Vardø

I recently finished a project in Vardø, a small community basically as far north and east you can get in Norway (it is for instance further east than Kyiv and St. Petersburg). It´s one of the oldest cities in Northern Norway due to trade and fishing, and fishing is still the main livelihood there.

In mid February I made a sort of mini art festival there in collaboration with Nordnorsk Kunstnersenter and a lot of great local venues and people. All the works I made grew out of field work done in Vardø, with focus on the coastal fishing community and a community green house project.

Here is a video from a research trip last September:

A bit of context

My first encounter with Vardø was when I was making the video Barents (mare incognitum) for the Dark Ecology project in 2015, when I really got a sense of the vast ocean, and a feeling of being at the intersection of different worlds somehow.

stills from Barents (mare incognitum)


Dark Ecology, initiated by Sonic Acts and Hilde Mehti, took place in the border area between Norway and Russia. Vardø and the whole north-eastern region of Norway have strong ties to Russia, being close neighbours. There has been trade relations for many hundred years, and it was the Soviets that liberated this part of Norway at the end of the second World War.
At the same time the biggest radar system in western Europe is placed in Vardø, being NATO´s eye into Russia, making it a primary bomb target in case of conflict.
My project finished just before the aggressive, meaningless invasion of Ukraine.

There are big fishing resources just outside Vardø which has been harvested for centuries. These resources are also a source of conflicts between local interests and big capital:
The privatisation of the national fishing resources through the fishing quota system introduced in the 1990s (where quotas now are sold for big money), which apart from putting in the hands of the few something that belongs to everyone, also makes it a huge investment to become a fisher.
Locally based coastal fishers also create jobs on land (processing and packaging of the fish, preparing the lines before fishing, repair and maintenance of boats and equipment etc), while big fishing trawlers and fishing factories deliver very little of the fish locally (which is actually against the law): 70-80% of the fish is sent directly to other countries for processing or is processed on board the huge factory ships. Even most of the fish that is sold in Norwegian grocery stores has been processed and packaged somewhere in Europe or Asia. This is an economic disaster for the fishing communities as well as very little environment-friendly (not to mention scraping the ocean floor with trawls vs fishing with lines).
These are some of the conflicts that is fronted by Kystopprøret (Coastal Rebellion), where some of the main protagonists are based in Vardø, and the iconic mural by street artist Pøbel has become the symbol of this rebellion.

Kystopprøret (coastal rebellion) logo on wall by Pøbel : The natural resources belong to everybody (scan by HC Gilje)

Vardø Kystopprøret

I made a series of works entitled Vardø Kystopprøret, based on 3D scans of some of the fishing equipment used by the coastal fishers. I was fascinated by the very intense colors of especially the fishing lines (which apparently have no practical value as they are used so deep in the ocean that there is no light), and how these very concrete objects turned into abstract point of colours.

I capture the objects and environments using a lidar scanner (which captures depth information) combined with a camera (which captures colour information). From this a point cloud 3d model is calculated, which is the departure point for the work I do in the 3D software: Work with lighting and the virtual camera and render the result as animations, holograms or still images.


One animation was presented on a big flat screen in the window of local radio station Radio Domen, visible for passersby.

the window of Radio Domen, right photo by Karolin Tampere


I also created 3D animations presented on small holographic screens placed at various locations in the city, trying to reach an audience that might not actively go to see an exhibition.

Nordpol kro (a pub established in 1864!
the café at Strandtorget
the local grocery store Knut Bye


Finally I made three light boxes with still images from the 3d-scans in the windows of Barentskrummelurene and Galleri Luna, also very visible for passersby.

The three images in the light boxes
Barentskrummelurene/ Galleri Luna (left photo by Karolin Tampere)

Vardø Felleskapsdrivhuset

A quite different type of work grew out of learning about the volunteer based construction of a community green house in the center of Vardø. Even though they have midnight sun from mid May to end of July, they also have polar nights (no sun at all) from end of November to about mid January.
I just thought it was very inspiring and a project full of hope, so I asked if it was possible to make a light installation there, even if it wasn´t finished yet.


My installation was in the smallest of the two spaces, and the plan for the green house is to combine all-year growing of herbs with small cultural events. The bigger space will be the main growing space.

