THRUM Thrum is a 4-channel sound portrait of an industrial section within Africa’s largest outdoor market, Merkato, in Addis Ababa, Ethiopia. While being an essential hub for trading, a significant part of Merkato is also based on recycling. This piece is composed of nearby field recordings, extracted from the thrumming ‘iron and metal section,’ where hundreds of men spend all day reshaping oil drums by hammering on them with all their might. Thrum is part of de Appel curatorial programme: Brace for Impact
Amsterdam, Holland, May 14th
"Five contemporary artists participate in the exhibition Between Realities and in different ways focus upon what it entails to be human in a rapidly changing world. A world where technology is perpetually altering our behaviours and perceptions of the world.
Naturally, it is difficult to fully grasp and portray what digitalization will mean for our lives and societies. The constantly connected world creates exciting possibilities as well as practical and philosophical challenges. Is it accurate to say that digitalization alters our perception and that we thus experience the world through a deceptive filter that amplifies, reduces and ultimately distorts? If so, what does that mean?
Between Realities presents works by Anna Uddenberg, Jacob Kirkegaard, Wendy McMurdo, Julius von Bismarck and Katja Novitskova that reflect on the technological development and its impact on the future society."
STIGMA functions partly in an artistic tradition of nature descriptions, but is multi-layered and moves in between dimensions. With the help of highly sensitive microphones, Kirkegaard has recorded sounds that you cannot hear with the human ear.
The sounds add another dimension and layer to the video footage. They change the perception and experience of the landscape and open up for new interpretations. Since the piece was recorded in Fukushima, it is easy to draw connections between the soundtrack and the radioactivity. The radiation is always there but it cannot be seen with your eyes. STIGMA also opens up discussion about the relation between civilisation, nature and humanity.
Humdrum – a non-event
A sound performance by Jacob Kirkegaard
Humdrum – a non-event
Monday 28 May 2018
Location TBA, Malmö, Sweden
S!gnal offers a number of return tickets Malmö-Copenhagen on a first come, first served basis.
Contact S!gnal on location for reimbursement.
CALL FOR PARTICIPATION
Sound and Space Reseah : Resound Kefalonia 2018, May 15 – 21, 2018. Call for participation open now, until March 30, 2018
Following popular demand, we are happy to announce that our next Sound and Space Research will now take place from May 15 to May 21, 2018 in Kefalonia Island, Greece with our partner the Ionion Center for the Arts and Culture.
At Sound and Space Research, we explore aural spatial awareness through the lens of art via of on-site workshops, seminars, discussions, and critiques. Daily activities include collective on-site experiments: action-performance, field recording, video art, drawing, writing, readings and group discussions.
This year's edition "Resound Kefalonia" will focus on Auditory Spatial Awareness and the importance of our attention as a tool for resistance, for awareness to our surroundings, to environmental and social concerns.
Artist and instructor Sandra Volny, Ph.D. will lead the program with our special guest, Danish artist Jacob Kirkegaard, who will act as a mentor, present his work and lead an on-site workshop.
The intensive research week will take shape via shared on-site experiments, creative exercises, readings, discussion and a final exhibition in the Ionion Centre for the Arts and Culture’s main gallery in Kefalonia.
For more information and how to apply to Sound and Space Research : Resound Kefalonia 2018. www.soundandspaceresearch.com
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.
Isfald at the exhibition 33° at David Winton Bell Gallery, Providence USA
Building on a history of artists’ exploration of the iconic landscapes of polar regions that dates back to the late nineteenth century, the current crisis of climate change and the associated threat of ice melt and sea level rise have drawn a legion of international artists to Greenland, the Arctic and Antarctic. They travel to document the beauty and the destruction of the region, in hopes of drawing viewers’ attention to the loss that is in the making and eliciting action toward change.
