA Contemporary Space, Buenos Aires
MEANWHILE IN SHANGHAI
2016: "Meanwhile, in Shanghai…(Halle)", Radio Revolten 2, Halle (Saale)
2012: "Meanwhile, in Shanghai…(Berlin)", Singuhr Hörgalleri, Berlin
2012: "Meanwhile, in Shanghai…", Lydgalleriet, Bergen
2011: "Meanwhile, in Shanghai…", Intro-in-Situ, Jan van Eyck Academy, Maastrich
2011: "Meanwhile, in Shanghai…", Skanu Mez / Resonance Riga
2011: "Meanwhile, in Shanghai…", Flanders Festival Kortrijk
2010 - 2011: "Sound Barrier", BGO1, Bergen Art Museum Stenersen
2008/09: "Sound Barrier", Disturbance, Johannesburg Art Gallery
2006: "Sound Barrier", Prefix Institute of Contemporary Art, Toronto
2006: "Sound Barrier", Saint Mary’s University Art Gallery, Halifax, ”The Idea of North”; Sound Barrier
2004-05: "Sound Barrier", Malmö Konsthall, Electrohype
2000: "Cleopatra's Needles"
OTHER RADIO WORKS
2005: "The Idea of North", Iceland, Norway and Canada
1999: "Stations" Bergenhus Fortress
1998: "Ether", Fløyen Forest, Bergen
1999: "Stair to nothing" Bergen Fortress
RADIO WORKS - CONCEPT AND REFLECTIONS
As a sound installation artist I have always been intrigued by how we communicate. My fascination of sending and receiving messages, and how they may be converted on their way, has led to a series of art works containing portable radios. From its start as a unifying medium with one station, the multiple stations now available to the listener have long since eradicated any notions of unity. The target audiences for different stations have narrowed and radio has lost its function as the main mass medium, aiming instead directly at the individual listener.
In my radio works I limit this field even further, while also bringing a new approach to familiar material by creating my own radio emissions with narrowly selected thematic content, transformed into a sonic composition. I play with my own references as a radio listener and hope to create a shared listening experience for the audience – but one in which the radio simultaneously fills a familiar and unfamiliar role in a spatial concert/installation where the audience is surrounded by radio sounds "on all sides”. Perhaps, in some way, once again touching on the idea of the radio as a “mass medium” as well as an individual source for listening.
My thoughts and questions during the process of working with radio installations as Stations, Cleopatra's Needles and Sound Barrier are many, and the projects may be read in many ways. Working with the material (radio, radio sound, cassette radios) and specific locations, generates a series of thoughts, reflections and associations:
The first regular radio transmissions began in the 1920s. For many years Morse code, invented in 1838, was the very basis of radio communication; today it is no longer utilised as means of public communication. The cassette-radio is a younger development, yet it is now outdated and often found at recycling stations, at least in the West. Technological innovation constantly furnishes us with new methods of storing information, where each new medium requires its own decoder. These are then outdated in turn when newer developments hit the market.
Is the consequence of such a rapid evolution that the 'ruins' we leave behind will vanish, or are we simply creating countless 'remains' which could easily be taken as rubbish. Are we effacing our own time/history, or is history today being stored up in other ways? Structures of stone have been built since time immemorial, and are still erected today. Monuments will stand after us, as they have stood after our ancestors. But will the remains of our technology be understood in a hundred years or more? Will these remains be accessible when our descendants attempt to discover our everyday concerns? What do we erase as we progress?
Time perspective 1
- The official broadcast in Norway is about 90 years old.
- 1930: Mobile radios used in police - cars, aeroplanes and by the military.
- The Morse code, invented in 1838, was the key of radio communication for many years. In 2002 no longer officially in use.
- 1940: the radio was forbidden during the war, important as it was for the resistance-movement.
The world was received from barns and secret rooms.
- 2017: Norway will close down national FM-transmissions and switch to DAB and digital radio.
Time perspective 2
- The history of 'our' technology is young, the pioneers of electronic art are even today still alive.
- Development of technology is fast running, 'the old days' are in fact just a few years back in time.
- Technology progresses 'by leaps and bounds' and disintegrates just as fast
- The cassette radios and CD-players are outdated, and can be found at recycle stations (at least in the west). We might just as well play with them. Build towers, arches ad so on.
The radio sound
Morse is a simple code of electric signals. In my opinion the signal has a beautiful, playful and rhythmic sound. The radio is a series of electromagnetic waves. To me it also has a lot of "sentimental' associations:
- Voices, languages, stories, interference, languages from different continents, different timbre, tuning the world, listening to disturbances.
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