Category Archives: Audio consulting

Example of audio consulting 2013

Audio recording/editing of voice for Learning site, Jamie Stapleton and Viggo Wichman‘s  Audible Dwelling 0.2 exhibited at Tensta Konsthall
Type: Installation/Architectual Space/Sound sculpture

“At 3.00 am.” script by Jamie Stapleton, voice by Iwar Wiklander
Exhibit runned to May 26 2013
“Samhället utan egenskaper”:
more info about Audible Dwelling 0.2:


Audio consultations in 2012

Examples of two audio consultations in 2012


5.0 channel audio (voice recording and editing at EMS)
Hinrich Sachs – Kami, Khokha, Bert och Ernie (världsarv) 10.5-30.9 2012 Tensta konsthall
Type: Installation


Various audio consulting, recording (voices, symphony orchestra etc), editing
Dominique Gonzalez-Foerster och Ari Benjamin Meyers – T451 27/5 2012 Stockholm City Library, Stockholm Subway Green line, Tensta area
Type: Concert/Performance/Mobile installation



T.451 is performed one-time only on 27.5 starting at 14:00 at Gunnar Asplund’s Stadsbibliotek, Sveavägen 73. The walk is about 4 hours long ending at Tensta konsthall. A limited number of tickets are available for free at Tensta konsthall from 10.5 and at Stockholm Library at Sveavägen from 14.5. For more information, please contact:

Visual artist Dominique Gonzalez-Foerster (Paris) and composer Ari Benjamin Meyers’ (Berlin) scenic walk in Stockholm with surroundings traces a classic story in a current reality. The one-time only performance T.451 is inspired by Ray Bradbury’s sci-fi novel Fahrenheit 451 (1953), and the filmed version by François Truffaut (1966) with music by Bernard Herrmann. In Bradbury’s original story, set in a future society, the only communication is made trough TV and images. Literature is regarded dangerous for the unified community and has thus been classified illegal. The printed word is actively searched for and destroyed by firemen, who instead of putting out fires, burn books to prevent disillusioned human conditions.

In T.451 the public becomes witnesses to re-enactments played out in Stockholm city and in the suburbs of Hjulsta and Tensta. By inserting scenarios and music into architectural environments and public places such as Gunnar Asplund’s famous Stockholm Library; the subway; and the late-modernist housing area Tensta, Gonzalez-Foerster and Meyers are testing the possibility of an imagined future through a new form of musical and performed narrative.

Like many of Gonzalez-Foerster’s works, T.451 is based on time, situations and the public presence, rather than material and structures. Her works, which since the early 1990s, often are inspired by literary classics or films, reflect more than just a narrative. They attempt to capture the public situation, the immediate encounter with art. Therefore, it is hardly surprising that her works appear as multi-dimensional enactments where sound and visual elements, combined with the existing environment, make the work into an experience, which reveals the potential of art to produce imagined, as well as real change. Gonzalez-Foerster and Meyers first started working together in 2007 as part of Il Tempo del Postino, the group show/artist opera curated by Hans-Ulrich Obrist and Philippe Parreno, which premiered as part of the inaugural Manchester International Festival. Their first full production as collaborators followed in 2008 with the work NY 2022 for the Peter B. Lewis Theater in the Solomon R. Guggenheim Museum New York. In 2009 they premiered the Performa 09 commission K.62/K.85 at the Abrons Arts Center in New York. In 2011 this production subsequently traveled to Kaaitheater, Brussels (K.62/K.73/K.85) and then to Hebbel Theater Berlin (K.62/K.85/M.31). In addition to T.451, they are working on a number of new projects, as well as a web-based archive. Their work together often takes its inspiration from specific films or pieces of music and has been described by themselves as being “audience-based”.

T.451 is a collaboration between Stockholm konst and Tensta konsthall, produced by Stockholm konst. With support by Stockholm Library and Tensta Library. A special thanks to, The Greater Stockholm Fire Brigade, the organization Röde Hanen, The Stockholm City Museum and Kurdiska föreningen Spånga.

Radical Thinking – Broadcast Culture – Coverage 2007/2008 Sessions

This post includes coverage of the 2007/2008 sessions of the Radical Thinking – Broadcast Culture that I recorded and released on

An international lecture series tracing artists’ involvement with history, politics, and popular culture through the use of film and broadcast media. Each evening includes a film screening and a talk by the artist.
Organised by Timeline Konstfacks Videotek, Mejan, KHS Umeå. A collaboration between Marysia Lewandowska, Hinrich Sachs and Florian Zeyfang. Thanks to Kulturhuset.

