Saturday, November 6, 2021 at 5 PM
Three Helsinki based artists share their unique perspectives on Ambient guitar music.
The evening scales from dark disturbing ambiences to mellow tones and ethereal beauty.
Covid passports will be checked at the venue.
17:00 Doors
18:00 [ówt krì]
18:45 Lauri Peltonen
19:30 Andrea Camporotondo
The event will be streamed on the Aural Ataraxia Youtube site.
https://www.youtube.com/channel/UCof4BSTNXuzuN5Iad3UsMqQ
Curated by Tina Mariane Krogh Madsen.
Wednesday 22.9 at 18:00-21:00: Performance night I (SOLD OUT!)
Thursday 23.9 at 18:00-21:00: Performance night II (*reservation required, see info below).
REGISTRATION INFO
— To Book Access to the Show: Send us your name, contact information and the event date you want to attend: info@performance-protocols.net.
Please note, your reservation is not confirmed until you have received a confirmation email back from us! If you have reserved a spot for a performance and can not come, please notify us so we can give the spot to next one on our waiting list!
— Please only come to the events if you are feeling healthy and don’t have any flu symptoms. Please wear a face mask in all indoor areas.
Performance Protocols Nordic Sessions # 3: Soundings
The first part of performance protocols Nordic Sessions # 3 will be held in Helsinki from September 18.-27. 2021. The topic for this edition is soundings in performance and includes different ways to use sound as a tool, material, and theme, spanning from music compositions to performance art exploring a conceptual use of sound. This frames both amplified and non-amplified sound, performances in public space, and active listening exercises. The events will take place in the art spaces Third Space (exhibition and performance sessions) and Akusmata (performance program), and outside in public space – a park and a mall.
On September 22 and 23 in Akusmata will be sound performances performed by the artists Ana Gutieszca (MX/FI), Petri Kuljuntausta (FI), Tero Nauha (FI), and Timo Viialainen (FI). Additionally, each event will begin with the activation of a score created by artist Eva Sjuve. All of the performed works evolve around different means of soundings, from animal sounds, thunder, self-containing systems, and crisp bread. Their scores (or an iteration thereof) will be shown in the performance protocols score exhibition held in Third Space, which contains all participating artists in the Helsinki events (full list of artist can be found in the program below and online). The exhibition opens on September 18. and closes on September 27.
The full program with times, locations, and work descriptions can be found on the performance protocols website: http://performance-protocols.net/Helsinki2021/Helsinki.html
About Performance Protocols
Performance Protocols is a nomadic platform for instruction-based performance art and collaborative practices which opened its first online exhibition Walking Protocols I (INT) in June 2019. In February 2020, came the first in a series of Nordic Sessions, where bureaucratic protocols were presented and performed in Aalborg (DK). In May 2021, Walking Protocols II took place in Copenhagen (DK). After the Helsinki edition, future performance protocols Nordic Sessions will take place in Bergen (NO) in May 2022. performance protocols is founded, organized and curated by artist and researcher Tina Mariane Krogh Madsen (DK).
Performance Protocols Nordic Sessions is supported by the Nordic Culture Point, Nordic Council of Ministers, and Nordic Culture Fund (Opstart).
http://performance-protocols.net/
https://www.facebook.com/performanceprotocols
FULL PROGRAM
18.09 at 12:00-15:00 in Third Space: Opening of score exhibition
Opening of the score exhibition performance protocols Nordic Sessions # 3: Soundings with works by Ana Gutieszca (MX/FI); Jenna Jauhiainen (FI); Essi Kausalainen (FI); Petri Kuljuntausta (FI); Tero Nauha (FI); Eva Sjuve (SE); Malte Steiner (DK/DE); Timo Viialainen (FI); Tina Mariane Krogh Madsen/Eero Yli-Vakkuri (DK/FI). Due to Covid19 there can only be few people present in the space simultaneously (waiting time can occur).
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18.09 at 15:00 – collective walk to Essi Kausalainen Cosmos Garden
After the opening we move from Third Space to Essi Kausalainen’s performance Cosmos Garden in Tähtitorninmäki park (lead by the artist).
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19.-21.09 & 25.-27.09 at 14:00-18:00 (and by appointment) in Third Space: Score exhibition
Score exhibition performance protocols Nordic Sessions # 3: Soundings (info above).
