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Sound Art in the White Cube

February 19, 2006


Sound Art in the White Cube.

Jana Winderen and Maia Urstad in collaboration with Jørgen Træen organized the sound project MOTLYD at USF in Bergen in 2001.000 Five years later they will focus on the development of Sound Art during this period at this one-day seminar. Today we see software development and experimentation on a large scale and extensive exhibitions and publications on the subject of Sound Art are being produced. A growing number of young artists are sharing experiences in this field of activity. This will at the same time demand a clarification of the position of Sound Art in the’ White Cube’ environment and further on which actions an institution must take to fulfill their ambitions for the development and promotion of sound-based art works. The participants have all taken part in the development of Sound Art and will as practitioners and professionals talk about their experiences in relation to this.

11.00 – 11.300 Introduction Jana Winderen og Maia Urstad

11.30 – 12.150 Mike Harding director of the audio-visual label Touch in London

The Rustling of Leaves and the Howling of Wind
Mike Harding talks about the problems and possibilities confronting artists and curators when organising or working on audio-visual events. He calls for a reassessment of the role of sound in mixed-media work and offers the use of sound in the natural world as a source of inspiration for all artists.

12.30 – 13.000 Jørgen Larsson artist musician

Joint portraits reflections concerning the presentation of sound – artistic and practical realities.

13.15 – 13.450 Lars Petter Hagen composer artistic director of Happy Days sound festival and Ny Musikk.

What is the difference? Compositional strategies in Sound Art and music. With examples from Ny Musikk events and own work.

14.00 – 15.000 Lunch

15.15 – 16.000 Brandon LaBelle artist curator writer

Without Belonging
How does sound find its place when it seems to partially leave place behind? Considering such spatial riddles I’ll search for descriptions and examples so as to locate sound’s geographic and aesthetic potential.

16.15 – 16.450 Steinar Sekkingstad art historian critic curator
Erlend Hammer art historian critic curator

Why do we need a Sound Art gallery? Establishing Lydgalleriet in Bergen.
What is wrong with the regular galleries? Does a separate gallery
represent a freedom from the constraints of such galleries or does
it unnecessarily confine Sound Art within the format of white-cube
installations? Are we building an institution or creating an experimental think-tank?

17.00 – 17.300 Bjarne Kvinnsland Composer artist and producer

Installations by Intravision
Bjarne Kvinnsland Per Å ge Lyså Yngve Sandboe
– We work like a Rock Group in a studio carefully programming sound &amp light. We discuss possibilities combining the broad experience from our different professional backgrounds. Each project represents the development of a new and innovative multimedia instrument which we first build and then play on – .

17.45 – 18.150 Trond Lossius sound and installation artist

Sound in the gallery space: Experience and challenges
In recent years Trond Lossius has been doing a number of cross-disciplinary projects in collaboration with other artists mainly combining sound and visual elements. Based on his experiences he will talk about different approaches and challenges he has encountered when working with sound in gallery spaces.

The seminar is supported by:
Ny Musikk
Atelier Nord
Lydgalleriet i Bergen