33° presents the work of six artists: Danish sound artist Jacob Kirkegaard and photographers Olaf Otto Becker (German), Camille Seaman (Native American/African American), James Balog (American), Jean de Pomereu (French), and Iain Brownlie Roy (Scottish). Kirkegaard’s forty-minute soundspace Isfald (Icefall) will be on view at the David Winton Bell Gallery, alongside photographs of glaciers, icebergs, and the Greenland icesheet by Becker and Seaman. Photomural by Becker, Seaman, Balog, de Pomereu, and Roy will be displayed on the exterior of buildings across Brown’s campus.
33° is mounted in conjunction with the Brown Arts Initiative’s theme of “Art and Environment,” and coincides with Polar Opposites, a BAI symposium, and Writing on Water, a program of the Institute at Brown for Environment and Society. 33° is produced by the David Winton Bell Gallery and the Public Art Committee with generous support from an anonymous donor and the Brown Arts initiative.
Fridman Gallery proudly presents the first solo exhibition in the United States by Jacob Kirkegaard
Kirkegaard documents acoustic and visual properties of carefully selected environments to create spatial installations, sound sculpture and photography. He has recorded subterranean geyser vibrations, empty rooms in Chernobyl, Arctic calving glaciers and tones generated by the human inner ear itself. The exhibition includes several projects representative of the artist’s practice:
Black Metal Square #1 (2017) is a free-hanging one-square-meter black metal plate whose subtle natural vibrations are amplified and fed back into itself, enhancing the readymade resonance. The sound sculpture references Kazimir Malevich’s Black Square and the astronomer Robert Fludd’s early 17th century drawing of a black square inscribed with the phrase et sic in infinitum (and so on to infinity). What does the Black Square sound like?
Ice Age (2016) is a pair of photographs of spectacular glaciers in Greenland where Kirkegaard made field recordings of melting ice. In one of the pictures, we see a hydrophone cable disappearing into a hole in the glacier, which resembles an eye staring back at us. The hydrophone is listening deep inside the glacier, eavesdropping on an otherwise inaccessible and dangerous space. Presented alongside the photographs is Melt, a composition of those field recordings, a sonic image of constant flow and change, and of human actions affecting the surrounding world.
Hotel Chernobyl (2006) is a series of photographs taken inside the only hotel existing inside the Zone of Exclusion in Chernobyl, Ukraine. The images of barren interiors, filled only with 1980s furniture and dim halogen light, resonate with the conspicuous absence of human bodies. Accompanying the photographs is Aion, an audio-visual work recorded and filmed in the Zone.
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
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."
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.
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 Voice
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
Solo exhibition at ARoS
February 2017 until May 2017
Jacob Kirkegaard is part of the Aki Aora artist residency in Tulum, Mexico, where he'll be creating a new underwater sound installation portraying the surrounding Cenotes. January 2017
SWAY, a new sound work created during IMPLODE residency, Chalkida, 2015.
Welcome to Sonic Topographies in Athens on Dec 11th
SPOR - Jacob Kirkegaard
Med afsæt i feltoptagelser og fotos fra Jacob Kirkegaards mange rejser, dvæler spor ved et udvalg af råmateriale indsamlet mellem 2005 og 2015. Optagelserne var aldrig tiltænkt de værker, som rejserne tog udgangspunkt i, men i stedet intuitivt indsamlet.
STEMMEMØNSTRE - Katinka Fogh Vindelev
Med en forkærlighed for tritonus, også kaldet djævlens interval, og tilfældige elektronisk genererede arpeggiomønstre, har Katinka Fogh Vindelev skabt en håndfuld nye stemmestykker komponeret med samples af hendes egen stemme.
S A B U L A T I O N
- an audio visual portrait of the Singing Sands and Booming Dunes of the deserts of Oman
Book & DVD release
on Japanese label mAtter on June 26th!
The John Madejski Fine Rooms, Royal Academy of Arts
Tilt is a film installation which creates a contemporary parallel of an Enlightenment World, employing current museological digital imaging technologies as devices to penetrate the surface of scientific and artistic objects. Rather than performing direct incisions into material culture, these new technologies create a surrogate and abstracted experience of objects and bodies for public consumption. This film draws from the RA Collections and Archives, folding in material from other London institutions such as the Burlington Courtyard Learned Societies and the Imaging and Analysis Centre at the Natural History Museum.