Eva Meyer and Eran Schaerf 16-04-08

The internationally renowned artists Eva Meyer and Eran Schaerf have been working collaboratively with video and radio plays since 1997. They investigate localities, language, narratives in order to propose alternative time and space structures for the self and the other(s). She Might Belong to You, 2007, their 37 min. film created for Skulptur Projekte Münster, will be shown for the first time in a context of an auditorium, followed by a discussion with the artists.


Artur Zmijewski 05-03-08

Shown for the first time during the Venice Biennale, 2005 film Repetition by artist Artur Zmijewski (PL) reconstructs the conditions of the Stanford Prison Experiment from 1971 studying behaviour of inmates and guards. In many of the artists’ works events of the past are scrutinized again often revealing processes of victimization and social exclusion. Using some of the documentary film tropes Zmijewskiâs works occupy a terrain charged with provocative questions as well as complex emotions. He directly implicates his viewers in the politics of representation.


Erik Pauser 20-02-08

Screening of production material from the upcoming “The face of the enemy” Exploring conflict. In the face of representation. Stockholm based artist and filmmaker Erik Pauser has been exploring conflicting representations of history through his long term project dealing with the legacy  of the war in Vietnam. Over five million Vietnamese died in what one side calls the American War and the other side calls the Vietnam War. The installation and film project The Face of the Enemy is constructed out of 200 hours of interviews with Vietnamese war veterans and civilians and tries to unravel the conflict through first hand accounts of the Vietnamese that fought in The American war. His talk centres around screening of excerpts of the work in progress and questions how history is told, edited and explored through the medium of film.


Maciej Drygas 12-12-07

In his first visit to Stockholm, the polish documentary film maker Maciej Drygas known for his commitment to long term research projects, often using archival footage, will present and talk about his film The State of Weightlessness/Stan niewazkosci, 1994, a tender portrait of the cosmonauts and a critical reading of the conditions imposed upon them by the Russian space programme under communism. All his films contain an ethical dimension in both the treatment of found sources and themes which picture a dilemma between individual lives and historical forces.

Judith Hopf 21-11-07

The Crossing Occurs at Night
The Berlin based artist Judith Hopf will present Hospital Bone Dance (2006) in a Swedish premiere screening. Hopf has produced video works, marked by humour and wit exploring clear political agendas.


John Akomfrah 31-10-07

Signs of Empire
This is a rare opportunity to hear John Akomfrah introducing the work of the Black Audio Film Collective formed in 1982 in London. The Collective produced some of the most experimental documentaries in Britain in the 80s and 90s. They have profoundly influenced contemporary avant-garde filmmakers and artist. Screening includes Handsworth Songs, 1986, 60min.

Gesamtkunstwerk: Who Makes and Owns Your Work launching at Årsta, Sat 17th November


The project “Who Makes and Owns Your Work” is finally making itself visible for the “public” at Årsta – Folkets Hus, Stockholm, on Saturday 17th November. (Schedule is here) Among many artists initiatives within this umbrella project most notably is the participation of Piratbyrån, which has already created some evolving discussion. Piratbyrån is an organisation promoting a more loose non-profit attitude for distribution of information. However already in print we had to make a small adjustment in providing the folder with a round sticker over the Piratbyrån’s logo. As lawyer from Konstnärsnämnden speaks (swe) in a letter to the project manager at IASPIS:

“..Det är viktigt att förstå att de ”rådande uppfattningar om upphovsrätt” som Piratbyrån verkar emot, inte är allmänna åsikter utan gällande svensk lag. Upphovsrättslagen ger varken enskilda eller organisationer rätt att kopiera material på det sätt som förespråkas utav Piratbyrån. Kopiering i strid med upphovsrätten är straffbart. ”Upphovsrättsindustrins lobbygrupper”, som Piratbyrån refererar till kan säkert på olika sätt, i den mån de existerar, ifrågasättas. Viktigt att komma ihåg i sammanhanget är dock att ”upphovsrättsindustrin” följer gällande lagstiftning…”

“..Att arrangera en paneldebatt i vilken företrädare för Piratbyrån deltar tillsammans med företrädare för BUS och en professor i immaterialrätt är att låta flera åsikter och uppfattningar komma till tals. Detta är bra och helt förenligt med myndighetens verksamhet…”

“..Att låta Piratbyrån stå som ensam arrangör för visning av en opinionsbildande film om ett tillslag mot ett företag som begår upphovsrättsintrång är inte förenligt med regeringens krav på myndigheter att inte driva opinion. En högst försvårande omständighet är naturligtvis att filmen kritiserar polisiära ingripanden mot lagöverträdare. För att Konstnärsnämnden ska kunna medverka till att denna film visas krävs en kraftig förändring utav programpunktens utformning. Till exempel kan filmen förhandsvisas för Henrik Pontén som kan få i uppdrag att ge en introduktion till filmen i vilken han redogör för bakgrunden och händelseförloppet. Filmen bör även åtföljas av en paneldiskussion med en moderator – som naturligtvis måste vara antingen neutral i frågan, eller upphovsrättsförespråkare – där upphovsrättsförespråkare bör vara i majoritet bland paneldeltagare…”

