The Atmospherics – River deep, mountain high
Trond Lossius & Jeremy Welsh
The Atmospherics – River deep, mountain high
Entrée Gallery, Bergen-
February 7 – 17 2019
Thursday – Sunday
Open: 5 – 8.30pm (loop)
Trond Lossius & Jeremy Welsh
The Atmospherics – River deep, mountain high
Entrée Gallery, Bergen-
February 7 – 17 2019
Thursday – Sunday
Open: 5 – 8.30pm (loop)
MULTI is a concert series at Lydgalleriet / Østre using their semi-permanent 24 speaker surround sound louspeaker rig. The MULTI concert series commission new works for multi-channel speaker setup, giving new musicians, composers and sound artists the opportunity to express themselves using spatial sound.
Since 2015 I have been co-curating this series.
This performance was commissioned by Bergen Assembly as an artistic response to the WITHIN II project by Tarek Atoui, performed at Sentralbadet September 30, 2016. The work combines text and music performed on select instruments of the Within exhibition by professional and amateur musicians of different hearing abilities.
The exhibition at Stiftelsen 3,14 combines a 32 meter mural chalk drawing and 12 channel surround sound into an immersive installation.
Drawings and sound were developed on site over five hectic days in front of the opening. Lindahls chalk-drawing continued to evolve throughout the exhibition period, and as the exhibition period came to an end, the drawing ended in destruction.
I have left you the mountain presents ten new texts written by contemporary writers and thinkers on the architecture of displacement. These texts have been set to music and sung by some of the last remaining groups of Albanian iso-polyphonic singers, an art form now protected as “intangible cultural heritage” by UNESCO.
This 30 min radiophonic work was made for ToBe Continued 2016, an original concert lasting 24 hours, during which musicians from many parts of the World will be connected to a website that broadcast their concerts. The concert takes place on the World Tuberculosis day.
Harastølen was built as a sanatorium for tuberculosis patients in Norway. and was later used as a psychiatric institution and lodge for refugees. Since the mid-1990s the building has been abandoned.
lament for t was a site-specific sound installation for the old and abandoned county jail in Bergen. The installation would be excperienced within the central corridor of the building as well as it’s galleries. It used 12 speakers surrounding the gallery at the 2nd floor to create an ambience augmenting the unsetling atmosphere of the building.
Bomuldsfabriken, Arendal, January 2015.
16 channels of sound and 5 HD video projections. As in the second installation, loudspeakers are arranged around the edges of the gallery space, on the floor and mounted on the wall just below ceiling height. With a greater ceiling height, and the overall dimensions of the room, this became the most spatialised version of the work so far.
Visningsrommet USF, Bergen, December 2014.
16 channels of sound and 3 HD video projections. Loudspeakers are arranged around the edges of the gallery space, on the floor and mounted on the wall just below ceiling height. The two symmetric rings of loudspeakers on floor and wall allow sound to be distributed both laterally and vertically. This arrangement allows for a more immersive listening experience, placing the viewer in a more physical relationship with the artwork.
Stiftelsen 3,14 Bergen, November 2014.
14 channels of sound and 3 HD video projections. Loudspeakers are arranged around the edges of the gallery space, on the floor and in windows. Sacco bean bags distributed around the space encourage visitors to relax in different parts of the room where they will experience the soundscape in different ways.
I participated in the summer 2014 program of Galleri Ruth, a drive-in sound-art gallery located in the rural region of Råde in Østfold, Norway.
My contrition was a series of short text readings as sound files. Each text was an exercise inviting the audience to listen attentively to the soundscape at the site of the drive-in gallery. The work was based upon Raymond Murray Schafer’s “ear cleaning” exercises in listening.
“Bergen Leser” is an interactive installation that enables collaborative public reading of books. It is installed at the Bergen Public Library, and as recordings accumulate, they become available online as video books. “Bergen Leser” is an adaptation of Read Aloud, an installation by Ross Phillips, commissioned for the National Media Museums in Bradford, UK, 2012-13.
2012-2013 I was engaged at Bergen Academy of Art and Design (KHIB) leading the art research project Re: place. The project was an investigation of (relationships between) place, time and memory as manifested in artistic works exploring image, sound, text – or combinations of these. The main artistic outcome of the project was a pair of exhibitions at KINOKINO Centre for Art and Film and Sandnes kunstforening in the fall 2013.