Running time: (13:32)
Director, Camera, Sound, Edit: Clara Jo
Soundtrack: Jacob Kirkegaard
3D Animation: Arglèton Studio
Compositing & 2D Animation: Jack Holmes
Colourist: Mann Bros
Additional Camera & Sound: Mann Bros, Deborah Olakigbe, Will Pham
Special Thanks: Royal Academy Schools, Collections, Library & Estates, Royal Astronomical Society, Royal Society of Chemistry, The Natural History Museum
E U S T A C H I A - for Two Voices - a new otoacoustic work for voice composed by Katinka Fogh Vindelev & Jacob Kirkegaard
To be premiered live at Art Alive! at LOUISIANA - Museum of Modern Art, Denmark on the 7th of May, 2016
Check out the full program HERE
Galleri Tom Christoffersen shows EXPULSION at Market Art Fair, Stockholm, Sweden
During an exorcism in Ethiopia priests intervene and perform exorcisms on behalf of those believed to be afflicted by demons. Possessed persons are brought to a church or prayer meeting. Often, when an ill person has not responded to modern medical treatment, the affliction is attributed to demons. Unusual or especially perverse deeds, particularly when performed in public, are symptomatic of a demoniac. Dialogue with the spirit is an important part of the exorcism ceremony. It helps the exorcist to know how the spirit was operating in the life of the demoniac. The signs and events mentioned by the spirit are affirmed by the victim after deliverance.
Jacob Kirkegaard @ 2016 - Courtesy Galleri Tom Christoffersen
MELT is part of Market Art Fair, Stockholm, Sweden
MELT is a sound work that is installed on the roof terrace of Market. The work is a recording of different stages of ice melting, moving from the violent sounds of ice caps grinding against each other, to trickling sequences and flows of water.
MELT traces how water moves through different aggregate phases, from solid to liquid, changing the combination of molecules irrevocably.
It is both an image for constant flow and change, and for how human actions affect the world surrounding is. Installed on the roof terrace of Market, visitors are invited to spend time and observe the change of conditions in the piece, while overlooking the Stockholm waterfront where the lake Mälaren and the Baltic sea meet. Curated by Stefanie Hessler.
Jacob Kirkegaard @ 2016 - Courtesy Galleri Tom Christoffersen
Jacob Kirkegaard as Sound Artist in Residence at Oxford University, 2016
St John’s College at the University of Oxford is delighted to announce that Jacob Kirkegaard will be our inaugural Sound-Artist-in-Residence for 10 weeks between 10 January and 19 March 2016. Kirkegaard—a sound artist who works in carefully selected environments to reveal unheard sonic phenomena—has presented his works at galleries, museums and concert spaces throughout the world, including at MoMA in New York, KW in Berlin, the Mori Art Museum in Tokyo, Japan, and the Museum of Contemporary Art in Denmark. His residency at St John’s College will find him involved in a range of activities, from presenting his otoacoustic installation “Earside Out” (18 January-24 January 2016) and lecturing on his work (Friday 22 January 2016), to collaborating with students on a brand-new sound-work slated to be heard in the St John’s Chapel on the 4th of March 2016.
Earchestra is a new vocal work built 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.
As part of his residency as Sound Artist at St John's College (University of Oxford), Kirkegaard has recorded and collected tones generated inside the ears of students and staff from a wide number of differnet colleges at Oxford. These recorded 'ear chords' were filtered, analyzed, and then interpreted for voices. Earchestra connects two intimate organs of our body: the ear and the throat. The ears are the composers, the throat and mouth are the performers. Earchestra will be presented live by the very same 30 individuals whose ears produced the tones that are at the heart of the piece. The performance will take place in the Chapel at St. John's College, Oxford University at 7pm on Friday 4th March 2016.
Holotype Editions is pleased to present a new work by acclaimed sound artist Jacob Kirkegaard. Arc was originally commissioned for INMUTE ’14 as a soundtrack to Carl Th. Dreyer's silent film The Passion of Joan of Arc (1928). In this new edit, running to just under 36 minutes, Kirkegaard’s refined mastery of tone unfolds in two arc-shaped tracks dedicated to the LP format.
