Friday, 10 March 2017

Black Walnut Grove



In between a maple syrup harvesting field and the outbuildings of a closed agricultural college in the small town of Kemptville, Ontario in Canada, there's an abandoned field of planted black walnut trees in rows. In this black walnut grove my 10 new blank scores (1.-10.movement) was recently installed by project initiator Christine Turnbull.

More about the rout/e grove poems project here.








Sunday, 1 January 2017

Looking back at 2016

Posting this only hours after entering a new year, 2016 is for me looking back on projects both in Norway and abroad.

JANUARY
Early 2016, the collaboration (SHMF-019..) emerged with this LP.
Late 2015 I was engaged in a collaborative project initiated by Kommissar Hjuler und Frau based in Flensburg, Germany. We were to respond to a CD track with german spoken words, parts reading, parts discussing George Mead's sociological theory of The Generalized Other, a concept used in the field of symbolic interactionism.

My response is a short piece for a music box, based upon the words Die Verallgemeinerte Anderen (The Generalized Other).
This was done by isolating the letters C, D, E, F, G, A, B in the text and using them in a notational system to indicate pitch. The melody was then played with a PRIRI-technique.
P-R-I-RI indicates the many ways a musical piece can be played. P stands for Prime (the original version of the melody), R is Retrograde (backwards), I is inversion (melody is flipped around the first note in the melody) and RI is Retrograde Inversion (being the flipped version played backwards).
All of which is easy and possible to do on a music box.
In this case the first 13 notes (D-E-E-A-G-E-E-E-E-A-D-E-E) are Prime, then starts retrograde, and so on.

The LP has an exclusive edition of 100.


APRIL
Raume für notizen festival documentation from 2014 and 2016was published.
I participated in 2014 exhibiting a series of 20 drawings of the series entitled Horizon. No Horizon at galerie wechselstrom, and a performance of the project Ghosts/Local Colour at Alte Schmiede together with Stine Janvin Motland and Maximilian Ölz.

Read more about it here.
 


MAY
This beautiful poetry project initiated by Laura Elliot and Angus Sinclair, para·text, issue #2 was released in London. My contribution was a new take on the two Dada Manifestoes by Hugo Ball, from November 2015. This time I re-installed the two paper strips compositions back to the original paper format.




SEPTEMBER
Participation in the New York based Coldfront Magazine. 
Curated by Nico Vassilakis, Coldfront reports on poetry, language and music, and publishes visual poetry. Projects presented is Dada Manifesto and The Great Treatise.




OCTOBER
The by far biggest project this year was my participation in Sound of a Cage. 3 days of exhibitions, performances, workshops and seminars in Stavanger, Norway. This triennale, circeling around John Cage's work and legacy, and impressively put together by Liv Runesdatter, was this year dedicated to sound poetry.

I exhibited my Dada Manifesto compositions; 9 music boxes and 9 scrolls, performing two of them on the opening night.

From the program: The idea of “texts without words”, text as phonetic sound, detached from semantics, can be traced back to the Futurist and Dada movements in the 1920s and 30s. Kurt Scwitter’s “Ursonata” is one of the first known examples of sound poetry. Later on, the art form developed in the beat cultures where well-known names such as Burroughs, Allen Ginsberg and Brion Gysin started using cassette recordings. European examples were found in France, Italy and United Kingdom, and names such as Bob Cobbing in the UK and Henri Chopin in France were significant figures. In Sweden a peculiar form of sound poetry developed, known as “text-sound-composition”. Behind it were persons with links to Radio Sweden and Fylkingen-groups, such as Åke Hodell and Sten Hanson.

Other participants were: Stine Janvin Motland, Signe Irene Stangborli Time, Sindre Bjerga, Karin Hellandsjø, Else Olsen Storesund, Liv Runesdatter, Anita Kaasbøll, Jaap Blonk, Dylan Nyoukis, Luke Poot, Nina Elisabeth Børke, Jasmijn Visser and more.

I also got to present my work at Kunstskolen i Rogaland (KiR). Engaged and eager students made it an experience I would not be hesitant to repeat.









2017
So, what about 2017?
There's is for a fact some unconfirmed projects out there.
Amongst them ten new scores for an outdoor project in Ontario, Canada.
Stay updated for more info on this one.


This site is my archive in miniature, since 2009.
Feel free to spend some time here.
Look, listen, loathe or love.

Happy New Year!

Thursday, 20 October 2016


Saturday, 1 October 2016

VISPO/COLDFRONT


A couple of my newest projects was recently published in the New York based Coldfront Magazine. Curated by Nico Vassilakis, Coldfront reports on poetry, language and music, and publishes visual poetry.


http://coldfrontmag.com/vispo-presents-cecilie-bjorgas-jordheim/



Friday, 2 September 2016

SOUND OF A CAGE: PROGRAM


Check out the program at Tou Scene October 6.-8. October.