A temporary sound installation at the Hökarängen metro station in Stockholm, using 14 public address loudspeakers mounted evenly along the platform.
The work was part of Augmented spatiality, a public art project for the suburb of Hökarängen in Stockholm in which the artworks, performances and other comprised events were integrated into the social and spatial processes taking place in the public sphere. Augmented spatiality was curated by María Andueza.
“Lontano” is an installation / event taking place in an anechoic chamber. It addresses the anechoic chamber as a site of research within several fields of relevance to my own practise, and also brings awareness to issues of spatial hearing, the rich soundscapes that surrounds us, and how we are situated and immersed in the world through sound.
It does so by inviting four persons at a time into the chamber for a shared session listening to surround sound field recordings.
This was a temporary and site-specific installation of sound, light, video and objects by Trond Lossius and Anna Wignell. The project was installed at the old IKEA store in Åsane, Bergen, as part of a one-day five-hours happening produced by the Borealis festival the last day before IKEA moved to new premises.
This event is part of an ongoing artistic and cultural exchange between the three cities of Aberdeen, Bergen and St Petersburg. The evening will showcase a rich variety of new sound and audiovisual works by Ross Whyte, Pete Stollery, Trond Lossius and Suk-Jun Kim as well as work by communities from each of the cities.
The theatre production Urmakarens hjarte (The Heart of the Watchmaker) is an adventurous thriller for youngsters inspired by Norwegian folk mythology and modern fantasy literature. It is based on a script by Miriam Prestøy Lie, and directed by Torkil Sandsund.
Urmakarens Hjarte will be touring Western Norway and Oslo in the spring of 2012.
The screening program is curated by Trond Lossius, and co-curated by Malin Barth.
A stereo version of the sound for the 2011 installation Lines Converging at a Distance at Håkonshallen is featured at the CD MUU FOR EARS 9, published by MUU Artists Association in Finland.
During spring 2012 I am a guest at the web site of Madstun with the project West coast soundscapes. I will be doing a series of field recordings at various locations in Sotra and Øygarden. The sound recordings will be posted to the Madstun blog with accompanying text and photos.
The Håkon’s Hall in Bergen is a remarkable building with a long history. The site-specific sound installation is a commission for the 750 year anniversary in 2011. The ambient spatial soundscape invites the audience to experience the hall at a slower pace, and possibly sit down and contemplate the qualities of the combined space and sound.
Sound can be one of the principal channels conveying information, meaning, and aesthetic/emotional qualities in interactive contexts. The twelve works in this exhibition showcase the use of Sonic Interaction Design within arts, music and design, and also provide examples of sonification for research and artistic purposes.
The exhibition was collocated with the permanent Music Technology exhibition at the Norwegian Museum of Science, Technology and Medicine in Oslo.
What happens to a musician’s brain when under duress? For the Borealis Avgarde Extreme event Le Jury (Ricardo Odriozola, Einar Røttingen, Jostein Stalheim) improvised non-stop for 12 hours, during which the activity of their brains was monitored by researchers from Bergen University. The data was displayed to the public, as well as being used by electronic media artist Trond Lossius to create a live visual display.
Installation by LMW (Trond Lossius, Jon Arne Mogstad and Jeremy Welsh).
PLEASE NOTE AFTER IMAGE combines painting, video and sound and is part of the exhibition BGO1 at Bergen Art Museum.
Karen Kipphoff and Trond Lossius collaborates on a videowork that is to be presented at the ICCI 360 panoramic video festival in Plymouth (UK) September 2010. The work is titled “At the Zoo”. It’s an anthropomorphic composition that uses pattern and montaged, abstract sound based on the French tradition of acousmatic music.
SHAKE THE TREE by Maria Udd and Stine Karlsen was commissioned as a public art work for Nordahl Grieg Videregående Skole, opened in 2010.
Architectures by Link Signatur AS. Ingrid Berven and Trond Lossius served as artistic consultants for the public art commission, with a total budget of NOK 2.000.000.
An audio-visual performance by Jeremy Welsh and Trond Lossius, based on material recorded around the sites of WWII German fortifications on islands off the west coast of Norway, near Bergen.
The work was presented at the 6th International Conference on Small Island Cultures Guernsey, June 22 – 25 2010.
