Jacob Kirkegaard will be part in the upcoming 21st Biennale of Sydney "Superposition - Equilibrium & Engagement".

The biennial will show Kirkegaard's work Through the Wall, a large installation consisting of recorded sound from both sides of the Israeli West Bank Barrier – an eight-meter concrete wall also known as the ‘Apartheid wall’. The use of both ambient microphones and vibration sensors placed directly on the concrete surfaces reveal a merging sound environment from both sides of the wall. The installation is constructed as a physical large wall with built-in speakers.

December 2017: Jacob Kirkegaard is now also represented by Fridman Gallery in New York City



Jacob Kirkegaard & Niels Lyhne Løkkegaard

Descending is a composition consisting of two movements for room resonance, triangles, shakers and horns.
The recording was made in August 2015, performed by the Aarhus Jazz Orchestra.
This record marks Løkkegaard's and Kirkegaard's first collaboration.
Soon out on Important Records!



T r a n s m i s s i o n

A new sound and light installation by Jacob Kirkegaard, commissioned by and created especially for Resonant Spaces: Sound Art at Dartmouth, an exhibition presented by the Hood Museum at Dartmouth College
in Hanover, New Hampshire, U.S.

The work consists of seismic vibration recordings of the ambient resonance of rock arches from around Native American Tribal lands in Utah and Arizona, combined with above ground acoustic recordings from the same places.
Some of the arches are sacred sites for Native Americans who inhabit the region. One of these, in English known as Rainbow Bridge or in Navajo Nonnezoshe meaning "rainbow turned to stone," is set in a deep, remote canyon at the foot of Navajo Mountain. Tribes for whom this arch is sacred - and who have visited and/or used this site for thousands of years, as confirmed by oral testimony, archaeological site analysis, and ethnographic documentation - include the Navajo, Hopi, Kaibab Paiute, San Juan Southern Paiute, White Mesa Ute, and Zuni.

Transmission will be resonating up through the Fairchild Atrium at the ECOLAB (Department of Geography at Dartmouth College), a tall and slender architecture made of raw concrete. Its ambience is quiet and students utilize nearby spaces.
The deep but subtle seismic vibrations from the arches will sound from the bottom of the atrium and resonatein the otherwise quiet space. The above-ground ambient acoustic recordings made from the areas around the arches will whisper from the top of the tall atrium. A vertical sonic space spanning from below to above the surface of the earth is created.

Transmission - a signal that is broadcast or sent out. Or something that is passed on.

Whereas our surroundings above the earth’s surface mostly relate to the present, archaeologists and geologists utilize the spaces beneath our feet to study the past. Combining these above and below ground spaces can be experienced as deep time listening – in the present. Our geological spaces are dark, dense and slow. They contain, hide or reveal past events, long forgotten, unknown or ignored parts of our lives and history. But the obscured past can also be found in the human subconsciousness, reflecting Native American anthropomorphism of natural features - in particular Rainbow Bridge.

During his field trip, Kirkegaard also studied the natural light in its surroundings. Inspired from the areas surrounding the different arches, Transmission will include slowly shifting tones of light in subtle colors.

The seismic vibration data were recorded by geoscientist Jeffrey Moore and geophysics graduate student Paul Geimer from the Department of Geology & Geophysics at the University of Utah. During April 2017, Jacob Kirkegaard joined Dr. Moore and Mr. Geimer on a field trip through Utah and Arizona gathering seismic data and acoustic recordings. Thanks to Jeff Moore, Paul Geimer, Erik Stanfield

Click HERE for more about Transmission and HERE for more info about Resonant Spaces - Sound Art at Dartmouth




A collaboration between the sound collective We like We and sound artist Jacob Kirkegaard, Time is Local is a 12-hour multichannel performance and live installation, in which the interplay and synergies between space, time and resonance are explored.
G((o))ng Tomorrow Festival on the 4th of November 2017.  

Time is Local is a study of sound in time and space - a tribute to the individual perception of the moment of now. 
The twelve hour long piece is composed for and at Thorvaldsens Museum in Copenhagen and will premiere during G((o))ng Tomorrow

We like We and Jacob Kirkegaard selected twelve different chambers within the ground floor of the museum. The ambient sound of each chamber was recorded and then played back into chambers while being recorded at the same time again. Layering each chamber's own ambient sound multiple times slowly evoked and revealed their unique handful of tones. These 'chamber chords' were then interpreted for instruments.  Time is Local is a performance and installation consisting of live instrumental interpretations of the resonant frequencies of the museum as well as the resonance recordings of each chamber which are played through a multichannel system of 12 speakers. The speakers are placed in the twelve selected chambers among its twenty four ground floor chambers. 
During the 12 hours live performance, the audience will move around freely through the Museum, and be invited to experience each chamber’s idiosyncratic spatiality and sound. Each new chamber becomes a one–hour–ritual to witness: from a white noise salvation through variations over the actual evocation to pre–composed or improvised live music. By acquiring the myths behind the marble statues depicted by Thorvaldsen located in these specific chambers, a dialogue is initiated between location and composition, in which the evocations serve as the base of the compositions.