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19.-21.09 & 25.-27.09 in Third Space: Jenna Jauhiainen Trigger Happy (registration required, see info)
Jenna Jauhiainen, Trigger Happy performance sessions (appointments between 18:00-20:00).
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22.09 at 18:00-21:00 in Akusmata: Performance night I (registration required, see info)
Eva Sjuve (activated score): Krispr (Spatialized)
Tero Nauha: tba (work for prepared theremin)
Timo Viialainen: What did you do as a child when the thunder cut the power?
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23.09 at 18:00-21:00 in Akusmata: Performance night II (registration required, see info below).
Eva Sjuve (activated score): Krispr (Spatialized)
Ana Gutieszca: Insecta
Petri Kuljuntausta: Sonification of an Organic Growth
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24.09 at 10:00 in Tripla, Pasila: Madsen/Yli-Vakkuri Safety as Ambience
Tina Mariane Krogh Madsen/Eero Yli-Vakkuri, Safety as Ambience, a collaborative performance in public space with a meeting point outside the Tripla Mall/Pasila Railway St. (right hand side).
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24.09 at 17:00-19:00 in Third Space: Madsen/Yli-Vakkuri Safety as Ambience informal listening session
Madsen/Yli-Vakkuri will host an informal listening session with the results of the Safety as Ambience performance, now replayed in Third Space, making new connection points. You can drop in and out anytime during the session (due to Covid19 there can only be a few people present in the space simultaneously)
The event will be streamed on the Aural Ataraxia Youtube site.
https://www.youtube.com/channel/UCof4BSTNXuzuN5Iad3UsMqQ
Premiär fredag 11 juni 19.00
Lunchkonsert 12 juni 12.00
Place: Folkhemmet i Östra Hoby, Borrby, Sweden.
“… a magical experience. The Barrier Orchestra breaks all barriers in Österlen. It’s venturing, it’s experimental and it’s undeniably what you can call “narrow” music. But when you open your ears, this is very appealing.”
– https://www.ystadsallehanda.se/kultur/en-sommarkvall-i-ostra-hoby-8784bd57/
The Barrier Orchestra
The Barrier Orchestra är en internationell ensemble som Ann Rosén startade 2015 som en svensk grupp under namnet Barriärorkestern och har med tiden vuxit och fått internationell inriktning.
The Barrier Orchestra spelade på Österlen sommaren 2019 då de framförde Bovetets ljudvågor.
Musikerna har skiftat lite genom åren och kommer från olika håll som klassisk musik, elektronisk, improvisation och ljudkonst. Alla är utvalda för sin speciella kompetens och vilja att utmana, ta spjärn och använda sina egna barriärer.
I dagsläget vet vi inte vilka av våra musiker, förutom de som redan är i Sverige, som kommer att kunna befinna sig på plats i och med pandemin. Men alla kommer att vara med under repetitionerna och på föreställningarna även om några kommer att medverka online.
Petri Kuljuntausta, elgitarr (FI)
Mikko Raasakka, klarinett (FI)
Linn Persson, saxofon
Jakob Riis, trombon, live-elektronik (DK/SE)
Anna Lindal, violin
Hanan Benammar, violin (FR/NO)
Lise-Lotte Norelius, slagverk , live-elektronik
Jørgen Teller, elgitarr (DK)
Ann Rosén, live-elektronik
Fabian Svensson, melodika
Gunnel Pettersson, visuella inslag
Sten-Olof Hellström, klang- och bild-regi
Konstnärlig ledning: Ann Rosén
Komposition: Ann Rosén, Fabian Svensson och Sten-Olof Hellström
Livestream producent: Sten-Olof Hellström
Producent: Jacob Schmidt
In the image are two streaming musicians from the 12-member The Barrier Orchestra.
Mikko Raasakka and Petri Kuljuntausta played in Akusmata over internet and the rest of the orchestra performed in Sweden, where their parts were mixed to the orchestra.
Special thanks Petri and Mikko sends to: Ann Rosén on the formation of the project, Fabian Svensson on composing solo parts for guitar and clarinet, and Sten-Olof Hellström for mixing our streaming into the orchestra.
From Bow to Stem – A Daxophone study
The installation “From Bow to Stem” is built around Finnish wood – the Appletree, Ash, Larch and Aspen. Kenneth Kovasin has designed 24 different Daxophone tongues of these four types of wood and built a sound installation that praises the soundscape of Finnish wood. Even an Aspen tongue that broke halfway through the recording of the piece is present. Three different soundboxes were used in the recordings.