A site-specific sound installation at Fjell Festing, a 2nd World War German fortification west of Bergen, built to secure the entrance to Bergen.
The fortress supported a main gun turret with a range of 37 km, with a network of tunnels three kilometers long on the surface and in the mountains. It was mainly built by Russian prisoners of war.
FLOATING CHARACTERS, directed by Karen Kipphoff, explores the borders of screen, digital media and live art during performances utilizing puppets, objects, actors, text, audio and visual media.
It is inspired by Bunraku theatre, video games, slapstick, panoramic experiences and the text “A Certain Number of Conversations” by Alexander Vvedenskij.
Installation by LMW (Trond Lossius, Jon Arne Mogstad and Jeremy Welsh) at Visningsrommet USF, combining video, painting and sound.
As the exhibition took place in parallel with my final writing up for the research fellowship in the arts assessment, my contribution to the exhibition was rather modest this time.
Audio-visual installation, solo exhibition at Hordaland kunstsenter.
Physics throw me off: A line multiplied by a line is a plane. A plane multiplied by a line becomes volume. I can almost grasp the idea of velocity being derived from location in space. But acceleration implies time multiplied by itself. What does a square second feel like? And what is the volume of sound? A cubic second?
Installation by LMW (Trond Lossius, Jon Arne Mogstad and Jeremy Welsh).
The installation in a container formed part of a sound art program at one of Norway’s biggest rock festivals. Outside the container the logo “LMW” was painted in large letters and rasterised patterns and stripes of colour painted at one of the short walls.
LMW (Trond Lossius, Jon Arne Mogstad and Jeremy Welsh) was invited to make a site-specific work for the summer exhibition at Seljord Kunstforening in Telemark – a small community in the middle of the countryside. The exhibition space was a converted barn in which it was possible to work directly on the walls.
An installation of sound, video and digital prints by Trond Lossius & Kurt Ralske at Visningsrommet USF, Bergen
Designed for a gallery that is extremely open to the outside world, WHITE-OUT investigates the ambience, ambient art and the blurring between the art work / art gallery and its surroundings.
By Andrea Sunder-Plassmann and Trond Lossius.
The trickster is an important archetype in the history of man who rebels against authority, pokes fun at the serious…He exists to question & not accept things blindly…We seem most accessible to the gifts of the Trickster when we ourselves are at or near boundaries or are experiencing transition. As an archetype, the Trickster, the boundary dweller, finds expression through human imagination and experience
Audio-visual installation by Trond Lossius and Kurt Ralske at Electrohype, Malmö konsthall, 2004-05
Elektropoesia investigates relationships between sound and video, creating a combined artistic expression with both layers being of equal importance.
Interactive installation by Asbjørn Blokkum Flø & Trond Lossius in the crypt of Norsk Form as part of Ultima, Oslo Contemporary Music Festival.
SOUNDTRACKS investigates technological failures as artistic material. The installation processes and deconstructs the sound of digital glitches, sound generated during computer crashes and cheap lo-fi speakers pressed to and beyond their limits.
CONCERT FOR GREENLAND is an audio-visual composition where rusty machinery meets new technology on the backside of a “video-shadow-theatre” in Greenland, a performance/installation where visual art, sound, video, installation, text and theatre unite.
Verdensteatret received 2005-2006 New York Dance and Performance Awards (A.K.A. The Bessies), Installation & New Media category for “Concert for Greenland” at P.S. 122.
Field recordings recorded or streamed live by NRK, Norwegian National Broadcasting, from all regions of Norway formed the raw material of an interactive installation at the central railway station in Oslo. A number of parabolic loudspeakers guided the audience towards a custom designed room where they could interact with remixed and processed versions of the field recordings. The processed sounds where spatialized in 3D using 24 loudspeakers.
In May 2001 the company traveled from Kiev via Odessa and crossed the Black Sea to Istanbul. This journey is the background for the new production. Much of the material collected through this journey, in the shape of video- and sound recordings, pictures and recollections are forming the landscape – a kind of after-landscape, after the storm – of TSALAL.
This was a one week workshop investigating the creative potential of real time video control and manipulation using Max and Nato.0+55+3d software.
Texture I was the first sound installation I made. The idea was to have it present inside one of the buildings at Kolmanskoppe, an abandoned mining town in the Namib dessert.