Art's Birthday 2005 Network
Swedish Radio P2
Art’s Birthday Party
An EBU Ars Acustica Special Evening.
The Stockholm Art's Birthday Party comes from Konstfack (University College of Arts Crafts and Design) located in Ericsson's old factory just outside the city centre of Stockholm. The Stockholm Party presents Swedish sound-artists, composers, dj:s and musicians live on two stages alongside with a number of sound-installations by Swedish sound-artists. There is a possibility for the audience to interact and play with the installations, listen to the artists, mingle in the bar and enjoy the specially made karaoke-machine "let them sing it for you" made by Swedish artist Erik Bünger. Gifts and presents to ART will be handed over to ART by students from the University College during the night...and the party will continue until the morning in Stockholm...
- 20:00 – 20:20
- 20:20 – 20:40
- 20:40 – 21:20
- 21:20 – 22:00
Larm, Hugger-mugger, Bengt Emil Johnson & Kerstin Ståhl
- 22:00 – 22:30
Jean Louis Huhta
- 22:30 – 23:00
SR c and installations + students from the University College
- 23:00 – 23:20
Carl Michael von Hausswolff
- 23:20 – 24:00
Schedule for acts at Art’s Birthday Party/Konstfack Stockholm:
Producer/Coordinator SR P2 (Radio House, Stockholm): Erik Mikael Karlsson
Producer SR P2 (OB-bus): Stefan Holmström
Live-broadcast between 20-24 CET on SR P2.
A SR P2/EBU production in collaboration with the University College of Arts Crafts and Design in Stockholm, EMS (Electroacoustic Music in Sweden) and SR c.
Active broadcasting partners:
ORF (Vienna), SWR (Baden-Baden), RNE (Madrid), Cesky Rozhlas (Prague) and Radio Russia (Moscow).
Daniel Skoglund is a sonic music and installation artist from Gothenburg. Over the past few years he has been working with Mats Gustafsson and dj Olive. He uses electronic and mechanical machines designed by himself. Movement is translated into rhythm and creates an engaging and viual sonic art.
Sten Hanson has been working with experimental music, literature and art since the beginning of the 1960s, cultivating both instrumental, vocal and electro-acoustic music for performance on radio and television, on outdoor occasions or from the concert platform. He himself has been on numerous performing and lecturing tours all over the world. He was quick to realise the importance of the tape recorder as a factor in the renewal of poetry and the ability of text-sound compositions to break the isolation often experienced by an author in a small language area. Many of his early compositions were short, hard hitting collages of text and sound with a socially and politically committed content: Che (1968), Western Europe (1969), Revolution (1970). In other works the emphasis was more on humorous burlesque: Coucher et souffler (1968), How are You (1969). Compositions like Fnarp(e) (1970) and L’Inferno de Strindberg (1971) have passed through more extensive electro-acoustic processing, as is also the case in the humorous but cautionary The Flight of the Bumblebee (1982).
The voluminous John Carter Song Book (1979-1985) is based on the early science fiction writer Edgar Rice Burroughs’ texts concerning the American Captain John Carter’s adventures among the red men of Mars. In principle this is pentatonic music, but with a lavish flora of glissandi and microtonal elements. The vocal elements have been synthesised at the computer studio of Brooklyn College, New York. Wiener-Lieder (1985-1986) for soprano, piano and recorded tape was first performed at the 1987 Swedish Music Spring Festival. In a series entitled Play Power (e.g. No. I 1961, No. IX 1982) he has used the potentialities of an instrument together with a recorded part in which the characteristics of the instrument are electro-acoustically prolonged.