The idea for the installation comes from light being the maker of life through photosynthesis. I created a sort of hanging garden where each unit consisted of a light source and a pile of phosphorescent pigment on a dish. The light charges the pigment, and the pigment gives off a green light.

A big thanks to all the generous and helpful people in Vardø, Karolin Tampere from Nordnorsk Kunstnersenter and BEK for letting me use DeepBEK for rendering.

old and news

Hi, this post contains the newsletter from oct 2021 with the newsletter from nov 2020 added to the end (for the record)

october 2021 newsletter

last chance:

magasin 3 at Oslo Negativ

I was invited to create a light installation in the former main branch of the public library in Oslo, aka Det Gamle Biblioteket, as part of the large photo exhibition/festival Oslo Negativ. Maybe not an obvious match, but it was impossible to say no after having seen the former storage spaces for the books not shown in the public shelves. I worked in magasin 3. What is interesting is that the shelves continue on the floors below and above, so there is a gap in the floor and ceiling where light leaks through.

More than 7000 visitors have seen the exhibition before the last weekend October 22-24th.

more info at Oslo Negativ


featured:

Touching at a Distance

The one liner: a project aiming to create intimate experiences over distance using tangible and sensuous objects.

I wrote about this project in the previous newsletter last November, and have been spending a lot of time this year creating various prototype objects. The a pair of objects are connected together via the internet (but no computer is involved).


I have created six prototypes so far:
knock box: communicate with knocks over distance
kula: pass a ball between two spaces
puls: sense the heart beat of the other person
trigger bell: a bell rings in my home when you enter yours.
light to light: sense the light of one place and make it light up an object in another place.
flammen: I light a candle in my living room, a candle is lit in yours.

The video is a functional description of the objects communicating via internet, so please bear in mind that the objects in real use would be in separate locations.

Here is a short assembly video of the puls object:

It is still a bit unclear to me what this project is and how it can be presented. The most obvious to me at the moment is that these are objects to have at home to create the right context for these types of more or less intimate interactions.

You can read all about the project (including the prototypes mentioned) in the touching at a distance blog.

Two projects from the spring:

Nye Krigere

A collaboration with Pål Bøyesen and Future Daughter.

(photo: Arne Hauge)


A performance piece that premiered at Rosendal Teater in Trondheim in March, centered around the relationship between an old and a young warrior, somewhere between samurai and Norwegian folklore. A performance where costumes, objects, set design, sound, music, light, video and projection were tightly integrated with the performers actions.
It was one of the more fun and rewarding collaborations I have had in a long time, and provided a much needed energy boost. The performance turned out really good and weird.
This was my first attempt at photogrammetry, creating 3d objects based on photos. Apart from the video content I also did projection and light design.
Here is a very short teaser we made before the premiere. It doesn´t really tell you much about the performance, but maybe a bit about the nature of the piece.

The Rise and Fall 2 at Festival of Light Art Geiranger

This pilot edition of the festival took place in the spectacular surroundings of Geiranger, a village placed by a narrow fjord surrounded by high mountains.
My work was the least nature-centric of the projects presented, being more of a dialogue with the structures of the Fjordsenter building.

The festival was a collaboration between the Geiranger World Heritage Foundation and Fjord Studio.

If you are in Oslo in the beginning of November be sure to check out another festival organised by Fjord Studio, Fjord Oslo

ongoing:

Vardø

(photo: Sanjey Sureshkumar)


This has been one of the projects that has been postponed many times during the pandemic, and I guess this has also influenced the direction of the project.
I first visited Vardø when I was making Barents (mare incognitum) for Dark Ecology in 2015, and fell in love with the place.
This time I have been invited by Nordnorsk Kunstersenter to do a projected in/related to Vardø.

