Finally my series of prints were installed at the Technology building. Thanks to Trykkeriet, Bergen for great collaboration, and Krane for the frames. More official documentation to come soon. (And the release of the short film I made while eye-trekking on Bear Island)
My new collaboration with Mari Kvien Brunvoll debuts at Landmark on Friday.
People ask: What is Rural Reading Room? One cannot discuss trivialities. Open reflection can lead to unknown chemical reactions. Art in the periphery serves local, regional, national or geopolitical goals. Local art is by definition somewhere else. It has to generate, whether it is increased tourism, border problematics, indigenous people issues, arctic oil drilling or ecological growth. The local artist is the useful, well paid idiot. The local has to be something other than itself: art as an interesting project or future prospect. Local history is history without development. The local is unique without being interesting.
It is not easy running the Rural Reading Room. It is also difficult to pronounce. Trying to keep warm, we were forced to burn the table earlier this week. The table has been with us since the beginning, as a site for activities and conversations. Now it needs to be restored. Either we buy a prefabricated, boring table. Or, we try to rebuild the leftovers at the risk of an ugly result.
Rural Reading Room is Espen Sommer Eide, Kristin Tårnesvik, Hilde M. Methi, Morten Torgersrud
Time and place: LM1, Le Maires vei 1 (outdoors), Kirkenes, Norway. Friday 28th of November, 6-7 pm.
So doing work in Oslo has its advantages when it comes to reviews (Norway is a country where all critics live in Oslo and don't like to move much, he noted in a bitter tone). Here are some recent reviews of Korsmos Ugressarkiv and Broen over Gjørme that has been published the last few weeks:
So finally I got some time to play a few concerts again. Visual art is a time vampire I hope to kill.
11. October Phonophani @ Dark Ecology, Nikel, Russia
5. December Espen Sommer Eide & Mari Kvien Brunvoll @ Utmark, Bergen, Norway
Opening as part of "Undertones" exhibition in Maastricht 29. June- 24. August, is my new piece called The Distribution of the Audible. Installed in the cellars of the Minderbroedersberg.
Visit Marres website for more information.
The work is a reflection upon the role of sound in times of unrest and uproar. How is sound distributed from the government down to the individual, and how does the unified voice of the people ecco back to the places of power? Where and how is the structure of sound distributed in society? The main part of the installation consists of a custom made public address sound system constructed of discarded public speakers from various countries and organisations. The speakers, that previously were fixed outside and inside buildings, have been made portable and battery powered so they can easily be moved and displaced to new locations. The frequency of the sound from these speakers is narrow and shrill, and purposly shaped to make a human voice cut through the noise and clamour of a crowded place.
Specially for the "Undertones" exhibition, they are installed in the old monastery and prison cellars of the Minderbroeders. In what used to be places of silent repentance and reflection, the artist has created a site specific sound composition.
I am preparing to go to the polar island Bjørnøya this summer. I will record material for an upcoming permanent and public art installation for the University of Tromsøs new building 'Teknologibygget'. In short I am currently building a mobile setup for eye-tracking, to track my eyes while gazing at (and tuning into) the special landscape of this area. The results will be both performative, musical and visual prints. The research part of the project goes into the area of landscape philosophy and psychology of reading.
The work is titled: "Silent Reading – Material Vision".
I will write more about this the coming weeks and months, and feel free to follow the tumblr blog for the project that will be regularly updated to document the progress.
The Transmitter Show—Words At a Distance a project for Performa 13 in collaboration with Hordaland Art Centre (Bergen, Norway), consists of a book of scripts for radio plays commissioned from artists and writers, and the transmission of these plays on the radio. The book, edited by Anne Szefer Karlsen and Aaron Schuster, includes contributions by Alex Bailey, Pierre Bismuth and Dessislava Dimova, Espen Sommer Eide and Kristin Tårnesvik, Ingrid Furre, Kim Hiorthøy and Lisa Östberg, Jugedamos (Jurgis Paškevičius, Géraldine Geffriaud, David Bernstein), Krõõt Juurak, Tija Suttikul, M. A. Vizsolyi, and Bedwyr Williams.
Listen to The Transmitter Show—Words At a Distance in the same order as the contributions appear in the book by using the playir on the right. These radio plays were produced and recorded by Samuel Mindlin and Andrew Chugg for Gilded Audio.