In his score, Kirkegaard fragments and stretches music from Joan's time, aiming to expose the mystically charged atmosphere that could simultaneously declare Joan of Arc a visionary and a heretic. The outcome is an immersive score of prolonged choral-like harmonies that evolve slowly, constantly shifting between darkness and light. Arc lives in moments of transition, embracing the subtle ambiguities that were so difficult for the English clerics to understand and yet so pliable in Joan's flexible mind. Perhaps it is what shade sounds like, or perhaps it is a meditative resonance on the brilliance and terror of thought. Arc is an unfolding of nebulous sound that emerges to the surface when time is suspended.
Arc comes in a limited edition of 300 copies, mastered by Nikos Lavdas at Kiwi and pressed on 140gram black vinyl at Optimal. Cover artwork designed by We Are Still Bold & Beautiful.
Installation. 100 x 100 x 1 mm black metal plate, 1 piezo transducer, 1 contact speaker, 1 amplifier, 2 speakers, 1 subwoofer and steel wire.
100 years after Kazimir Malevich painted Black Square (1915), Jacob Kirkegaard brings the square to life with sound. Untitled (Black Metal Square) is a freely hanging black metal plate whose natural vibrations are amplified and circulated back into themselves to generate resonances.
Centuries of artists have tried to express the nothing through blackness. Untitled (Black Metal Square) evokes Malevich's famous quote “It is from zero, in zero, that the true movement of being begins." Robert Fludd also attempted to express this feeling in his 1617 drawing of a black square. In his work the edges are inscribed with the phrase "et sic in Infinitum" (and like this to infinity) and function like gates that frame a passage to emptiness. To enter the blackness is to experience the potency of a primordial universe before creation. Kirkegaard poses the question, "and once we enter, what do we hear?"
Kirkegaard's new sound installation is created in collaboration with the independent sonic arts collective Call & Response.
Opening Friday 25th September 6pm—9pm
The project takes the work of seventeenth century alchemist and scientist Athanasius Kircher as inspiration. Kircher was a polymath and inventor, who researched fields as diverse as medicine and Egyptology, and designed and constructed wondrous sound and vision automatons. These included a collection of so called speaking statues whose spiral mouths would lead out into the streets of Rome like giant trumpets. In this way the speaking trumpets or ‘hearing lens’ would reveal the cacophony of Rome to the listener. London Subterraneous aims to link Kircher’s ‘speaking trumpets’ with his fascination of geology and underground reverberations and find a way to explore London’s mundus subterraneous.
For this project, special microphones have been used to access sounds from a series of “stink pipes” that connect the city’s familiar terrestrial environment to a lesser-known complex network of sewers and rivers below. The towering, hollow pipes, now rusting fixtures dotted across London erected as safety valves to vent excess toxic gases along a newly built Victorian sewer network in the 1860’s allow us to connect through our past and eavesdrop on the capital’s underground world. The resultant exhibition is a portrait of some of the sounds created below ground and through the pipes themselves.
“Although these stink pipes are nowadays "useless" this work aims to reveal them as poles of sound, or as singing flutes. In a way these are tones from the past.” Jacob Kirkegaard
I S F A L D
Jacob Kirkegaard's work ISFALD (Courtesy LOUISIANA - Museum of Modern Art, Denmark) is part of J.F. Willumsens Museum's exhibition NATURMØDER. Among the other artists participating in this exhibition are Astrid Kruse Jensen, Dark Matters, Ditte Knus Tønnesen, Ebbe Stub Wittrup, Eske Kath, Eva Koch, John Kørner, Nikolaj Howalt, Olafur Eliasson and Tal R
Jacob Kirkegaard is delighted to be part of GIBCA - The Gothenburg Biennial 20015 where he presents his performative video work
T R I S T E L E G # 1 - 3
O N D E S C O R T I
For the opening of GIBCA Suzanne Farrin and Kirkegaard will premiere their composition, Ondes Corti!
