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Pierre Henry

Pierre Henry

I samarbeid med Ekkofestivalen har Lydgalleriet æren av å presentere en av de aller, aller viktigste navnene innen elektronisk musikk: Pierre Henry. Født 9. desember 1927 og utdannet i konservatoriet i Paris. Pierre Henry regnes i dag som en pionér innen elektro-akustisk komposisjon. Hans fremgangsmåte har vært å utforske syntesen mellom såkalt konkret og elektronisk musikk og var et resultat av hans vennskap og samarbeid med Pierre Schaeffer, samtidig som Henry var elev av Nadia Boulanger og Olivier Messiaen i konservatoriet. Essensen i hans innovative og særegne univers er hans evige søken etter nye lyder og nye komposisjonsmåter, noe som har både fremkalt vidunderlige musikalske (og ikke-musikalske) øyeblikk og stor anerkjennelse hos et publikum som er interessert i kunstmusikk og klassisk musikk, men like viktig er respekten Henry har i dag hos en rekke viktige artister og musikere som i dag holder på med elektronisk musikk. Mange har også et forhold til hans musikk, uten å nødvendigvis være klar over det, ettersom tittelsporet til den populære tv-serien “Futurama” er bygget på Henrys “Psyché Rock” fra 1967.Siden 1971 har Pierre Henry bodd og arbeidet i et av de få gjenværende husene av Picpus-kvarteret i Paris.Henry har aldri gitt seg og virker ikke å bli ferdig med å lage, komponere og fremføre musikk med det alle første. I senere tid, noe som i all annen sammenheng ville vært for en evighet siden, har han samarbeidet med institusjoner som Violent Femmes og Radio France, i tillegg til å ha blitt remikset av artister som Coldcut, Fatboy Slim og William Orbit.

Friday 23rd February, Lydgalleriet celebrates itself through the launch of two publications: Håndbok for lydarbeid i visningsrom, written by Lydgalleriet's former artistic director, Jørgen Larsson, as well as an anthology, Lydgalleriet Retrospectiv 2005-15, with contributions from several of the institutions' active artists and curators through 10 years.

Håndbok for lydarbeid i visningsrom is nothing less than this; a manual in how to assemble and work with sound in spaces that are not necessarily adapted for that intention. The book is written for people who work with sound in a gallery context: artists, curators, technicians, conservators and conveyors. Here the difference between frequency and toner is explained, and why sound is best enjoyed in spaces with skewed physics, giving specific instructions on how sound waves and resonance tones move, as well as how to make effective use of stereo.

The book was edited by Bjørnar Habbestad, another of Ldgalleriet's founders, and Petri Henriksson has provided it with informative illustrations. Lydgalleriet is very proud to publish the book and we strongly believe that this has been awaited by many who work with the curation, assembly and production of sound art.

Lydgalleriet Retrospektiv 2005-15 is our second publication, one that looks in the back mirror and reflects close history. When Lydgalleriet opened its first exhibitions, sound art was perceived as "the noisy cousin", expensive, demanding and impossible to have in the living room. At the same time, the artists, like the work of the material, experienced sound as a great freedom. The field was open without clear belonging or equivalent reservations. Experimentality was boundless. To some extent that it is still, but a closer definition of sound art has emerged as an artistic form.

A quick review of the activities of Lydgalleriet since its inception shows three main trends: a continuous discussion of sound as experience related to the auditive space's volume and influence (sonic ambience), composed sound as a result of kinetic installations and sculpture, as well as the relation to music. Artists and curators have since the start in 2005 shown historical iconic works by key artists such as Alvin Lucier, Stefan Rummel and Pierre Berthet; Christian Marclay, Flo Kaufmann, Janek Schaefer and Otomo Yoshihide unfold in a fragile wooden building in the Skostredet; challenged casual visitors to Sparebanken with the public art project Lydbanken, and an international conference about Sound Art, Ephemeral Sustainability, with sizes such as Barbara London, David Toop, Salomé Voegelin, Anne Hilde Neset, Christoph Cox and Christina Kubisch, organised by Lydgalleriet in 2012.

Accompanying the launch we have really cool live set of Blue Rinse (BOOKLAUNCH EDITION!) this evening, with Jiska Huizing, Julie Silset, Mathias Loose and Alan Ó Raghallaigh. Blue Rinse delves into the performative side of the sonic arts, and with the second edition forming a sonic illustration to the books being launched.There will be lots of good people, books, totes, sound, soaring violins, city soundscapes, stuttering voices, records in reverse, blue sinetones, guided meditation, buzzing synths and wine. You're welcome, 8 pm!