I am not going to tell you what I will be making there yet, but I will give you a quick introduction to Vardø:
Vardø is the town closest to the Russian border in Norway and has a long history of trade with Russia. It was also, like all town in the Finnmark region, burnt to the ground by the Nazis at the end of World War 2.
It´s main resource is fishing, surrounded by the Barents Sea as it is. It is a small island, and it is connected to the main land via an undersea tunnel. Also very noticeable are the big radar domes operated by NATO. There are quite a lot of empty run-down houses, a sign of a community that has been struggling: people have moved because there are few jobs.
There are also many signs of optimism, epitomised by Kystopprøret (coastal rebellion) fighting for the right to the fishing resources (natural resources belong to the people).

upcoming:

solo exhibition at Møre og Romsdal Kunstsenter in Molde

On November 25th my exhibition opens at Møre og Romsdal Kunstsenter, with a mix of new and old work. Hopefully with one of my light drawer machines.

bonus:

If you are using spotify, I have a playlist with some of the music I have listened to during the year that I keep adding new tracks to.

Remember, if you really like someone´s music consider supporting them through bandcamp or similar as spotify still pays ridiculously little per play.

——————–

newsletter nov 2020

Touching at a Distance

I am launching a new project and blog for a new long term project.
The ambition of the Touching at a Distance project is to create intimate experiences over distance using tangible and sensuous objects.
The project focuses on physical actions and tactile interfaces, and creates a bridge between people at different locations through physical objects, connected together via the internet. It removes screen, keyboard and the mouse as interface, acknowledging the vitality of bodily experience and human touch.
Read more about the ideas and plans for Touching at a Distance.

If you find this interesting be sure to subscribe to the blog (on smartphones select blog from the menu)

Shadowgrounds

In August and September (and most of October to recover) I spent a lot of time underground to create two large scale immersive installations in a former water reservoir (total area of 1000 square meters / 10750 square feet) by Semsvannet in Norway. It was part of Factory Light Festival which took place over three weekends.
As with my other site specific installations the works were created in and for the space. There were three qualities of the space that defined how I developed the works: The location (in the forest, underground, how you enter the space by first ascending then descending), the symmetric grid of pillars, and the long reverb of the sound.
Please have a look at the video documentation to get an impression of the two quite different spaces that emerged.


Left Hall:

Right hall:

upcoming


Vardø

a little delayed, but still preparing for a project in Vardø where I will do a series of Lidar portraits, and create a few ad hoc light installations in February. This project is an invitation from Nordnorsk Kunstnersenter.

Nye Krigere

A theatre production with premiere at Rosendal Teater in Trondheim in March, where I am contributing with light and projections for Pål Bøyesen and Øystein Kjørstad Fjeldbo´s creation Nye Krigere.

works in progress


light drawing machines


I am working on a series of light drawing machines: Using the same type of light absorbent surface as in radiant I am working on different ways of drawing on the surface with mechanical movement: One based on a vertical plotter, one using a LEDstrip and one using a customised vacuum robot.

microscope

I am working on several projects involving a microscope, among them a new moving platform for a new microscope film (I made rift in 2017).

stereolux

For my performance and installation at Stereolux in Nantes I answered a few questions about my work from Laurent Diouf, chief editor of MCD. The short version will be at stereolux website, but here is the long version:

01_ First, a few sentences about Radiant… about the meaning of this installation… and also about the use of laser and phosphorescent paint…

My work with Radiant started out with some thoughts on extinction, growth and decay, the fascination with how plants create food from light and the material qualities of laser and the phosphorescent pigment. Laser light is more intense than sunlight, and phosporecent pigment are actual natural minerals that are able to capture light and slowly release it as a green glow (In the times of Galileo they were called solar sponges).
Radiant is also much about time and speed: The intense quick drawings of the laser point versus the slowly fading out when the light is released. The interesting things happen in the layering of these drawings, where you can see traces of multiple pasts mixed with fresh drawings: different time scales (or Bergson´s duration) coexist on the surface of the screen.
For the audience I think it works also in a different sense when thinking about scale. It contains both a macro and a micro scale: You could be staring into the universe or be looking at a cell or subatomic processes.

02_ Your works / installations are “conversations with spaces” (with light, projection, sound and motion)… is it the same way for/with Radiant ?