“..Att ta emot sponsring utav Piratbyrån, och låta organisationens logotyp stå sida vid sida med Konstnärsnämnden och Konstfack, är att legitimera Piratbyrån på ett sätt som är oförenligt med Konstnärsnämndens uppdrag som verkställare av regeringens politik…”

Ia Modin
handläggare / jurist

For more on this issue read some personal comments from Rasmus Fleischer’s blog Copyriot, entertaining reading for some, maybe harsh to Ia, though.

Check this page at as well (that got inspired from my eastern egg interpretation)

This eastern egg trick is very easy to do! click on the image!

I’m documenting the event as well as making interviews the week after and making an edited “artist-document” after the event as well.

Audio cast (in Swedish) for this entry is the latest planning meeting before the event at Årsta Café. Tuesday 13th Nov (Which discusses among other things the issues with Piratbyrån’s participation and the directives from Ia Modin (Konstnärsnämnden). It also puts some light into how meetings, discussions and some collaboration can make a Gesamkunstwerk)

12:30-13:00 Arrival at Årsta Centrum – coffee/tea at Javasavi café
13:00-13:15 Welcome to Who Makes and Owns Your Work. Opening Speech by Karl Rossmann at Årsta
13:15-16:15 Public Consultation Event. Discussion on the current copyright debate. Moderators: Dr. Jaime Stapleton, Associate Research Fellow of the School of Law, Birkbeck College, University of London, and Anna Eineborg, artist, Stockholm. Participants: Marianne Levin, professor of intellectual law, Stockholm University; Rasmus Fleischer, Ph.D. student at Södertörn University College, Mats Lindberg, director, BUS (Visual Arts Copyright Society in Sweden). In Årsta Folkets Hus’ theatre.
16:15-16:45 Coffee/tea break and exhibition in Årsta Folkets Hus’ foyer
16:45-17:15 Brief presentation of projects within Who Makes and Owns
Your Work (see list below), in Folkets Hus’ Cinema
17:15-18:05 Andreas Mangione and Filmklubben present Potere Operaio
(1970), a film by Carl Henrik Svenstedt, 30 min, and Interview with Carl Henrik Svenstedt (2006) 20 min.
18:15-19:20 Film Screening Steal this Film, part 2, 60 min, presented by artist Palle Torsson, artist and PhD candidate at Linköping University and Rasmus Fleischer, PhD candidate at Söderntörn University College. 1
19:20-20:00 Joint discussion based on the film screenings and other projects. Invited guests are Mats Lindberg, director, BUS, Ia Modin, lawyer, responsible for the study of the social and economic conditions of artists, The Swedish Arts Grants Committee and Henrik Pontén, lawyer Swedish Anti Piracy Agency.
20:00-21:30 Refreshments in Folkets Hus’ foyer
21:30 – Artists Eileen Simpson and Ben White (Open Music Archive) present a live electronic set including performances by Per Åhlund and Mathias Josefson (Fylkingen)

and yes the movie Steal This Film II (cam version) got online somehow 😉stf_ii_dl.png

Now when most media is munching in a pathetic proclamation for an extreme-conservative attitude of the copyrights. I hope we can produce an event with discussions that distribute some more realistic claims for the platform of future cultural production than what the old model is supposed to do.

Polarising a little bit here: the art world and its special system of distribution of energical-data might serve as a refresher in the sense that it seems to bee quite traditional in the issues of copyright parameters (which has been marked symbolically from Ia Modin). The object uniqueness and the property of the original from the master is one of the basic foundations in how the art market works today. However in contrast, the system as is it is today might even be so rigid (or fantastic) that it is almost impossible to distribute “real art” in an encoded format because of its time-space, spatial, social and ritual components. One aspect of the ritual is that the intentionality of the producer is so magically connected so if an art piece is distributed to a exposure possibility that would be a negative experience for the artist then this would be taken into account of the shamanic gift-alike wisdom that is so integrated in the art experience, however funny distortions of this phenomena would pop up over time between production time and exposure time. Music and video which can easily be encoded into vibrational/RGB-pattern instructions without to much loss of meaning might even act as an contrast to the ever evolving complex properties in what constitutes an art piece today and what it means to experience it.

Though, one would hardly consider the procedure in the DNA/RNA process of copying itself as a crime against the originality of your body. Copying and distribution is a natural process of the kosmos. As the arrow of time moves on, the ease of distribution and exchange of information will be likely much more accessible than it is today (consciousness wise) Implies this an age of transformation from power to ethics?

audio backup at