Stig Jacobsson 1987
Håkan Lidbo is without doubt one of the more prolific and diverse producers the electronic music scene has ever witnessed, having released more than 100 records in a career spanning just under fifteen years. From early experiments in the studio and original homemade releases through to becoming one of the most creative and sought after producers the worlds of Techno, Electro and House have ever seen, he has notched up varied releases across a wide spectrum of the globes labels, including the likes of Feis, Chalant, Force Tracks, Frogman, Pokerflat, Plastic City, Lasergun and countless more. One explanation for this spread is the sheer breadth of music his range encompasses, composing everything from Latin Techno through Electro, Synth-pop, Soul, Disco, Click-House and Minimal Dub, imbibing everything with a unique quirkiness and twisted production style. He is also renowned for his live sets, and has spent a great deal of the last year touring the worlds clubs showcasing his eclectic sound.
(Liv Strand, Mari Kretz and Mona Pettersson)
”Larm” is a project that focus on women in the history of sound-art but ”Larm” is also developing several collaborations. The finale of the project will be a festival for sound-art in Stockholm during spring 2006. The sound-art project ”Larm” will gather artists from several fields including video, film, performance, poetry and music. The initiators of the sound-art project ”Larm” are the artists Liv Strand, Mari Kretz and Mona Pettersson.
(Maria Hägglund, Catarina W.Källström and Ellinor Ström)
Hugger-Mugger consist of the artists Maria Hägglund, Catarina W. Källström and Ellinor Ström. The work with sound, music, performance and installations. The group has been active since 2000 and has performed at festivals and in art galleries. Where they hav been given concerts from a wardrobe, transmitted their own radioshows from a gigantic radio made of corrugated cardboard, placed twohundred whooper cushions on a heavily trafficked street, and released a double CD, Begging for Boggie, a rare and puzzling piece of DIY improv.
Bengt Emil Johnson
As poet and composer, Bengt-Emil Johnson is greatly fascinated by materials. His poetic career began with collections in a concretist spirit, and his music was also inspired by the thought of coming to terms with different kinds of acoustic material. And yet he has seldom figured as a technically preoccupied composer. His works often have literary ramifications, sometimes relating to poems of his own, sometimes to those of other poets (Carl Jonas Love Almqvist). He is a pioneer of text-sound composition, an amalgam of poetry and musical composition which acquired especially powerful standing in Sweden during the 1960s. He has taken a close interest in improvisation and collective composition. A more refined technique of composition underlies Disappearances for piano and recorded tape, the ensemble piece Mimicry and Colloquium.
Experiences of nature, awareness of death, reflections on contemporary phenomena — these are some of the ideas recurring in his musical compositions, with Night Chants, to words from ceremonies of the Navaho Indians as something of a high-water mark. The singer Kerstin Ståhl has played an important part in inspiring and interpreting several of Johnson’s works. Johnson has been on the staff of Swedish Radio since 1966. Between 1968 and 1977 he was among other things editor of the journal Nutida Musik. In 1979 he was made director of the Music Department, where among other things he has been an enthusiastic initiator of the annual Electronic Music Festival in Stockholm (first arranged in September 1979). He became Programme Director at Swedish Radio, 1984. Johnson is also a practising poet, with fourteen collections published between 1963 and 1986. He is much in demand as a compere and author of programme notes at concerts.
Kerstin Ståhl is an acclaimed Swedish mezzosoprano and has since the 1960s specialised herself in new and experimental music. She has toured in Europé, Nort- and Southamerica, both as a soloist and as a member of the legendary Swedish ensemble ”Harpans kraft”. Many composers have written music directly for her personal voice and together with Bengt Emil Johnson has she developed an advanced form of reciting poetry wherein music performance meets recitation. She is also active as presenter at Swedish Radio P2.
Born in 1965. Has his roots in Finland and Trinidad. He is percussionist originally but has evolved towards electroacoustic music with the computer as an instrument. He has worked with choreographers such as Björn Elisson, Cristina Caprioli and Per Jonsson and worked with the Lucky People Center with film, music and video. Huhta is also a dj. As a live-electronic musician he improvises using pre-recorded or live-material as a starting point, a sort of exploration of rhythm and sound.