Each wood is played from its own sound source creating ever-changing spatial sound in the gallery. The Daxophone recordings are repeated in random order regardless of each other.
The Daxophone tongues are like small beautiful wooden sculptures and the instrument produces unique and exciting sounds. The form of the tongues and choices of material affect the instruments sound in great extent.
Kenneth Kovasin is a sound artist and ambient musician from Helsinki, Finland. His works are often minimalistic and created with self-built instruments. Kenneth has toured festivals in the United States, Sweden and Estonia with his project [ówt krì] and has performed various concerts in Finland.
Kenneth’s first sound installation “Urban Evolution” was on display during the (con)temporary festival organized by LéSPACE in Helsinki 18.9–3.10.2015.
When not performing music Kenneth also produces concerts in cooperation with Sound gallery Akusmata. He is also one of the founding members of Frekvenssi, a collective aiding audial art in Finland.
The Daxophone
The Daxophone is an electromechanical experimental instrument invented by the German musician and instrument builder Hans Reichel (1949–2011) in the end of the 1980’s. The instruments sound is produced by friction and vibration.
The name is derived from the German word “dachs” standing for vole due to the strange, almost animal, sounds it produces. Reichel modified the word into ”dax” to mimic the saxophone by Adolphe Sax.
The Daxophone consists of a soundbox, installed with one or many contact microphones, and a wooden tongue clamped to the body. The body is placed on a tripod to provide more comfort for the performer. The Daxophone can also be made from metal or plastic but these materials will not enable as versatile tones as wood.
The instrument is played by rubbing the tongue with a bow and pushing down on the tongue with the “Dax”, a piece of wood formed as a wedge. The tongue can also be hit or plucked on. When playing the instrument, the tongue resonates, and the resonance is then transferred to the soundbox and it’s contact microphones that amplify the sound. The Daxophones scale is broad and the tone diverse. The sound depends in great extent on the used material, the shape of the tongue and where on the tongue the bow and Dax are being applied.
Compact wood like Ebony or Oak produce softer sounds whereas softer wood like Pine easily produce harsh sounds. Compact wood like Ebony or Oak produce mellow sounds whereas softer wood like Pine easily produce harsher sounds. The instrument scale is not as exact as on a guitar or other string instrument, but a fretboard can be installed on the Dax to provide for exact notes. The other side of the Dax is curved to enable smooth transitions between notes. Due to the fact that the Daxophone is an electronic instrument, different pedals and effects add to the versatility of the instrument.
Hans Reichel released his album ”The Dawn of Dachsman” in 1987 and this was the first time the Daxophone was heard in a musical piece. His 2002 release “Yuxo: A New Daxophone Operetta” gave the instrument broader attention. Still today the Daxophone remains a rarity. A musician interested in the instrument will have no other choice but to build one. The Daxophone is not mass-produced.
Reichel has illustrated plans and directions for building his instrument on his website and a skilled carpenter is thus able to build one.
Sound Art and Electronic Music weeks
Venue: Vuotalo Cultural Centre & Akusmata, Helsinki
17 days of adventurous music and sound art for adventurous minds!
AKUSMATA POLYPHONIC is an intensive sound art and electronic music event at Vuotalo Cultural Centre and Akusmata gallery in Helsinki. Invited musicians and sound artists are from Nordic countries, North America and Finland, offering for the audience a wide spectrum of new sonic expression from the fields of experimental electronic music, sound art and ambient. The program includes electronic music, do-it-yourself musical instruments, sound performances, and improvised music. Sound installations are open in the Vuotalo gallery and Akusmata gallery. The producer of the event is Akusmata, the first sound art gallery in Finland. The program and updates will be published at akusmata.com and Akusmata’s facebook page https://www.facebook.com/Akusmata. The Nordic artists are visiting as a part of the Puls concert program / Nordic Culture Fund.
CONCERT 1
Friday 17.1.2020 at 19:00
Place: Vuosali (Vuotalo), Mosaiikkitori 2, Helsinki
Performers:
Jacob Kirkegaard (DK)
Halldór Úlfarsson (IS) & Max Lilja duo
[ówt krì] & Lauri Peltonen
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CONCERT 2
Saturday 18.1.2020 at 19:00
Place: Vuosali (Vuotalo), Mosaiikkitori 2, Helsinki
Performers:
Niels Lyhne Løkkegaard (DK)
Bergrún Snæbjörnsdóttir (IS)
EXHIBITION 1: ‘Earth.Water.Air.Fire’
Place: Vuotalo Gallery (Vuotalo), Mosaiikkitori 2, Helsinki.