(All text pasted in from https://soundofacage.wordpress.com/about/ and https://soundofacage.wordpress.com/performances-and-lectures/)

About

Sound of a Cage is curated by Liv Runesdatter. The triennale is build up around the legacy of John Cage and his fellows, and it combines presentations of art, music, design, performance, workshops, lectures and topical discussions. This third edition of Sound of a Cage set focus on sound poetry.


Performances and lectures

OCTOBER THE 6TH – THURSDAY THE 8TH

19.00: FESTIVAL OPENING
Opening of the festival, the exhibitions and the festival art and books store.

19.10: DADA MANIFESTO – performance
performance by Cecilie Bjørgås Jordheim

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19.40-20.10: UPSWEEP-WHISTLE-BLOOP (First premiere!)
Jasmijn Visser / Stine Janvin Motland / Song Circus
Upsweep, Whistle and Bloop are the names of unidentified sounds detected on the American National Oceanic and Atmospheric Administration’s hydrophone arrays, recorded by the surveillance system SOSUS which has been active since 1961, and was an operation meaning to register the presence of Russian Submarines. After the cold war the operation was reduced, but the hydrophones were not removed, and still during the nineties they picked up a collection of sounds. It is unknown wether these sounds originate from manmade vehicles, such as submarines, or natural phenomena, such as whales or icebergs. Upsweep- Whistle-Bloop takes shape in the tradition of the Gesamtkunstwerk. Just as in the NOAA’s list, all disciplines create an ambiguous world where the organic and the mechanic are constantly at play.
Concept & compostion: Stine Janvin Motland Concept & visuals: Jasmijn Visser Performance & co-composers: Song Circus Costume design: Altinstark
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Jasmijn Visser is a Dutch artist who lives in Utrecht and Berlin, and works on the intersection of drawing, writing, history and design. She studied Visual Art & Design (2006) as well as Fine Arts at the School of the Arts Utrecht (2007), and took part in the postgraduate program at De Ateliers (2011). Visser has exhibited at Galerie Aeroplastics, Brussels, Stedelijk Museum Amsterdam, Witte de With Rotterdam, MOMA Moscow, Krasnoyarsk Biennale Museum Centre Krasnoyarsk, Kunsthal Rotterdam, Centraal Museum Utrecht, Stedelijk Museum ?s Hertogenbosch, and Castrum Peregrini Amsterdam, a.o. She has won the Piet Bakker Prize (2006) and the Gasunie Kunstprijs (2011) and was nominated for the Prix de Rome (2009) and Sybren Hellinga Kunstpprijs (2006). Visser has resided in Borodino, Siberia (2011) as well as on the Falkland Islands (2013), doing historical research. She has realized monumental public art works for the city of Amsterdam, and the state courthouse of the city of Almelo (2013).
Stine Janvin Motland is a performer and composer based in Stavanger, Oslo and Berlin. With an instrumental and physical approach, she explores and pushes the limits of the natural acoustics of the voice, and what a singer can, and cannot be. Her work involves elements of conceptual and spontaneous composition, structured improvisation, performance, and sound poetry. Ongoing projects are the solo piece In Labour, Native Instrument with Felicity Mangan, and brigitte & paula band with Maria Ramvi and Camilla Vislie. In 2014 Stine released two solo albums; Ok, wow (+3db) and In Labour (Pica Disk). Alongside her own work, Stine is a performer of contemporary music, and works with composition, movement and voice in a number of interdisciplinary projects, such as the solo performance Prelude (Janvin Motland/Sickle/ Leguay). She is currently performing in the baby opera Korall Koral (Dieserud/Lindgren & Maja Ratkje), she is a member of the vocal chamber ensemble Song Circus and in the live band of Meshes of Voice (Susanna and Jenny Hval).
Song Circus is a Norwegian vocal chamber ensemble, led by Liv Runesdatter, who specialize in contemporary music and improvisation. The ensemble has given life to an unusual and fascinating vocabulary of sound combined with rare musical precision, and their concerts have been broadcasted by radio- and TV stations in Norway and Germany. Song Circus has achieved The Governmental Ensemble Work Grant 2012-2017 (NO). Their album Anatomy of Sound, presenting new classical music by Ruben Sverre Gjertsen (NO) and Ole-Henrik Moe (NO), was produced by multiple Grammy nominee surround sound producer Morten Lindberg i 2015, and was recently nominated Norwegian Grammy.
20.15: FILM SCREENING – John Cage interview








Foto: Tor Farstad
Foto: Tor Farstad

20.30-21.15: SONATAS & INTERLUDES & EMPTY WORDS
Else Olsen Storesund perform Sonatas and Interludes by John Cage, for prepared piano, together with Cages reading of his Empty Words (from Lectures of Nothing)
 Else Olsen Storesund (b. Norway 1978) pianist and composer. Works with Open Form through the work of Christian Wolff, Cornelius Cardew, John Cage and others, in addition to new compositions. She is educated from the University of Stavanger, The State Academy of Music in Oslo, and with Christian Wolff in the US. Olsen Storesund holds a Phd in performance studies from the University in Bergen, The Grieg Academy – Institute for Music.