Normally my process is to start with the space where I will make a work, spend time exploring it, using improvisation as a method: I bring my set of tools and start experimenting my way towards a path that creates an interesting amplification or transformation of the space.
With Radiant it is a bit different since I started it out as making a big flat quadratic light painting (the one at Stereolux will be 3.6×3.6m), and not particularly thinking about the space it would be presented in.
However the installation is transformed by the spaces it is presented in, and it also has the power to transform and intensify the spaces it is presented in. It is a quite different setting from a rough concrete environment at Kraftwerk during Berlin Atonal to a circular floor projection with a custom made arced wall in at Kunsthall Grenland in Norway.
Also the light of the white laser beam is quite intense so the resulting shadows in the space is quite similar to my other light installations.

03_ Following the opening of the exhibition, you’ll do a performance. What about this live a/v ? Will you use some elements from the installation in/for your set ?

Radiant started out as an installation, and I always thought of it as a loop piece because of the constant layering of time creating new images, where the installation becomes a place or a state you walk into. As a live performance time is not circular, it has a direction so this changes quite a lot the experience of the piece I think. Also a live set is more of a communal experience while the installation is maybe better experienced alone or with a few people.
The raw material of the installation and the live set is more or less the same, it is the structuring that is the main difference.
Also, the live set introduced the soundtrack, which is created in real time using the amplified mechanical sounds produced by the laser mirrors. The sound from the laser is amplified and played through the speakers, but also recorded and reappearing as new sound layers (similar to the visual material) during the performance.
My exhibition at Stereolux will actually be the first time I will try use this sound setup for the installation as well.
04_ Generally speaking, how do you manage your live’ set ? What do you want to show, to give to the audience through a live A/V. ? Is it also a “space for co-working” with other artists ?

I guess I partly answered that in the previous question, but for me this performance is about creating a focused intensified experience for the audience, in contrast to the installation which is more of a meditative piece.
Almost all of my other live A/V performances are quite different from this one, as they are real time free improvisations with musicians or other visual artists, where the process unfolding through the collaboration is the interesting part.
So Radiant Live is a very controlled piece in that sense, with a quite fixed structure but with room for variations.
05_ If you have some others projects…

I recently created a site specific light installation for four interconnected rooms in a gallery space. The piece was called Red White Black and consisted of two rails of LED strip that followed the contours of the rooms and doorways. One pulse of white light moved in one direction, one pulse of red light moved in the other. Super simple in one way, but it created a very dynamic space of opening and closing, revealing and hiding, a space that expands, collapses, twists and turns in the light from the red and the white pulse of light that chases along the walls, corners and door openings of the space. Probably one of my favourite pieces 🙂

A very different work but which has been my most shown work the last years is Barents (mare incognitum). It is a single channel video installation of the Barents Sea slowly turning around. It was filmed at the border of Norway and Russia with my custom built camera pointing towards the North Pole. It is one of many works that came out of my involvement with the Dark Ecology project; a series of journeys and projects initiated by Sonic Acts and Hilde Mehti in the Norwegian-Russian border area.
Another work that came out the Dark Ecology project was my film rift, combining
my love for the experimental film maker Len Lye and an interest in the deep time of plastic. It was part of the Vertical Cinema program: experimental 35 mm cinemascope films in the vertical format.

Finally I would like to mention speiling, which is the latest in a long series of projection spaces: solid coloured organic forms projected onto a highly reflective floor, creating a dynamic light space.

Right now I am working on two quite different projects: an installation for a stalactite cave in an old fortress to be presented in August, and a series of installations for next year where I give myself the challenge to work with light, sound and motion but in a normally lit space.

06_ Feel free to add or highlight anything you might think relevant.
This is my first solo show in France, although I showed my installation in transit X in Marseille as part of Chroniques Festival in 2017. I have also had a few screenings in various locations in France, including Cinemateque Francaise and Centre Pompidou, due to my involvement with the video art publisher lowave, which released my DVD Cityscapes back in 2005.

I made a book in 2017 documenting many of the Conversations with Spaces projects.
It is available through motto distribution.

VPT 8 released

vpt8_logo

I just released VPT 8, over ten years after the first release of Video Projection Tools (VPT).  VPT has proven to be a popular free alternative for windows and mac users interested in projection mapping and realtime video experiments: The previous version VPT 7 was downloaded over 100000 times, 2/3 was windows users, 1/3 mac users.

VPT 8 has a lot of under the hood changes. It is now 64-bit only. It will also be the last version of VPT.