The book can be bought through Hordaland Art Centre Bookshop, and the contributions are:
Third Touch – Tija Suttikul (Doctor - Miranda Wilson, Mr. W - Jonathan Huggins, Mrs. W - Diana Stahl)
A Life of Yeats, the Usher – Kim Hiorhøy & Lisa Östberg (Narrator - Casey Jones)
I M Oh About Things – Ingrid Furre (I - Christina Roussos, M - John Bollinger, OH - Sticks Benedict)
The Match of the Last Centruy – Pierre Bismuth & Dessisalava Dimova
Cats Playing Patty-Cake, What They Were Saying... – Krõõt Juurak (Cats - JC and Kevin)
The Man Who Could Whistle Like a Bird – Alex Bailey (Bird - Michael Bailey)
The Case of Jane: A Verse Play in 16 Visits – M. A. Vizolyi (Jane - Briana Pozner, Therapist - Jesse Marchese)
A Trial of Weeds – Kristin Tårnesvik & Espen Sommer Eide (Judge - Lew Gardner, Defense - Andrew Hendrick, Prosecution - Robin Wachsberger)
Restorun, a Soup Opera – Jugedamos (Jurgis Paškevičius, Géraldine Geffriaud, David Bernstein) (Peter Paper - Sebastien Sanz de Santamaria, Lazy Suzy - Christine Zenyi Lu, Sexy Lucy - Yana Dimitrova, Don - Mark Geffriaud, Jared Longfellow - Joi Bittle, Wait-Or - Geraldine Geffriaud)Dear Both – Bedwyr Williams (Narrator - David Marcus)
The launch of this project was hosted by Cabinet in New York Friday 15 November 7-9 PM featuring a performance by Espen Sommer Eide and Kristin Tårnesvik titled 'Weed Archive (LIVE)', part of an ongoing project that draws on the archive of the pioneering Norwegian weed biologist Emil Korsmo (1863–1953).
Swedish 60 cocktails were served.
This event is presented by Cabinet with generous support from the Office for Contemporary Art Norway, the Royal Norwegian Consulate General in New York, and Performa.
I often get the question: Where can I buy your music? or Where should I buy your music? It used to be easy to answer, go to your record store or order the physical album by mailorder, but with the rapid decline of the CD format, and the rise of streaming it has become more complicated. My recent releases are also available in vinyl which by now most people agree will be the sole physical product left for music. But my earlier works were only available on CD so their digital future is at stake.
The situation is changing so fast and new services come and fade away every year. So I find myself in the strange position that I cannot answer the question. Even the question itself seems old and out of fashion. Why put a price on music at all? It only seems to decrease the value of the music, because it builds a old fashioned paywall and ends up in fewer hands and ears. This leads to the question of the value of music. The value of people having musical experiences versus the economical value. And right now the economical part is more or less hijacked by the evil pyramidal empire of Spotify and the like.
Lets talk briefly about streaming. Like in pyramid scheme I am working at the bottom, trying to recruit new workers (fans), and then everybody pays money upwards in the system. With the dream of reaching more listeners as the reward. Seems to be a circular argument somewhere... But to complain today about this model is a dead end, because it has become ubiquitous. In a parallel reality there should be a completely free and distributed streaming service for subculture-music (maybe organised without owners, like bitcoin? Alogcoin?). At least then no swedes would get rich by giving away my albums with commercial breaks between the tracks.
Its an irony to think about all the work that used to go into mastering the album just right. It used to take days and weeks to even conclude about the length of the breaks between tracks on the CD. 2 seconds like normal, or maybe 5 seconds will make a greater emotional impact or flow? But I am not such a reactionary about the album format, lets not go there... Being a romantic one must allow a building become a ruin. It only increases its beauty, right?
End of part 1, I will continue to rant in a second part soon. In the meantime if you still would like to actually buy my music online (shocking!) a favorite right now is Bugge Wesseltofts Gube Music, that also includes hi quality weird formats your computer will probably not be able to play. Alog and Phonophani available.Kvaale II by phonophani
An exhibition by Kristin Tårnesvik and Espen Sommer Eide.
Entrée January 25th- March 2nd, 2014
The project ascends from biologist Emil Korsmo’s (1863-1953) profoundly detailed and methodically preserved compilation of own material from a lifelong research into combating weeds. In 2012 the artists found crates filled with well-preserved posters, books, letters, documents, roots, printing plates, seeds and a neatly protected herbarium. They got the privilege to work on site in the archive, where they began an exploration of historical materials as well as a systematization of their own artistic process and collaboration, all in the spirit of Emil Korsmo.