The concert will take place at Folkteatern in Gothenburg on the 11th of September, 2015
Ondes Corti is a series for inner ear tones and ondes Martenot written by Jacob Kirkegaard and Suzanne Farrin. The musical materials are derived from tones produced by the ear itself projected through live electronics and in dialogue with one of the earliest electronic instruments: the ondes Martenot.
The ondes was first imagined at the top of the Eiffel Tower by Maurice Martenot, an engineering student and amateur cellist who was drafted during the First World War to work on radio transmissions. Depressed over the destruction, he had a vision that these tools could be transformed from destructive to beautiful. He dreamed of creating an instrument that could communicate directly with an audience with no impediment other than "the imagination of the performer." He eventually believed that the performer would be able to "think" an interpretation and the audience could receive the music telepathically. The result is an instrument that is an expressive, other-worldy machine and also the most technically advanced musical instrument of its time (the 1920s).
These expressive tones also exist within the ear itself and appear remarkably similar timbrally to sine waves. This musical fingerprint is the result of spontaneous otoacoustic emissions (SOAE)s, which are sounds that are generated in the Organ of Corti without external stimulation. They are perceptible, though often go unnoticed, and can be recorded with sensitive microphones. Like human sound signatures, they are a window to the immense diversity and richness of the human identity.
Ondes Corti will explore these inner and other worlds: what we create and what we are capable of receiving. These pieces will unearth the tones hidden in nearly every individual's ears and create musical poetry that exposes and embraces the sounds that connect us.
D E S C E N D I N G
Niels Lyhne Løkkegaard & Kirkegaard have joined forced creating their first collaboration. LIGHTS/ DESCENDING is a work for 13 horns.
Premiered live at Dokk1 in Aarhus, Denmark on the 29th of august 2015
H O U S E O F M A R E
Great Gifts Of Chance
with Andreas Albrectsen, William S. Burroughs, Claus Carstensen, Lars Christensen, Jacob Kirkegaard, Henrik Menné, Julie Nord, Niki de Saint Phalle, Richard Serra, Steve Reich & Torben Ulrich. Live at the opening night (Aug 14th): Steve Reich's Pendulum Music. First performed in 1969 at the Whitney Museum, New York Richard Serra, James Tenney, Steve Reich, Bruce Nauman and Michael Snow. Exhibition at Gallery Tom Christoffersen, Copenhagen, 14.8 - 19.9.2015
Germany · 2015 · DCP · Color and Black & White · 70' · o.v. no dialogue
This film consists of footage appropriated from Israeli fiction films shot in Jaffa
Focusing beyond actors and invented narratives, this film portraits the people and spaces caught in the background
The sound used in this film was recorded in Jaffa in 2015
Director: Kamal Aljafari · Cinematography: Kamal Aljafari ·
Field recordings and Soundtrack: Jacob Kirkegaard · Animation: Daniel Franke
Artist in residency in Greece:
SONIC TOPOGRAPHIES organized by IMPLODE
Ilios - Ancient Theatre of Eretria
Jacob Kirkegaard - Euripus Strait
Georgia Kotretsos - Medieval Castle of Casteli
Yiorgis Sakellariou - Ancient Temple of Artemis (Aulis)
Euripus Strait - Jacob Kirkegaard
The Euripus Strait, is a narrow channel of water separating the Greek island of Evoia in the Aegean Sea from Veotia in mainland Greece. The distance between Evoia island and mainland is consider to be one of the nearest in the world (40 meters). The strait is subject to strong tidal currents which reverse direction approximately four times a day. Tidal flows are very weak in the Eastern Mediterranean, but this strait is a remarkable exception. Water flow peaks at about 12 km/hour, either northwards or southwards,
and boats are often incapable of sailing against it. When nearing flow reversal, sailing is even more precarious because of vortex formation. The currents are influenced by moon, the natural satellite of the earth, which creates the phenomenon of tides. This unique phenomenon employed ancient Greeks, particularly Aristotle and Eratosthenes as well as many other scientists of the last century.
