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.

Voice 2012

Seven years after our previous collaboration, Maja Ratkje and I got together for a performance in Johanneskirken in Bergen for Festspillene i Bergen this May. I created a setup using LED modules normally used in outdoor video walls which I placed in an arc behind Maja. The arc functioned both as a canvas for low resolution patterns but also a powerful light source affecting the whole church giving me an opportunity to modify the whole space by improvising with these screens.

We have been invited to perform at the Bozar Electronic Arts Festival on september 22nd  (Bozar, Brussels) and later at the Kontraste Festival in Krems in october.

Johanneskirken has probably never looked cooler from the outside:

a very short glimpse of what you might experience:

The full-length performance at the Kontraste Festival in October 2012:

7 cirkler

Last year I was asked by curator Morten Søndergaard if I wanted to contribute to  “Unheard Avangarde” which was to be a section in the big sound art exhibition at ZKM (which opened end of March 2012). The idea was to combine contemporary artists with works by pioneer composers of electronic music in Scandinavia. I was initially reluctant, but after hearing the music I was sold. I was asked to work with the composition 7 cirkler by the Danish composer Else Marie Pade, which she made in 1959. She was inspired from visiting the planetarium at the Brussels World Expo in 1958, and using tone generators and tape she created a system of building up layers (circles) of sound and then reversing the process and end up with just one circle again. Here is a diagram showing how she constructed the composition:

I was interested in making a similar structure with circles of light animations combining into more complex light-shadow patterns.

The installation is on display until January 2013 at ZKM

blink @ woodstreet (Projected Light Space)

multimorf 3: a composition for trombone and waterfall

I just finished a new collaboration with composer Knut Vaage, Multimorf 3, a composition for waterfall and trombone.

The image above is a snapshot from each of the nine sections of the piece.

The trombone plays together with recordings of waterfall and layered trombone overtones (also combined with live processing of the trombone).
The composition has an open form:
Vaage has together with sound designer Thorolf Thuestad created nine morphed backgrounds of waterfall recordings and trombone overtones. The trombone player, John Arild Suther, chooses how long each morph section should be played and in which order they should be played, as well as which sections of the composed score he wants to play within each section. This opens for very different performances based on the same material.

The video is conceived in a similar way to the morph backgrounds. The material is based on waterfall recordings and generated material, and each of the nine sections can be viewed as individial motion paintings. My intention was not to create something that followed the music directly, but to create a visual component that responded to the energy contained in a waterfall and to reflect the individual qualities of the nine sections. Since the length and order of each section can vary for each performance, I wanted each section to focus on layers instead of creating linear trajectories: If you see thirty seconds or four minutes of a section you will get more or less the same visual content, it is the combination and length of the different sections that create the linear dynamic of the piece.

The trombone player controls both the playback of video and sound backgrounds, using midi foot pedals, making it relatively easy to tour with the piece without involving too many people.

Multimorf 3 premiered on August 12th at Baroniet in Rosendal (probably one of the most beautiful places in Norway). We played outside in the courtyard of the Manor from 1665 to an enthusiastic audience.

It will also be performed at Bergen Architechture School on September 1st (together with multimorf 2), and at Integra in Copenhagen October 1st.

Two new works

I have made two new works for my exhibition at IMAL, which is my first solo show in Belgium (29.04-22.05.2011).

As in my recent installations blink and split I am interested in relating directly to the architecture of the exhibition space. The main IMAL space is about 200m2 with a grid of 12 columns.  The circular discs are freestanding sound modules (five in total) placed on the floor. A slowly-paced sequence of projection and sound transforms the space into a contemplative environment.

The other installation explores through projection,light and reflection the inside,outside and perimeter of a circle mounted at a 90 degree angle to the floor. This is a first in a series of work creating dynamic volumes out of precisely cut flat shapes (in this case using a cnc mill).

For more images (also in print quality) from both installations take a look at my flickr set from the exhibition.

Results from openLAB exhibition at IMAL

In beginning of April IMAL hosted an openLAB workshop called “Projections on forms and spaces”.
The workshop was led by me and was mainly based on using VPT. We selected 7 projects to be realised during one week development at IMAL, and the documentation is now available from IMAL.