I have created an online manual which should make it easier to get started doing interesting things with your computer and a projector.

You can download and read more about new features on the VPT home page.

newsletter spring 2017

This is a modified version of a newsletter I sent out in april this year.

My book “Conversations with spaces” is out!

book-cover

book-inside
178 pages hardcover.
almost 150 pages of full page photos
4 new essays by Anne Szefer-Karlsen, Joost Rekveld, Mitchell Whitelaw and myself.
design by Lasse Marhaug

The book documents ten years of work related to my ongoing Conversations with spaces project.

released at a newly started publishing house in Oslo, uten tittel (from the people behind Teknisk Industri and Orkana forlag).
A big thank you to everyone involved in making the book!

The book can be ordered through the international art book distributor and book shop Motto  and the publisher uten tittel.

If you know of (or work for) an institution/library/shop that you think would be interested in the book, please take contact.

 

I made a film for Vertical Cinema

rift-collage

Sonic Acts festival 2017, Amsterdam;  www.sonicacts.com

rift is a 35 mm cinemascope film in the vertical format commissioned for Vertical Cinema, curated and produced by Sonic Acts.
The film premiered at this year´s Sonic Acts festival at Paradiso in Amsterdam in the end of February.
It will be part of the exclusive Vertical Cinema program that tours worldwide.
Read more about Vertical Cinema

rift is about petrochemicals, the completely different durations involved in the process from plankton to oil to plastic,
the relation between depth and time through the layers of the earth, the transformation and the forces involved in
turning plants into crude oil, extracting the oil and making plastic which combined with ink (another petrochemical product)
is turned into colourful packaging for consumables, and then thrown away adding to the heap of plastic in the oceans
and in the ground, with a much longer duration than the item it served as packaging for, the person who bought it or the company that made it.
This might sound like a gloomy film, but it is also a film celebrating motion, energy and colour, accompanied by Justin Bennetts groovy soundtrack.
It is my homage to the New Zealand artist and motion-enthusiast Len Lye.

 

Barents (mare incognitum) won the Expanded Media award at Stuttgarter Filmwinter

barents-stuttgart

I showed my Barents video at two different festivals at the same time in January.
At Klimafestivalen §112 in Oslo as well as at Stuttgarter Filmwinter where it received the Expanded Media Award.

 

Speiling presented at NNKS in Svolvær and in Sortland

speiling_NNKS

my speiling installation which premiered last fall has been presented at NNKS in Svolvær in February and March, and travelled to Sortland in April, as part of the group exhibition that relates to Gunnar Tollefsens work.

 

 

in transit X in Marseille

intransitx-marseille

In end of January I was invited by Seconde Nature and ZINC for the Chroniques Festival as part of the launch event of Future Divercities,
to present in transit X at the Alcazar library in the center of Marseille.

 

artist lab at Antifestival

antifestival

In october last year I was part of the first Future Divercities artist lab organized by AntiFestival.
Watch a documentary of the lab

 

RAKE visningsrom

RAKE

Last winter I was given the opportunity to create both an indoor and outdoor work for RAKE visningsrom in Trondheim.

 

 

Cityscapes screening at VIDEOBOX FESTIVAL / Le Carreau du Temple in Paris on April 26-29th

cityscapes_banner_plain

hkmark1, shiva, crossings and night for day was part a program at VIDEOBOX FESTIVAL curated by Odile Burluraux, curator of the Musée d’Art moderne de la Ville de Paris, and Corentin Hamel, co-chief executive for the New Galerie, with the focus on artistic representations of the city.

 

 

 

newsletter september 2016

it´s been half a year since last newsletter, so I thought it would be time for an update.

KRISTIANSAND KUNSTHALL
kristiansandkunsthall-newsletter-sep2016b

I start with my current exhibition at Kristiansand Kunsthall, my biggest solo show so far in Norway, with almost 500 m2 of exhibition space.

I am showing 5 works there: Circle (2011), in transit (2012), revolver (2013), Barents (2015) and the new installation beacon (2016).
The exhibition is a collaboration with punktfestivalen, and also included a performance of mikro in collaboration with Justin Bennett.

