PARABOL is an off-site collaborative project between Lydgalleriet and Kunsthall 3,14, another Bergen-based gallery. Lydgalleriet selects a sound work for the directional loudspeaker situated in Kunsthall 3,14's entrance hall. The works are curated in response to themes and issues relevant to the exhibition program at Kunsthall 3,14.
These sound works are the visitor's first experience when entering the entranceway to Kunsthall 3,14, situated in the premises of an old bank. Lydgalleriet’s curatorial focus in the PARABOL project is on specific editions of a sonic contextual experience, always selected in relation to the main artistic programme at Kunsthall 3,14.
The archive of PARABOL events since 2019 are listed below!
Make your presence known is a work by Kobie Nel, where the sensation of someone else's invisible but audible presence emerges in the sonic landscape. The belief in the ability to communicate with the spirits of the deceased is woven into various aspects of modern art. However, such connections have often been met with condemnation from the public, yet despite this, spiritualism has left its mark on the women's movement, cultural politics, media and even forensic science
Getting to know Dirar Kalash's work through his recordings from everyday life in Gaza as an ‘invisible’ power that can return, resist, persist and reach to places it supposedly can’t, he– given the current realities– made a new version of the sound piece ‘unsieged resonance’ for this edition of PARABOL.
(un)disturbed: ii: The journey starts on the ground by Emily Adomah is a work that examines sound pollution and how humans are affected by the sounds that constantly surround us. The piece is composed from site-specific recordings at Bergen Airport Flesland in order to investigate the extent to which high-frequency sounds heard at an airport affect those who travel and work there. (un)disturbed: ii: The journey starts on the ground is curated in response to Servet Koçyiğit’s installation UNCHARTED and Benjamin Gerde’s video work Connecting the world takes every one of us.
Straw bales is a sonic essay composed of spoken word, fragments of music and field recordings. Through it, Magdaléna Manderlová unwinds her sonic memories of a particular bird (Common swift/Apus apus) through writing, and draws connections between the bird's voice, her ancestors, and their life occupation.
FREE FLOW is a fixed-media multichannel piece based on Debris' AI-generated violin samples, a database that provided the work's grounding noise (s), glitches, and distorted sounds. Using the selected material, I created a sound-world opposing the traditional sonority of a violin, a sonic space at once powerful, rich in textures, overwhelming, harsh, and ear-piercing. I allowed the sound material to guide me through the compositional process, freely shaping - through a FREE FLOW - the form and dramaturgy of the piece. FREE FLOW is part of Debris project - a set of electronic compositions based on materials generated by the Demiurge audio synthesis engine, a-music machine-learning platform. The piece is curated by Julie Lillelien Porter in relation to the exhibitions Oceanic Horror or How to Survive the Night in the Haunted Mansion of Absolute Capitalism by Søren Thilo Funder, and Whispers in the Vault: Presenting "Another Leader - Act II" by Nástio Mosquito.
Jenny Berger Myhre's work revolves around personal documentation and archives, intimacy, memory, reality and re-contextualisation. As a multidisciplinary artist working with sound, video and photography, most of her practice is focused on collaborations. The piece for PARABOL, Chidoribashi, is composed by containing field recordings from Osaka (2017) and Mexico City (2018), with violin performed and arranged by Cisser Mæhl. The piece is curated by Julie Lillelien Porter in relation to the exhibitions Re-Monument by Nina Sanadze and Smashing Monuments by Sebastián Díaz Morales shown at Kunsthall 3.14.
Can a forest be a participatory monument? Dancing Forest is a sonic experience, composed of a sound piece that serves as a score. How do we embody the forest, and how does the forest embody us? This exercise will let us explore listening by activating our very own embodied sound archive. Embodied sound archives are the summary of all our encounters with sound throughout our lifetimes. Let us imagine that our embodied sound archives (are the soundtracks of our lives) and that they create a narrative of all our experiences. This exercise will let us explore listening by activating our very own embodied sound archive. Embodied sound archives are the summary of all our encounters with sound throughout our lifetimes. Let us imagine that our embodied sound archives (are the soundtracks of our lives) and that they create a narrative of all our experiences. Curated by Julie Lillelien Porter for PARABOL, a collaboration with Kunsthall 3.14.
Nature embodies many intertwining sounds, free in their form, passing from one sound to another, touching and reflecting the environment through itself. It seems to move outside the everyday life in which it exists, and we seem to slide inside this sound.
The Nomadic Listener is an augmented book and sound art project exploring migration, urban experience, and sonic alienation.
Yara Mekawei's work is based on sound as an essential tool of vision. She develops her projects through a research point of inseparably uniting between a piece of work and the other, whose work shows an intangible aspect of her cultural identity in an East African society.
An Echo Looped is a recording of an echo I made that lasts for eighteen seconds that plays on loop. I had wanted to keep an echo.
Little Queer Lullaby – sound piece for the Parabol project at the exhibition Irresistible Earth.
Duet/Songs is a recording of words imitating sounds based on machine-generated transcripts of insect communication.
Kobie Nel observed and recorded the songbird vocals that unfolded over the weeks of the exhibition Apple Puma, fascinated by their instinctive, territorial and sexual vocal signalling to each other during the seasonal change.
Emilie Wright is a Bergen based artist from Melbourne, Australia whose works exist at the threshold between language, text, sound and listening, between poetic material and immaterial considerations.
This piece is a mix of field-recording and mathematical functions, exploiting the symbolism of Kunsthall 3.14 as a former bank and the concrete aspect of in-situ noise-prints.
PARABOL presents a fragment of Long Distance Improvisation in Real Time by Ximena Alarcón, a recorded improvisation among nine Colombian and Latin American immigrant women residing in Oslo, Barcelona and London on 7th May, 2019.
The recorded sound of a pistol shot in a number of semi-public open spaces in the Zuidas district in Amsterdam, thus the acoustic signatures (the impulse responses) of each space, was used in two ways whilst developing Shotgun Architecture. The recordings were used to create a sound composition which explores the resonances of the chose places by repeatedly recycling or “feeding back” the sounds of the gunshots through the spaces. The resulting piece moves between a dramatic realism to a abstract composition reminiscent of the electronic music of the 1950’s.
Plum Garden Scores is a collection of schematic drawings together with a sound piece inspired by these. Exhibited through the parabolic speaker at Kunsthall 3.14.
The sound component of «Combined national anthems» includes the national anthem tunes of: Cyprus, Denmark, Germany, Ireland, Italy, Latvia, Lithuania, Moldova, Poland, Portugal, Romania, Serbia, UK and USA, who all appropriate the oak as their national tree.
Edited from acoustic recordings of spontaneous otoacoustic emissions - clusters of simultaneously emitted tones from both ears of a single person.