Time: 14. – 25.1.2020 (during Vuotalo’s opening hours)
-Sound works by
Jukka Andersson
Ava Grayson (CAN)
Ana Gutieszca (MEX)
Mikko H. Haapoja
Esa Kotilainen
Petri Kuljuntausta
Heikki Lindgren
The exhibition is co-produced by Frekvenssi association.
EXHIBITION 2: ‘Kinaesthetic Poetry’ (with KuNuKu Choir)
Sound installation by Jaakko Autio
Place: Akusmata gallery, Tukholmankatu 7 K, Helsinki.
Time: 17. – 31.1.2020
Open: Mon to Fri between 14.00-18.00. Weekends 11.00-16.00.
(Closed 25-26.1).
Free entry
Sound installation is part of international Art’s birthday event on Fri 17.1.2020 at 17-20.
Supported by Nordisk Kulturfond / Puls, Kordelin Foundation and Vuotalo Cultural Centre.
Vuotalo exhibition is co-produced by Frekvenssi association.
Curated by Petri Kuljuntausta & Kenneth Kovasin / Akusmata Sound Gallery.
Contact
Akusmata
Tukholmankatu 7 K, 00270 Helsinki
galleria.akusmata@gmail.com
akusmata.com
* * *
Vuotalo Cultural Centre
Mosaiikkitori 2, 00980 Helsinki
http://www.vuotalo.fi/en/about-us
WEB
Jacob Kirkegaard (DK), http://fonik.dk/about.html
Halldór Úlfarsson (IS) & Max Lilja duo, https://www.halldorophone.info/about/, http://maxlilja.com.
[ówt krì] & Lauri Peltonen, http://www.owtkri.org/
Niels Lyhne Løkkegaard (DK), http://www.nielslyhne.com/
Bergrún Snæbjörnsdóttir (IS), http://www.bergrun.com/about
Ava Grayson (CAN), http://www.aigrayson.com/
Ana Gutieszca (MEX), http://www.anagutieszca.com/
Esa Kotilainen, https://fi.wikipedia.org/wiki/Esa_Kotilainen
Petri Kuljuntausta, http://kuljuntausta.com
Heikki Lindgren, https://akusmata.com/heikki-lindgren/
Mikko H. Haapoja, http://mikkohaapoja.net/
Jukka Andersson, https://akusmata.com/jukka-andersson/
Jaakko Autio, https://jaakkoautio.wordpress.com/
The inspiration for this work came from contemplating the idea of “art´s origin” or “art´s birthday”. When recording the material for KINAESTHETIC POETRY -installation, eight singers (KuNuKu Choir) surrounded three water pools. By using special sound equipment, the singers voices created geometrical shapes on water surface in real time. A kinaesthetic contemplation took place between the singer and the inner water. While recording, we were specially interested on the “birth” moment of geometrical shapes, and on the minimal effort needed to sustain the moving forms in water.
The sound of KP is based on 17 minute long loop. Musical arrangement was created by KuNuKu -choir via improvisation methods. The choir leader Jussi Mattila helped the choir to find the inner alignment with the water, but the audible musical arrangement comes from the group dynamics. On the final installation presented at Akusmata Gallery (17.1-30.1.2020), the singers are replaced by eight 8” full range speakers, placed on 1:1 relation how the recording took place. The guest can investigate the conscious movements of human perception, and alignment with non-human element such as water.
Artistic Crew:
Sound artist: Jaakko Autio
Choir Leader: Jussi Mattila
KuNuKu singers: Tatu Huotarinen, Antti Rissanen, Ossi Putkonen, Kaisa Karhunen, Emma Jämsen, Ella Vähäpassi, Reetta Karhunen & Juulia Karppi
Akusmata organizer: Petri Kuljuntausta
Web: https://jaakkoautio.wordpress.com/
KINAESTHETIC POETRY is part of Art’s birthday event on 17.1.2020 and Akusmata’s Polyphonic sound art festival.
Jin Sangtae: non-musical objects, hard-drives, radios, car horns and electronics.
Photo by Hyun-Seok Lee.