You can get a quick overview over the exhibition in this short video:

and plenty of images to be found here

BEACON
beacon-kombo
Three light projectors suspended from the ceiling slowly scanning the space.
Each light projector consists of a light that orbits around a container of glass filled with water.
The water and glass works as a lens, focusing the light into a strip of light that moves around, like an inverted lighthouse.

more images

SPEILING
speiling-combo
Light projection on a custom built wall and floor.
A black and white form on a red background slowly changing shape and moving along the horizon.
Inspired by Gunnar Tollefsens paintings “rød speiling” and “blå speiling”.
Created for the group exhibition “Mitt Landskap” at Bodø Biennale across three venues: Stormen, Bodø Kunstforening and Bodø Domkirke.

The exhibition presents the paintings and sculptures of Gunnar Tollefsen in the context of younger generation of artists. Here he is in front of my installation:
tollefsen-speiling-newsletter-sept16
(photo Siri Tollefsen)

The other artists in the exhibition: Siri Austeen, Johanne Hestvold, Linn Halvorsrød, Olav Christopher Jenssen, Edvine Larssen and Vemund Thoe.

more images

 

MIKRO
mikro-kombo
(photo Rosa Menkman and Per Kvist)
For the third Dark Ecology journey which took place in June, I was commissioned together with Justin Bennett to make a new version of our performance collaboration mikro.
Mikro series is an audiovisual improvised performance where we use material found at the location we perform.
For Dark Ecology we collected materials from the whole journey: Pasvik, Nikel, Kola superdeep and from the processing plant in Kirkenes where we performed.
During the performance I use a microscope to examine and capture the textures of the various materials found, while Justin uses various microphones to sample and process sounds he creates from the materials.

Watch the video below to get an impression of the performance at Dark Ecology:

more images

We also got a chance to perform this at Kristiansand Kunsthall as part of punktfestivalen in the beginning of September.

We enjoy this collaboration and would love to do more performances, so please be in touch if you know of a suitable venue/occasion.

 

LIVING EARTH -FIELD NOTES FROM THE DARK ECOLOGY PROJECT 2014-2016
darkecology-livingearth-kopi
The Dark Ecology team has created a beautiful book summing up the three Dark Ecology journeys. I have been so fortunate to be part of all three journeys and I am happy to be included in the book!
Read more about it and how to order

 

SPIN AT ØYAFESTIVALEN
I showed an outdoor version of spin at Øyafestivalen, Norway´s largest music festival that took place in Oslo in mid-august.

 

UPCOMING
Barents will be shown at a one-night event at the van Gogh Museum in Amsterdam on October 28th. A collaboration between Sonic Acts and the museum.

I will participate in a artist laboratory project at theANTI Festival, Kuopio, Finland end of October, as part of the bigger project “Future DiverCities – Creativity in Urban Context”.

Solo exhibition at Rake Visningsrom in Trondheim in November, really looking forward to doing something at this place.

…and a few unconfirmed projects that will hopefully happen.

newsletter leap day 2016

Hi,
it´s time for a newsletter on this bonus day, with a look back at the projects I completed at the end of last year and the beginning of this year.

For a quick overview of most of my 2015 activities take a look at the 2015 showreel:

Also I have finally updated my website, please have a look at the projects section.
http://hcgilje.com/

 

Barents
barents-nikel_lucas2-newsletter
(photo Lucas van der Velden)

Barents (mare incognitum) is a large-scale projection of the ocean slowly rotating, filmed with my orbital camera. More specifically it´s the Barents Sea, filmed at the border of Russia and Norway, pointing towards the North Pole.
It was shown in Nikel as part of the Dark Ecology journey which took place in the border area between Norway and Russia in the end of November.

In December it was shown for a week at the EYE Filmmuseum in Amsterdam.