SR c presents three sound-installations
”Four Ophones” by Erik Sandelin and Magnus Torstensson. ”Let them sing it for you” by Erik Bünger and ”Bobbing for apples” by Alison Gerber. ”Bobbing for apples” is an indoor-underwaterconcert and Alison Gerber describes the project with the following words:
”I would like to create a space and situation for listening, one in which the act of listening will be necessarily new and arduous. I would like to create an opening for viewers of audio artworks to abandon their normal gesture sequences, to become critically engaged in the act of listening, and I would like to suggest that they make decisions about how and why they should listen. A gallery is one space for listening to sound art; a CD is another type of space. I would like to create a new type of space, one that will come imbued with its own content. In collaboration with a sound artist I will make an apple-bobbing barrel with audio content. Viewers/listeners will need to bob for apples, partially submerging their heads in order to hear sounds broadcast underwater. Listening to anything through underwater speakers requires some adjustment. Most people have never listened to anything in such a manner; their experience of sound underwater is that of quiet, muffled sounds from above * the way it sounds when your mother calls to you while you're under the bathwater. Sound broadcast through the water, however, sounds nothing like that; sound travels much faster through water than through air and while your eardrums don't work underwater the bones in your head work more than adequately. The experience will be a surprising one, and disorienting. Bobbing for apples has two identities: a party game enjoyed by children and a humiliation game endured by adults.”
Carl Michael von Hausswolff
Carl Michael von Hausswolff was born in 1956 in Linköping, Sweden. He lives and works in Stockholm. Since the end of the 70s, Hausswolf has worked as a composer using the tape recorder as his main instrument. His compositions from 1979 to 1992 are constructed almost exclusively from basic material taken from earlier audiovisual installations and performance works, which consists essentially of complex macromal drones with a surface of aesthetic elegance and beauty. In later works, Hausswolff has retained the aesthetic elegance and the drone and added a purely isolationistic sonoric condition to composing. Between 1996 and 1998 Hausswolff has boiled away even more ornamental meat from the bone: his works are pure, intuitive studies of electricity, frequency functions and tonal autism within the framework of a conceptual stringent cryption. Hausswolff's music has been performed throughout Europe and in North America. He has often collaborated with other artists (such as Erik Pauser, Leif Elggren, Andrew McKenzie, Johan Söderberg, Zbigniew Karkowski, Graham Lewis, David Jackman, Jean-Louis Huhta and Kim Cascone). Hausswolff's audiovisual works have also found outlets in pictorial art. His installations have been shown at biennials in Istanbul and Johannesburg, for instance, and also at Manifesta 1 in Rotterdam, Documenta X in Kassel and Musée d'Art Moderne de la Ville de Paris.
glitch-pop, distorted-disco, electro-bleep-funk?.... it's hard to put a definite label on the music of Sophie Rimheden, a media student and music producer from Stockholm. Hi-Fi, the debut under her own name on mitek, is a complex album with influences from almost everything: some eighties disco pop, some glitches, some dub and so forth. But it all comes together and Sophie carefully constructs something else out of it - something new and fresh, and very very good. Sophie says she just want to make "happy music" - maybe that's all what's needed to create these thrilling sounds. or maybe it's just as simple as pop music, it gets to you, crawling under your skin. that's what her album is doing for us, anyway - once you have it on your mind it's hard to let go. Everything seems to be right in place, even though it might be hard to believe the first time you hear her futuristic pop songs. Sophie has been working with different projects for a couple of years. Under the name Hayce she recorded a more trip-hopish album, "underneath the floor", for the swedish label Memento Materia in 1999. Later she started to work under the name Ban Ham and recently under her real name, too. As Sophie Rimheden she has released tracks on compilations like Electric Ladyland (Mille Plateaux) and ElectriXmas, as well as a remix for Universal Poplab (Subspace Communication). She works with other electronic musicians in Stockholm as well, for example with the producer who is everywere at the moment - Håkan Lidbo. We're always interested in new ways of sound-experiment, and Sophie represents a new kind of experimental work with sound, voices and melodies. And the result - is truely very exciting.