Äänen Lumo & Akusmata welcome South Korean sound artist for his first performance in Finland. Born in 1975 in Seoul, Korea, Jin Sangtae performs with non-musical objects collected through his experience, projected into instruments, and then re-organised into space. He uses hard drives and several materials that can be connected as the main instrument, and he also plays laptops, radios, car horns and electronics. He’s been uploading online his composition ‘Year‘ via mobile phone every day since 2015. He founded ‘dotolim‘ (a small space for improvised music) and has been organising the ‘dotolim concert series’ since 2008 as well as the festival ‘dotolimpic‘ in 2012, 2013 and 2017.
http://popmusic25.com
https://soundcloud.com/jin-sangtae
http://dotolim.com
Concert-installation and concerts
November 14-16, 2019
Thursday 14:
Opening at 17-20, installation with short performances.
Friday 15:
Installation open at 17-19:00. Concert I (with the whole group) at 19:00.
Saturday 16:
Installation open at 15:00-16:00. Concert II (with the whole group) at 16:00.
The Drawing Music installation is a process that will take place under three days at Akusmata Gallery and at the end of second and third day there will be a concert.
With pen and paper Ann Rosén creates a very personal electro-acoustic music and when she plays together with musicians from the Barrier Orchestra exciting, explorative and musical soundscapes emerges.
Drawing Music is a development of the Graphite Barrier instrument and musical performance project. The instrument consists of graphite pens, paper, arduino card, and a software synth. Various points on the paper are connected to the synth. By drawing different coupling paths between these points and varying the thickness of the paths you control the synth. Further control is achieved by using the patchbay where you can directly patch different parts of the drawing to the synth. The drawings also serve as a score that the musicians relate to.
The music and the environment relate to each other through the meeting with the audience in the same way as the musicians relate to the drawings and vice versa.
On this occasion the Barrier Orchestra consists of Petri Kuljuntausta electric guitar (FI), Mikko Raasakka clarinet (FI), Sten-Olof Hellström electronics (SWE) and Ann Rosén live electronics and live score.
Drawing Music project and the Barrier Orchestra are different modules in the umbrella project the Great Barrier Orchestra, a trans-disciplinary project in sound art, art music, and performance.
With support by the Swedish Arts Grants Committee.
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http://annrosen.se/
http://kuljuntausta.com/
http://www.raasakka.net/
http://www.stenolofhellstrom.s
http://storabarriarorkestern.s
Oneplusoneisthree (1+1=3) is an artistic platform / community / ecosystem for research and performance. The collective includes musicians, neuroscientists and visual artists. We stage performances where we use real time EEG signals. We use the signals to control sounds, lights and images. Since 2014 we have performed in Sweden, Greece, France, Brazil, the UK and the US. To find out more, you find the 1+1=3 / EEGsynth CV here: http://www.visionforum.eu/113-cv/
What is the EEGsynth?
The EEGsynth is both a device and a collaborative interdisciplinary research project. As a device, it interfaces with the brain and body for artistic and scientific exploration, research and expression, allowing anyone to use their own brain and body activity to flexibly and powerfully control performative equipment in real-time. In short, it transforms electrophysiological signals (EEG, EMG and ECG) into analogue and digital control signals by means of sophisticated neuroscience signal analysis and custom-made hardware. As a project, it brings together musicians, artists, neuroscientists and developers to work together on technology for specific artistic performances.
Why the EEGsynth?
Progress in understanding the human brain is increasingly determining how we perceive ourselves and others. At the same time, new technologies are expanding the possible interactions between technology and the human brain. Brain-computer interfaces have recently become affordable for a wider public, allowing new artistic research into the human condition and new ways of artistic expression. However, to be able to exploit their full potential and to ensure the development of a lasting involvement of the art world in this contemporary dialogue, artists and neuroscientists have to co-create.
The current core group of the project is: Jean-Louis Huhta, Per Huttner, Robert Oostenveld, Samon Takahashi and Stephen Whitmarsh. Collaborative Partners include Selen Atasaoy, Carima Neusser, Marcos Lutyens and Hernan Anllo.
1+1=3 is supported by the Nordic Culture Fund, the Swedish Arts Grants Committe and Kulturbryggan; the EEGsynth is supported by Innovativ kultur, Stockholm County Council, the City of Stockholm and the Swedish Arts Council.
The 1+1=3 website
http://www.oneplusoneisthree.org
The EEGsynth website
http://www.eegsynth.org
As an additional performance Petri Kuljuntausta (brain interface) and Eleni Tsitsirikou (arm interface) performed as the soloists of the 1+1=3 group.
