Lydgalleriet: Ephemeral Sustainability (2012)

Artist information

Aernoudt Jacobs

With the aid of psychoacoustic theories, Aernoudt Jacobs explores how perception can be influenced and how sound can be expressed physically, spatially and emotionally. As an artist Jacobs has been making field recordings which he examines meticulously, including the act of the recording, the memory and the context of the recording.

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Anne Marthe Dyvi

Anne Marthe Dyvis work can be described as interdisciplinary, site-specific and process-orientated, and with a special interest for technology and time. She works with time based media, sculpture and twodimentional works.

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Christoph Cox

Christoph Cox is a professor of philosophy and teaches and writes about contemporary European philosophy, contemporary art and music. He regularly writes for, among others, The Wire and Artforum, and is an editor for Cabinet. He is author of Audio Culture: Readings in Modern Music.

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Daniela Cascella

Writing in english as a second language, Daniela Cascella writes as a stranger in a language, and is drawn toward unstable and uncomfortable forms of writing-as-sounding, and toward the transmissions and interferences of knowledge across cultures.

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David Toop

David Toop is a composer/musician, author and curator working in fields of sound art and music, including improvisation, sound installations, field recordings, pop music production, theatre and dance. Toop is a critic, columnist, curator and Senior Research Fellow at London College of Communication.

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Seth Kim-Cohen

Seth Kim-Cohen is a Chicago-based writer, musician, ex-artist, and teacher. He has published journal articles, contributions to edited volumes, magazine articles, and art and music reviews. He is an original writer for The Chicago Reader’s “Rock Etc.” which featured long-form music writing.

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Signe Lidén

Signe Lidéns work explores relations between place, sensing and sound. Through field recording, instrument-building and conversations, she approaches place as a dynamic becoming produced by geological, biological and atmospheric processes, as well as social and economic relations.

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Maia Urstad

Maia Urstad works in the field of auditing-visual art, mainly with sound installations and location-related concert performances. Urstad began experimenting with the use of sound as an artistic medium in the min 80s and has been an active contributor to contemporary art scenes inlands and abroad.

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Salomé Voegelin

Salomé Voegelin is a Swiss artist and writer engaged in listening as a socio-political practice of sound. She brings forward the need to be attentive to the spaces and the sounds we listen to, and seeing the poilitical possibilities within sound and/in space.

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Anne Hilde Neset

Anne Hilde Neset is experienced in curating, writing, editing, broadcasting, academic work and public speaking. After moving to Norway she headed a contemporary music organisation before staring as Director at Kunstnernes Hus where she worked for 5 years. She is now director of Henie Onstad.

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Group event

Group event with various artists.

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Partners in this project

PNEK

PNEK (Production Network for Electronic Art) was a network structure aiming to provide good production conditions for artists working with electronic and interdisciplinary art. PNEK was active in the years 2000-2020.

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BEK – Bergen Centre for Electronic Arts

Bergen Centre for Electronic Arts is an interdisciplinary production centre focusing on the intersection of contemporary art, technology, theory, and social critique. BEK develops, produces and communicates various projects, offering workshops, courses and residencies to artists. BEK is organised as a non-profit foundation.

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The field of sound-based contemporary art encompasses a large number of practices including performance, installation, sculpture, electronic art, kinetic art and music.

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From being an experimental field in opposition to both the concert arena and the gallery context, it has developed its own tradition with galleries and curators around the world dedicated to its production and presentation. There is a growing number of emerging artists working in the field and a vast development of new art concentrating on issues related to sound, and responding to various sites and contexts. Because of the ephemeral nature of many of these art works, the discussion rises on how to preserve them for the past and how to present them to collectors and museums.

Ephemeral Sustainability discusses these questions through presentations, panel conversations, performance and concerts with leading professionals in the field. Is it only through documentation and ear witness reports that this art can be appreciated in hindsight, or are there other strategies to strengthen the bonds to the past? Is this field of art in its nature and ideology impossible to transport, collect and re act, or does it have a potential in more traditional art collections and museums? Do we need a new practice and new venues to collect and present this art or is it possible within the frames of already existing structures and organisations?

Featuring Sarah Cook (CA)- Barbara London (US)- Christina Kubisch (DE)- Salomé Voegelin (CH)-Christoph Cox (US)- Helga de la Motte-Haber (DE)- Anne Hilde Neset (NO)- David Toop (UK)- Julia Gerlach (DE)- Carsten Seiffarth (NO)- Tore Honoré Bøe (NO)- Per Platou (NO)- Lars Mørch Finborud (NO)-Aernoudt Jacobs (BE)- Signe Lidén (NO)- SØS Gunver Ryberg (DK)- Kabir Carter (US)- Edwin van der Heide (NL)- Maia Urstad (NO)- Seth Cluett (US)- Nicole Gingras (CA)- Daniela Cascella (IT)- Asbjørn Tiller (NO)- Joost Fonteyne (BE)- Anne Marthe Dyvi (NO)- Gruenrekorder (DE)-
Raoul Mörchen (DE)- Lemur (NO/NL/UK).

The conference Ephemeral Sustainability will look at these questions from different angles. Over three days a number of lectures and conversations will follow discussions and examples of “good practice” and possible standardisations. The content of the conference will take advantage of the Resonance network.