In January it was shown outside Kulturkirken Jakob as part of Klimafestivalen §112.

more images:
http://nervousvision.com/hcgilje/projects/barents.html

 

The Crossing

thecrossing-newsletter

Another project for Dark Ecology: Pulses of light passing over an unfinished structure of concrete slabs sticking up from a frozen dam. A total of six lines of light were suspended over the 20x20m area in the industrial zone of Zapolyarny, Russia.

more images:
http://nervousvision.com/hcgilje/projects/thecrossing.html

 

Triptych

BEK feirer 15 år

Bergen, 11. desember 2015: Bergen Elektroniske Kunstsenter feirer 15 års jubileum på Landmark. Foto: Eivind Senneset

a live collaboration with phonophani (Espen Sommer Eide) at Bergen Kunsthall Landmark for the 15th anniversary of BEK. Sadly not a lot of documentation from this performance which was the first time I collaborated with Espen. You will hopefully get the chance to hear some of the music in a future release from phonophani.
I used the orbital camera as a live camera for this project with the idea of three different motions for the three different parts in the music: panning, rotation and combining panning and rotation.

 

Revolver vs Vibratone
revolver_RAM-newsletter

On a very cold evening in January lots of people came to RAM Galleri in Oslo to experience my collaboration with sound artist Alexander Rishaug. It was the 4th version of Spaces Speak, audiovisual evenings curated by Ricardo del Pozo and Joakim Blattman. Rishaug created different soundscapes centered around his large Leslie cabinet with a rotating speaker and I showed the light installation Revolver.
You can get an impression from the video here:

 

ps. while you wait for the next newsletter you could have a look at the whole performance of Voice with Maja Ratkje at Kongsberg Jazzfestival last summer:

newsletter november 2015

It´s been a long and busy autumn for me, but the dark times are not over yet!
Below you will find information about projects just about to happen, ongoing and completed projects since end of August.

—UPCOMING—

Dark Ecology Journey
Kirkenes, Nikel, Zapolyarny, Murmansk nov 26-30th
barents-still-nl

Just before the climate summit starts in Paris I will take part in the second Dark Ecology journey in the border area between Norway and Russia.

During my residency in September in Nikel and Vardø I ended up with two projects I wanted to realize and thanks to the amazing production team they both seem to be happening!
Both projects are outdoors: In Nikel I will show Barents (mare incognitum), a large-scale projection of the ocean slowly rotating, filmed with my orbital camera. More specifically it´s the Barents Sea, filmed at the border of Russia and Norway, pointing towards the North Pole.

The second installation is the crossing, a light motion installation in a very Stalker-like environment outside Zapolyarny.

Check out the complete Dark Ecology program.

BEK 15th anniversary at Bergen Kunsthall Landmark
Bergen dec 11th
I will be part of the line-up for an exciting evening celebrating Bergen Center for Electronic Arts

Weather report
Amsterdam dec 15th
A cinematographic weather report at the Eye film museum in Amsterdam, with a few projects from Dark Ecology. I will give a presentation of Barents (mare incognitum). In the week ahead of the event, the Barents video will be screened for an hour every day at the EYE.
More information about the event at the EYE site

—ONGOING—

blink-hamar-2015
Kunstbanken Hamar, until January 3rd
blink-hamar-2015-nl
For my current soloshow at Kunstbanken I am showing a new version of the projection installation blink as well as the light installation revolver.

more images of blink at flickr

off-the-grid
Prosjektrom Carl Berner, until November 29th
off-the-grid-nl
A light-motion installation created specifically for the gallery space situated inside the metro station of Carl Berner in Oslo. I have lowered the ceiling by hanging the grids from the existing light fixtures and replaced the lights with moving light pulses.

more images at flickr

—COMPLETED—

in transit X
Signal Festival, Prague october
intransitx-signal-nl
An outdoor version of in transit X presented in the beautiful courtyard of the Church of Our Lady of Snows in the center of Prague as part of the light art festival Signal Festival.

more images at flickr

flip flop
Galleri Lynx, Sculpture Biennale Norway, october
flipflop
a kinetic installation with flip dots created for the pavillion of Galleri Lynx in Oslo as part of the Norwegian Sculpture Biennale 2015.
A mechanical repetative motion propagating the room through sound, light and shadow.

more images at flickr

glimt
SALT, Sandhornøy autumn 2015
glimt-nl
light-motion installation for the winter darkness at SALT, Sandhornøy, Norway

more images at flickr

waiting for the summer: newsletter may 2015

While we are waiting for summer to arrive here in Norway I thought it was time with a little update from me. A few big projects have occupied me the last months, and now I am busy preparing the coming half year.

my second solo show at Wood Street Galleries with the installations flimmer, revolver and spin

Wood Street Galleries consists of two floors of about 175 m2 (1800 square ft) each.