OCTOBER THE 7TH – FRIDAY

14.00-14.15: TBA performance
14.15–15.15: LECTURE – “Kurt Scwitters, the Caspar David Friedrich of the Dada Revolution” – Karin Hellandsjø
Karin Hellandsjø (b. 1944), art historian, PhD, from the University of Oslo. She worked as curator at the Henie Onstad Art Centre for almost two decades, during the 1970’s and 80’s, before joining the National Museum of Contemporary Art in Oslo as their chief curator and head of the museum department from 1988 till 2005. In March 2005 she came back to the Henie Onstad Art Centre as director.
Hellandsjø has since the start of her career been involved in national and international museum work and collaboration, and has curated many major national and international exhibitions throughout the years. She is also a notable scholar on modern art, a lecturer and an active writer.
She retired in 2011 and is now working as independent scholar and art consultant.
Hellandsjø is appointed Knight, 1st class, of the Royal Norwegian Order of St.Olav and Officier dans l’ordre des Arts et des Lettres, de la Republique Francaise
15.30-16.30: LIVE LECTURE – “From Beat poetry to text sound composition” – Sindre Bjerga 
Sindre Bjerga https://sindrebjerga.wordpress.com/ has been touring Europe, Russia, Ukraine, Japan, Argentina and South Korea for many years. His incredible long form isolationist and cavernous tape-drone meditation have been released on more than 200 records across the underground spectrum. He’s collaborated with artists, like Anla Courtis, Lasse Marhaug, Robert Horton, Culver, Posset and Adam Bohman. Lately he has been focusing more on collage work and the performative elements in his music, using tapes, re-wired toys, contact-mics, as well as snipptes from ordinary conversations and sounds from the everyday life in his concerts.
He’s also been running the Gold Soundz label since around 2000, having released about 120 records in all formats with artists from all over the underground spectrum.
Sindre Bjerga has also been giving workshops in electronic improvisation for adults and children, using basic components, such as contact-miked objects, focusing on the action and the act of improvising with others rather than the ability to actually play instruments.
16.45-17.15: FILM SCREENING – “Rules and Rebels – A Portrait” a short film by Athropologist Ronnie Smith https://www.researchcatalogue.net/view/147680/150003/0/0. Following Else Olsen Storesund in her search for sounds.
17.15-17.45: LECTURE / TALK- “Open Form – an expanded Interpreters role”, Else Olsen Storesund
17.45: DINNER 
Jaap
19.00-19.40: JAAP BLONK http://www.jaapblonk.com performing Kurt Scwitters “Ursonata” (see text) and sound poetry signed Raoul Hausmann and himself.