It was an intense and interesting week, and interesting to see VPT explored for new uses in installation and performances. A new development for me was to introduce a simple video and audio trigger setup (available in the xtension section), which allowed for some audience interaction, as well as use of the serial module for controlling lights inside sculptures.

VPT 5.1 available

After nearly 2500 downloads of the first version of Video Proejction Tools VPT 5 released in december 2010, I am happy to announce the new version 5.1, partly based on feedback from workshops and the VPT forum.

The release focuses on all the possibilities to expand and customize VPT to be the right tool for your particular project.

This includes a vastly improved controller section, making it possible to control almost every feature of VPT from another application (like maxmsp, processing and PD), computer, sensors through the arduino microcontroller, midicontroller as well as built in lfo controllers for automating control and software sliders and buttons. This comes on top of the already existing built-in preset and cuelist system for playback. Through OSC, VPT parameters can relatively easy be controlled by gestures, using camera or kinect tracking.
You can easily set up VPT to control simple projector shutters by controlling servomotors using the arduino module.

Templates are provided with the download for exploring OSC on maxmsp and Processing, PD will follow later. Arduino templates for input/output as well as a servo example is also included with the download.

VPT can be used with multiple projectors using Matrox Triplehead2go, and the latest version also includes support for multichannel sound: The movie sources can be individually routed to up to eight channels, depending on your sound card. Using the provided maxmsp template it is possible to process the sound further.

VPT 5.1 includes a new possibillity of processing the sources using the FX bus. The FX bus consists of eight FX chains, modules which contains shader based effects. New FX chain modules can easily be made using the provided maxmsp/jitter template, and can be dragndropped onto the existing FX chain to replace it, making it easy to customize the effects to your particular need.

Three new sources have been added to VPT: A solid (if you just want a colour in a layer), a noise texture generator and a text module which can either use text from file, osc or typed text. A maxmsp/jitter template is also provided if you want to create your own source.

Read more about VPT 5.1 and download it here

Read the online manual

Visit the VPTforum

VPT templates and examples for maxmsp/jitter, PD, Processing and Arduino

VPT is a free multipurpose realtime projection sofware tool for Mac and Windows developed by HC Gilje. Among other things it can be used for projecting video on complex forms, adapt a projection to a particular space/surface, combine recorded and live footage, or for multiscreen HD playback.

snitt

On November 13th my second solo exhibition at Galleri 21 in Malmö opened, and it runs until December 5th.

I created two site-specific installations, which both derive from recent work, investigating the relation between light/projection/shadow,space and movement.

At the moment I only have decent documentation of one of the works, so I will just briefly mention “Kaos på dej”, which is basically a variation of the blink (light/shadow) installation but with some furniture.

Snitt, which spanned over three rooms in the gallery, is a projection of a white line onto the surfaces of the gallery: “A straight line moves slowly through the three rooms of the gallery space, cutting the space into different sections (snitt). The movement of the line, “attacking” the space from different angles, focus the attention of the viewer on the physical qualities of the space.

The physical properties of the galllery space (the walls, ceiling,floor, door openings, light fixtures etc) modulates/breaks up the straight line into a continuously evolving pattern of line fragments, depending on the position of the viewer and the angle of the line in relation to the architecture.”

The view in the inner room:

And here is a video showing some of possible configurations of line-space.

If you still want to see more, here is a slideshow.

U trust blink?

I spent last week in Dortmund, preparing for the Trust exhibition, showing at the new Dortmund U. Trust is an exhibition curated by Andreas Broeckmann and Stefan Riekeles as one of the exhibitions for ISEA2010 which takes place in the Ruhr area later in August.

Dortmund U used to be the Union Brauerei (brewery), and is now turning into a center for different cultural activities.

I am showing a new version of blink, with new sound and a few visual changes as well.

Other participating artists in the exhibition:

Seiko Mikami (jp), Carsten Nicolai (de), knowbotic research (ch/at/de), Milica Tomić (rs), Ariel Guzik (mx), Joan Leandre (es), Joyce Hinterding (au), Julien Maire (de/fr), Naeem Mohaiemen (bd), Sophie Bélair Clément (qc/ca), Konrad Becker (at), Verena Friedrich (de), Antoine Schmitt (fr).

I am happy to be part of this group of interesting artists, and look forward to the catalogue which will be ready for the ISEA conference.

The exhibition is on until September 5th.