“We aim to understand the resonance of the location – the sound of the Museum, so to speak – to allow the move from each chamber’s evoked, idiosyncratic sound to an overall compositional interpretation. To create the piece from the acoustics present, pre-recorded material and live music. Using the evocations as the foundation for the composition, the chance to work and interact with the location during the process has enabled the quintet to scrutinize the dogmas of the work. Effectively experimenting with the initiated ideas of sound in time and space regarding transfers, position, coincidence, and movement, the performance is an invitation to enter an organic, multidimensional, yet personal investigation of the sound of the Museum."

Video by Mik Stampe Fogh & Jonas Fogh







Imaginary West Indies

by Jacob Kirkegaard and Niels Lyhne Løkkegaard

26 August – 22 October 2017
Opening: Friday 25 August 5-8pm

2017 is the centenary of the sale of Denmark’s former slave colony known as the Danish West Indies. To mark the occasion, Jacob Kirkegaard and Niels Lyhne Løkkegaard have created a sound installation using audio recordings from the islands to portray an imagined ‘Paradise Lost’.

The sound artists and composers Jacob Kirkegaard and Niels Lyhne Løkkegaard are both renowned for their ability to convert sound into a form with the character of an artwork and a bodily dimension that can be experienced by more than the ears alone. In his art, Jacob Kirkegaard uses acoustic phenomena that are usually either overheard or inaudible to the human ear. Using a range of sensors and recording methods, the material unfolds in compositions and spatial, visual and sound works. Niels Lyhne Løkkegaard’s art focuses on the multiplication of sound, extending it beyond its usual boundaries to re-emerge in new forms, as well as on the creation of imaginary musical works that the listener has to envisage before their inner ear. Here the two artists have joined forces to follow in the footsteps of tourist brochures to the former colony in the US Virgin Islands, making Vestindiske Forestillinger (‘West Indian Imaginings’) an expression of Danish post-colonial consciousness 2017.

Despite heightened awareness of Denmark’s past as a colonial power, Danish travel agencies continue to sell a romanticised version of Denmark’s former colony. Whereas European nations like Germany and France have used the names Namibia and Vietnam instead of their former colonial designations for years, the former colony on the Virgin Islands is still referred to as ‘the Danish West Indies’ in Denmark, something 10,000 Danish tourists travel across the Atlantic every year to experience. But what is it that appeals to Danish tourists? Is it the climate, food and beaches? Or is it the dream of ‘Paradise Lost’? Nostalgia for something that could still be Danish today – if only it had not been sold.

The sound work is presented in a room bathed in green light, reminiscent of the green screens used to locate people and events in an imaginary film context. The use of this green light reflects the artists’ aim of locating the listener against an impossible background, or a background made possible solely via the listener’s subjective fantasy – a range of ‘realities’ that unfold in the imagination of the individual listener.








Earlier this year:


S i g n a l s

4-channel sound work created for Code Art Fair in Copenhagen, that portrays the sound of early digital and coded communication.
The work utilizes recordings of military morse code used to transmit classified communication between warships and naval bases.
Morse code is a method of transmitting text information as a series of on-off tones in sequences of short and long signals called "dots"
and "dashes. It was developed in 1837 and was used for early radio communication, before it was possible to transmit voice.
Live @ Art Bar, Papirøen, Copenhagen, Denmark, September 2nd


Eustachia for Voices

- is a new microtonal vocal work by Jacob Kirkegaard composed from tones generated in the inner ear. These tones, called spontaneous otoacoustic emissions (or SOAE), are produced - without external stimulation - in the ears of some people. Whereas the combinations of tones emitted from one ear can be dissonant, microtonal and complex, tones emitted from the other ear can be harmonious and 'in tune'. Each emitting ear produces something akin to an acoustic fingerprint; these are the basis of the composition.

The SOAEs used for this composition were recorded and collected by Kirkegaard from the ears of members of the Danish choir Aarhus Pigekor All 'ear chords' were recorded, filtered, analyzed, and then interpreted for voices. This choral work connects two intimate organs of our body: the ear and the voice. The ears are the composers, the voices perform the tones emitted by the ears.

Composed by Jacob Kirkegaard with voice arrangement and supervision by Katinka Fogh Vindelev.
Eustachia for Voices will be performed live by the Aarhus Pigekor on August 11th and 12th in Aarhus, Denmark. Choir director: Helle Høyer Vedel. The event is part of SonicArk 2017, a project lead and curated by Swiss sound artist Andres Bosshard. Read more about the project HERE



all & nothing
Jacob Kirkegaard
Solo exhibition at ARoS
February 2017 until May 2017

Carl Th Dreyer: The Passion of Joan of Arc (silent film, 1928)
Film screening with live soundtrack by Jacob Kirkegaard (Originally composed for Onasis Culture Center, Athens, Greece, 2014)
Also performing is Katinka Fogh Vindelev with her new work 'A Voice in a Voice in a Voice in a Voice'
Koncertkirken, Copenhagen, Feb 3, 2017