JAAP BLONK (born 1953 in Woerden, Holland) is a self-taught composer, performer and poet. He went to university for mathematics and musicology but did not finish those studies. In the late 1970s he took up saxophone and started to compose music. A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. For almost two decades the voice was his main means for the discovery and development of new sounds. From around the year 2000 on Blonk started work with electronics, at first using samples of his own voice, then extending the field to include pure sound synthesis as well. He took a year off of performing in 2006. As a result, his renewed interest in mathematics made him start a research of the possibilities of algorithmic composition for the creation of music, visual animation and poetry.
As a vocalist, Jaap Blonk is unique for his powerful stage presence and almost childlike freedom in improvisation, combined with a keen grasp of structure. He has performed around the world, on all continents. With the use of live electronics the scope and range of his concerts has acquired a considerable extension. Besides working as a soloist, he collaborated with many musicians and ensembles in the field of contemporary and improvised music, like Maja Ratkje, Mats Gustafsson, Joan La Barbara, The Ex, the Netherlands Wind Ensemble and the Ebony Band. He premiered several compositions by the German composer Carola Bauckholt, including a piece for voice and orchestra. A solo voice piece was commissioned by the Donaueschinger Musiktage 2002. On several occasions he collaborated with visual computer artist Golan Levin.
Blonk’s work for radio and television includes several commissioned radio plays. He also makes larger-scale drawings of his scores, which are being exhibited. He has his own record label, Kontrans. Other Blonk recordings appeared on Staalplaat, Basta, VICTO, Ecstatic Peace, My Dance The Skull, Monotype, Plant Migration Records, Elegua Records and Scumbag Relations. His book/CD ‘Traces of Speech’ was published in 2012 by Hybriden- Verlag, Berlin. A comprehensive collection of his sound poetry came out as a book with 2 CDs in August, 2013, entitled “KLINKT”.
megaphone.Laurent.Combe
Anne-James Chaton is a French artist. He has developed a multipolar body of work, based on a close study of the textual materials which make up the everyday life of contemporary society.
This poor low intensity literature, known as «ephemera», and comprising a multitude of documents printed out by innumerable machines – bank slips, shopping receipts, promotional flyers, customer loyalty cards, business cards, bus, train and metro tickets, etc. – is the source of anne-james’ quests into sound, poetry and visual art. He has several books published by Al Dante and joined the German label Raster-Noton in 2011 with Evénements 09 and Décade published in 2012. He has given many performances in France and abroad. He has worked with the group of Dutch post-rock band The Ex and released two albums, The Journalist (2008), and Transfer (2013), with the English guitarist Andy Moor. He worked on the albums Unitxt (2008) and Univrs (2011) by German artist Carsten Nicolai aka Alva Noto. In 2013 he started a trio with Andy Moor and Thurston Moore, guitarist of Sonic Youth. His plastic and visual works, drawn from his writing materials, have been the subject of several solo and group exhibitions in France and abroad.
In 2005, Anne-James Chaton received the grant encouragement from The Centre National du Livre in Paris and in 2006, he won the support of the Mission Stendhal from The Ministère des Affaires Etrangères (the french foreign ministry) for his literary project on the city of naples, italy. in 2008, he was awarded an Artistic Residency at the Villa Kujoyamo in Kyoto, Japan, by The French Ministry of Foreign and Cultural Affaires.
Since 2009, Anne-James Chaton has been a board member of the poetry commission at The Centre National du Livre (national center for books).
20.15-20.25: SOFA TALK IN THE CAFÉ
With Luke Hall, Dylan Nyoukis, Sindre Bjerga, Cecilie Bjørgås Jordheim and Jaap Blonk. Moderator: Liv Runesdatter.
20.25: THE SOUND POETRY ENSEMBLE – FIRST PERFORMANCE OG A NEW SOUND POETRY PIECE
Performers: Storesund, Song Circus (Kaasbøll, Runesdatter, Stangborli Time), Hall, Nyoukis, Bjerga, Blonk, Chaton. The composition is organised as a board game with dice and cards. New sound poetry (mesostic) by Torild Wardenær (NO). http://www.torildwardenaer.no
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21.00: FILM SCREENING – mesostic and visual poetry & preparert klaver
21.02: DYLAN NYOUKIS solo
dylannyoukis
DYLAN NYOUKIS “`music exists outside of as many genre boxes as anyone might care to stick it into. A restless hurricane of mangled-throat vocalisation, wobbly tape murk, and feral punk/noise, the sound is urgently alive and human with a volatile undercurrent of absurd/sinister humor.” As the head of pioneering DIY label Chocolate Monk, Dylan has been issuing a steady stream of sub-underground homemade strangeness since the early 1990s, including a slew of tapes and CDRs by his former band Prick Decay/ Decaer Pinga, Ceylon Mange (with guitarist Bill Nace) and now Blood Stereo (a duo with his wife, the artist Karen Constance).
21.20: LUKE POOT solo
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Sheffield based Strepsils abuser. Recent collaborations with the likes of Adam Bohman, Part Wild Horses Mane on Both Sides, Blue Yodel, Ben Knight, Acrid Lactations, Chastity Potatoe, and Phils’ gang of toughs. ‘I just listened to a bit that sounded like a pig pushing weights with a scotch egg in its gob.’ – Stuart Arnot.
“This is no Skatgobs acoustic jibber-jabber but full-on table electronics with extra-hot jaxx. The amplified whirr of a yellowing fan blade provides a backbone, quickly interlaced with pale blue squeak and some deep, deep groaning. The thing doesn’t so much build as multiply exponentially growing extra mouth holes and excretion glands, fresh gas huffing out at will, tears rolling down gelatinous cheeks, inducing migraines the consistency of crumby Lancashire. Poot puts out the misery like a wheelie bin on a Wednesday night with a thick slice of that Black Lace club classic ‘Superman’. Hitch a Ride!”

21.40-22.00: LUKE POOT AND DYLAN NYOUKIS duo

OCTOBER THE 8TH – SATURDAY

12-14.00: Sound of a Cage – Childrens (6-12 years old) academy and concert
Children between 6 and 12 years old are invited to listen and to create music together with pianist and composer Else Olsen Storesund.
What is an instrument? What is a composer? What is a composing performer? And what does it need to call a collection of sound a composition?
14.00-14.30: The children and Else Olsen Storesund perform a small concert