On one floor I created a new installation, flimmer: light and wind passes through a volume of black strips suspended from the ceiling in the white gallery room.
flimmer

video documentation of flimmer:

On the other floor the walls where painted black, and I created two rooms with half-transparent walls to contain the installations revolver and spin.
revolver-woodstreet-newsletter

spin-newsletter

Video documentation of revolver and spin at Wood Street Galleries:

The exhibition opened on April 24th and closes on June 21st.
http://woodstreetgalleries.org/

junction: light-motion installation under King Williams Bridge, Adelaide

junction

I was invited to be part of the Blinc program of Adelaide Festival of the Arts which opened end of february. I selected my location because of the beautiful arches of the underpass of the bridge and used that as the departure point for this site-specific installation. You can read more about the project in the link below, which also contains a video documentation and some more images.

https://hcgilje.wordpress.com/2015/03/31/junction-light-motion-installation-under-king-william-bridge-for-the-adelaide-festival-of-the-arts/

 

video of the installation kile(wedge) presented at Solund Light Art Festival in november 2014

the video wasn´t ready for the previous newsletter, so here it is:

(I am planning to show something at this year´s festival as well!)

 

upcoming this summer: Maja Ratkje + HC Gilje at Kongsberg Jazzfestival, July 3rd

It´s been a while since our last performance together, and this one is a bit special to me as it is the first time I show work in my city of birth, Kongsberg.
http://kongsbergjazz.no/

video excerpt from our performance at the Sonica festival in Glascow 2013:

 

upcoming this summer: light-motion installation at SALT, Sandhornøy, opening August 21st

SALT-newsletter

This is something I am quite excited about: I am making a light-motion installation for a 140m (450 ft) long fish rack designed by Finnish architect Sami Rintala placed on a white sand beach on the beautiful island of Sandhornøy in the north of Norway.

http://www.salted.no/

 

The fall

confirmed activities for the fall includes participation at the Norwegian Sculpture Biennale, two solo shows in Norway, as well as a project for Dark Ecology.

PS
I mentioned a book release in the last newsletter, this is put on hold for a while. If anybody knows about an interesting art book publisher please let me know.

 

junction: light motion installation under King William Bridge for the Adelaide Festival of the Arts

junction

photos by Paul Armour. For larger versions (and a few more images) go to the junction album on flickr.

I was commissioned to make a new installation as part of the blinc program for the Adelaide Festival of the Arts which took place end of february / beginning of march 2015. Blinc, curated by Craig Morrison and Joel Cockrill, was a series of outdoor projection and light-based art works, including works by Squidsoup and Bordos Artworks among others.

I chose my location based on some images Joel sent me, and I immediately got drawn to the beautiful arches of the pedestrian walkway / bike path underneath the King William Bridge, situated in Elders Park in the center of Adelaide.

elderpark-adelaide

The underpass is about 40 m (130 ft) long and 9 m (30 ft) wide with 9 arches. I wanted to work with the space in a similar way to what I did with trace at LIAF and Todays Art, constructing a grid of LED lines that animates and activates the structures of the space, in this case mainly the arches.

The unusual thing about this project for me was that it was a site-specific project where I didn´t have the possibillity to go there myself. I selected the location based on photos and created the setup based on drawings and an idea of how I wanted it to look. I prepared a detailed manual for the construction of the installation and the festival crew did a good job with the remote install.

This was obviously not an ideal situation, as for this type of work I am really interested in a more direct dialogue with the space, leaving room for improvisation and adjustements, and I quite enjoy the manual labour involved in building up installations. Also, not having been there myself makes the project less real somehow, especially since I like to emphasize the physical experience of my installations. That being said I was extremely lucky to get in touch with Paul Armour based in Adelaide who did a great job documenting the installation under difficult conditions. It gave me a chance to experience my own work the way most people do, through images and video published online.

One thing I discovered watching the video documentation was the fantastic soundtrack created by the cars passing over the bridge which I think worked really well with the motion of the light pulses.