The video installation NOTES FROM THE TWIN CHAMBER is on view at RÖDA STEN KONSTHALL, Gothenburg until august 23 2015 as part of the international sound art exhibition REVERBERATIONS. A video documentation of "Notes" is now also available at MyNewsDesk & VIME0 for those of you who can´t attend the exhibition.
NOTES FROM THE TWIN CHAMBER by Mikael Ericsson
The spectacular video installation Notes from the Twin Chamber introduces a curious and strange other world doomed in the hands of nature’s force. The viewer its struck by the magic of a floating cosmic universe inhabited by disquieting celestial organisms. To the sound of maritime foghorns, microwave clocks and creaking wood, fragments of known objects - airplanes, trees, saw blades, shopping charts, trash and debris – passes by in a state if diminished gravity, falling from the face of the earth.
Resembling the wake of what could be a post-apocalyptic disaster Notes from the Twin Chamber presents a futuristic scenario where the order of existence is disorder and destruction. Ericsson alludes to a world filled with anxiety of complete human helplessness. This coincides with some of the great existential issues that concern humankind today. It also inscribes itself in a tradition of artistic philosophy, concerned with the fate of man and for whom the prelude to the end of the world is a moment of exploration and reflection. And still, behind the apparent tragedy of chaos and destruction, an element of hopeful emotion seems to push through.
MIKAEL ERICSSON works with various forms of artistic expressions such as drawing, animation, sculpture, sound, film and television. In the recent years Ericsson has created a series of large-scale audio and video installations using hand drawing animation, florescent light and moving projectors to stage his cinematic installations. Ericsson’s allusion of the world and the anxiety of human helplessness, coincide with some of the great environmental issues that concern humankind today. It inscribes itself in a tradition of artistic philosophy, concerned with the fate of man and for whom the prelude to the end of the world is a moment of exploration and reflection.
Since the early 90-ties he has exhibited regularly in Sweden and Europe. Among recent solo exhibitions include Mission Accomplished, Galleri 21, Malmö, SE (2012), Millophonia/Kvarnofoni, Harp Art Lab, Harplinge Windmill, SE (2012), Granen Klädd av Sina Ungkarlar, till och med, Moderna Museet, Stockholm, SE (2012) and Dark Honeymoon, Eskilstuna Museum of Art, SE (2009). Recently he has participated in experimental sound art festivals such as Bzzz International Sound Art Festival, Harp Art Lab, SE (2014) and KK International Sound Art Festival, Koncert Kirken, Copenhagen, DK (2014). Besides his work as a visual and sound artist, Ericsson has directed tv-series, radio, music and stage plays.
Mikael Ericsson is Chief of Artistic Operation at Harp Art Lab, Sweden, an art laboratory he founded with Julie Ericsson in 2010. The lab is located in the fully restored Harplinge Windmill on the Swedish west coast. In the summer of 2012 he created Millophonia (Kvarnofonen) - a site specific sound installation. The sails, of the windmill, are now running two enormous bellows that are supplying a modified pipe organ with air. The sound is controlled by a pneumatic mechanism that operates the pipe organ action via piano-rolls that are preprogrammed. This procedure is 100% handmade by cutting, punching and stitching it all together to feed Millophonia with fresh sound art.
Visit Harp Art Lab: harpartlab.se
He is also owner of TRUMTRUM AB, a production company that have produced a numerous amount of fine art and underground entertainment since 1994. The first record: "Music für alle" was a huge underground success and in the coming years TRUMTRUM produced all the "Für Alle" projects: TV für alle, Film für alle, Kalender für alle, Balett für alle, Music für allum Twice and Radio Balett für alle. In 2013 Ericsson directed "Bank Für Alle" for Sveriges Television - a TV serie in 6 episodes described as an "Economical, Political, Conspiracy Comedy". For more information visit: SVT Öppet Arkiv
Mikael Ericsson is born in 1959 Sweden. He lives and works in Sweden.
Röda Sten Konsthall, Gothenburg
13 June - 23rd August 2015
With reference to its formal definition, the word reverberation describes “the prolongation of a sound after a sound is produced” – a type of resonance. A reverberation thus accumulates all reflected sounds in a space while taking a new shape. Referencing this phenomenon the exhibition Reverberations explores how sound is employed in relation to form, shape and architecture, but will also look and listen for ways in which sound embodies physical space and can be felt as a visceral experience.
Because we experience sound through our sensory perception, sound also has the potential to cause and create a tremendous impact on our emotional landscapes. As a result we become aware of just how powerful sound can be in evoking lasting personal memories, narratives and stories. Led on by one of sound art’s modern masterpieces - The Forty Part Motet by Canadian artist Janet Cardiff -Reverberations essentially seeks to explore the very notions of sound’s afterlife and its echoing visual universe.
“Sound is a vast immaterial occurrence - a phenomenon so eternally present in our everyday lives, yet completely intangible. Sounds accompany us in everything we do and therefore confirms our existence - when we walk through cities or landscapes, have conversations or even when we dream. When things are silent we make up our inner soundtracks, connecting our experiences of sound, image and space with how we remember events. Ultimately sound plays a fundamental role in constituting our identities”. - Aukje Lepoutre Ravn
Janet Cardiff (CA), Mikael Ericsson (SE), Jonas Gazell (SE), Babette Mangolte (US), José Luis Martinat (PE), Ursula Nistrup (DK), Kirstine Roepstorff (DK), Vinyl, Terror- & Horror (DK)
Curator: Aukje Lepoutre Ravn
Röda Sten Konsthall, Gothenburg, Sweden
13 June - 23rd August 2015
HARP ART LAB is a laboratory for sound art situated in Harplinge Windmill on the Swedish west coast. The Lab is a unique platform for developing, innovative, interdisciplinary ideas and we work with artists and communities of interest to create performances and installations.
Our main methodology is a socially engaged and discursive sound art practice. The motivations behind our work are predominantly environmental, political, and social in as much as we are attempting to re-mediate contested territories in a scientific and creative way to the public.
Founders: Julie Ericssoni & Mikael Ericsson