Working on soundtrack for Kamal Aljafari's new film. Preview at the Beirut Art Center in May, 2015. The sound material is based on field recordings by Jacob Kirkegaard in Palestine / Israel in February 2015.
YESETAN MENFES - a sonic portrait of an excorsism ritual in Ethiopia
Live at MAYHEM in Copenhagen, Denmark, April 22nd
Jacob Kirkegaard's retrospective solo exhibition EARSIDE OUT at the Museum of Contemporary Art in Roskilde, DK, Jan - Apr
POSH ISOLATION launches the release of a triple-cassette album containing five of Kirkegaard's previously unreleased works; Æsturarium, Iron Wind, Déjà Vu, Fool's Fire & Under Bjerget
During Summer 2014 in New York Katinka Fogh Vindelev & Jacob Kirkegaard have been mixing Danish quartet We like We's debut album a New Age of Sensibility. The album will be mastered for vinyl by Mike Grinser at Dubplates & Mastering in Berlin and is scheduled for release in December 2014 on Danish Jomi Massage's label The Being Music
THROUGH THE WALL (DURCH DIE WAND)
In November 2013, near Bethlehem, Kirkegaard recorded on the of both sides of the Israeli West Bank Barrier, (an 8-meter tall concrete wall commonly referred to as "the security fence" by Israelis or "the apartheid wall" by Palestinians), using both sensitive air microphones and vibration sensors that he placed on the concrete surfaces.
This work will be shown for the 1st time at Brandon Labelle's errant bodies space in Berlin, and at the same time mark the 25. anniversary of the fall of the Berlin Wall. This will be a joint exhibition with German artist Georg Klein. Stadt als Klangtext #5
Exhibition: December 10th - 14th, 2014, 4-8 p.m Discussion: December 11th, 7pm: With Kathrin Wildner
Bemejemeria (In the Begining)
Announcing Kirkegaard's first collaboration with artist & performer Lilibeth Cuenca. Live as part of her exhibition BEING HUMAN at Nikolaj Kunsthal in Copenhagen and at the opening of WUNDERGRUND Festival also in Copenhagen. Oct 23rd & 24th
This performance will also happen in Sao Paulo and in Rio during November 2014. See Calendar for details.
This will be the first permanent freq_out sound installation. It will be installed in the small garden at the new Skandion Clinic for cancer treatment in Uppsala, Sweden, and inaugurated in the autumn of 2014. The following artists will contribute to the sound installation Tommi Grönlund / Petteri Nisunen, Mike Harding, Jana Winderen, Finnbogi Petursson, Anna Ceeh / Franz Pomassl, Jacob Kirkegaard, The Sons of God (Kent Tankred / Leif Elggren), BJNilsen, Maia Urstad, JG Thirlwell, Brandon LaBelle, Christine Ödlund, Permagnus Lindborg and artist curator Carl Michael von Hausswolff
New sound & video work commissioned by Mori Art Museum, Tokyo, Japan. Opening September 14: Jacob Kirkegaard's new work Stigma is 4 portraits of nature scenes in Fukushima, Japan: a green bamboo forrest, a mountain top, a snow covered forrest and a hill of pine trees. Stigma addresses the classic idea of nature and how an apparent presence of radioactivity changes the perception of it
THE PASSION OF JOAN OF ARC
Danish sound artist Jacob Kirkegaard has created a new soundtrack for Carl Th. Dreyer's 1928 silent film The Passion of Joan of Arc
By time-stretching fragments of compositions, in particular the works by Guillaume Dufay and other early French renaissance composers, he exposes the 'tone' of the 15th century, the atmosphere where religion could glorify God but could also declare Joan of Arc a heretic and a witch. Kirkegaard's prolonged tones evolve slowly over time parallel to the visual purity of the film and express the deeper reaches of Joan’s life and tragic death. Commissionned by Onassis Cultural Centre and will be premiered at InMUTE Festival in Athens, Greece, Oct 26th, 2014
The presentation of this film with live soundtrack by Jacob Kirkegaard will also take place in Sao Paulo & Rio during November. See Calendar for details
40 DAYS OF SILENCE
Vinyl release of soundtrack for Saodat Ismailova's film CHILLA Released by VON Archives, June 2014
new sound work created for Ecstasy - Rued Langgaard Festival Ribe, Denmark, September 2014: This work is dedicated to the Danish composer Rued Langgaard and consists of three parts and an epilogue; Stormnattens Skygger (The Shaddows of the Stormy Night), I Skyggen af en Domkirke (In the Shade of a Cathedral) and Solrædsel (Solar Fear).
Besides from percussion and church organ Solámok is primarily composed of concrete sounds recorded at night in the medieval town of Ribe where Langgaard lived for the last 12 years of his life. Solámok will be premiered and played live in Ribe Domkirke on September 5. Percussion by SCENATET. Church organ will be played by Birgitte Ebert
During Summer 2014 Jacob Kirkegaard made underwater recordings of Hudson River. Æsturarium is his composition from these sounds. Estuaries are transition zones between a river and the sea. Æsturarium will be premiered live at the Silent Barn in New York City, Aug 21
TONE POEM FOR RICHAR STRAUSS
The sound artist Jacob Kirkegaard and classical singer Katinka Fogh Vindelev are joining forces to compose and perform Tone Poem for Richard Strauss, an interpretation of composer Richard Strauss' final completed works, "Vier Letzte Lieder" (Four Last Songs) from 1948. By extracting and working with minute fragments and phrases, they tease out what they see as the essence of these songs written so close to the composer’s death. This piece was performed live at Socrates Sculpture Park in New York and at the inaguration of the Robert Fagan Art Library, New York. Summer 2014. Next performance will take place at Rued Langgaard Festival in Ribe Denmark on Sep 6th
is the title of a sound piece created for the Mori Art Museum in Tokyo, Japan. The piece is made from recordings of the vibrations of the 238 meter tall Mori Tower as well as the constant and dense air pressure passing through the building.
A vent means to let out, to give free and to release something but through a confined space. Rising up above Tokyo's skyline the Mori Tower building does not only act like a sonic vent to its surrounding air flow. Its museum functions as a kind of vent for artistic thoughts, ideas and dreams, which are all manifested through its confined galleries and released as pieces of art into the world. In a similar way, the hirtherto silent winds passing through the confined gaps of the building is manifested into audible matter
ISFALD (Courtesey LOUISIANA)
is Jacob Kirkegaard's work created for LOUISIANA Museum of Modern Art's exhibition ARCTIC. September 2013
"The popular imagination of the Arctic usually relies on visuals of harsh white landscapes. But one of the most compelling elements in the exhibit is a pitch-black room dedicated to a soundscape designed by the Danish artist Jacob Kirkegaard. Recordings of ice sheets falling into the sea, melting or scraching against on another rise from precise points on the floor. Even if the deadliy cold is absent, standing there in the dark listening to the otherworldly sounds might be the closest thing to traveling to the Pole. The experience offers a schockingly new, aural dimension to our conception of the region" From Zeke Turner's review "The Arctic's Black Canvas" in departures.com
Popping ice chunks & calving glaciers at the Ilulissat Ice Fjord
Jacob Kirkegaard recording for ISFALD, his new work for ARCTIC at LOUISIANA Museum of Modern Art, September 2013
Recording the calving glaciers at the inland ice sheet, Russel's Glacier, Greenland
Jacob Kirkegaard recording for ISFALD, his new work for ARCTIC at LOUISIANA Museum of Modern Art, September 2013
Photo by Adam Lyberth
SABULATION - an exhibition of video and photographic works by Jacob Kirkegaard.
At the Copenhagen based art gallery THIRD SPACE - Opening on the 13th of Sep. – 12th of Oct. 2013. “He tried thinking of something else. When he closed his eyes, a number of long lines, flowing like sighs, came floating toward him. They were ripples of sand moving over the dunes. The dunes were probably burned onto his retina because he had been gazing steadily at them for some twelve hours. The same sand currents had swallowed up and destroyed flourishing cities and great empires. They called it the “sabulation” of the Roman Empire….”
Highlights of 2013