News Oct 11 2014
Busy fall ahead!

Oct. 18 Performing compositions by Zbigniew Karkowski with GGR BETONG noise ensemble at GAS Festival, Pustervik, Gothenburg.
Oct. 25–Nov. 7 New installation of "The Room is Growing" in Cardiff, Wales as part of Paradise Lost. Live performance in the installation at the opening on the 25th.
Nov 10–14 Four-day in-gallery work as part of "Chain Reaction" at Two Little Birds, Gothenburg. With guests.
Nov 22 Release of "Hate Lurks in Quiet Spaces" at Konstepedimin's online gallery.
Dec 6–7 Two day participatory performance "Silence, Noise, and Collapse" with Richard Widerberg at Skogen Theatre, Gothenburg. Presentation open to the public on Dec 7 at 6pm.

And at some point I hope to update the page with some photos from my food performance "Too Many People in the Deli Line" I did at the end of August.

News Apr 5 2014

I was invited to perform a set at Atalante in Gothenburg in the middle of March. They always record things that happen there, so here is the video (or just play it above). I will attempt to get the raw sound so I can mix it a bit more and put it on Soundcloud.

In other news, I've updated my "About" artist statement to something I feel is finally not total bullshit.

News Mar 22 2014 - Album Release Party
Me and my splendid friends in the band KORS seem to both be releasing things, so they invited me to open for them during their party, Saturday March 22, at Studio Fabriken in Gothenburg. There will be great DJs and a great sound system, too. See you there. More information here.

I also played a live concert on the 18th March at Atalante in Gothenburg, which was good fun - there should be a video of this soon.

News Mar 13 2014
New album "The Room is Growing" is now finished and you can listen to the whole thing for free on Soundcloud - look to the player to the right of this post.. You'll find pictures from the installation and information about the production.

I'm very happy with this album, even if it does fill me with a certain amount of anxiety - it's certainly not easy listening.

News Dec 16 2013
Long time coming for some new stuff. Now you can read the new text work "100 Universal Statements about your Personal Value, or The Perfect Artist."
At Not Quite between Dec. 3 and 8th I worked with a great group of artists to put on a one-day event called "Knycklabruket" in the old paper factory, a guided tour through several artworks. I contributed by taking over the steam engine room, filling it with light, smoke, and drone. Pictures and sound soon.
I forgot to post my contribution to the great Forage Press earlier this year, a series of small drawings and writing around the theme of drone - check that out.

This past summer I taught another course with Eric Saline on the topic of Art & Publishing - click the link to see the blog documenting the class and the student's work. It was a great experience ending in a very successful exhibition.

/ (1 of 1)

At the start of December 2013 I was invited to take part in an event involving several artists at the Not Quite arts centre, which is in a semi-abandoned paper factory in Fengersfors, Sweden.
We arranged a day of performances and installations throughout the factory space called "Knycklabruket," held together by a theatrical guided tour. "The Room is Growing" (title given later) was my contribution - a live sound and light installation taking over the entire steam engine room (and part of the boiler room).

The sounds were performed live over the course of about four hours, for five separate tours. The clangs and rattles that can be heard are from the different pieces of abandoned machinery in the room vibrating.

Live analog electronics, no sampling or looping. Mixed from a single stereo location recording.

Thanks to Chris Porcarelli and Karl Hallberg at Not Quite, and all the supporting artists during the event.
Special thanks to Henrik Lövgren.

NOTE: The sound is mastered with plenty of dynamics, but the constant drone is enough to give temporary hearing damage after extended loud listening on either headphones or large speakers in a small room. Be careful with bass, friends.

Slavestate Magazine (in Swedish): "... Just like a strong theater production, book, or film experience, "The Room is Growing" is not only what it seems, in this case an album, but is rather a complete physical experience."
This is a text project that may branch itself out into other manifestations. But now that I am done the final draft of the text, I thought it would be worth sharing as the discussion around these topics is quite active right now.

/ (1 of 1)

Like a student drilled and assessed only on a checklist of metrics, starved of real experience, knowledge, and self-growth, the role of the artist today is in a similar kind of bind—be creative individuals, but within the rules.

Artists, and people more generally, are trapped within a narrow definition of freedom and creativity, a mockery of human ingenuity used solely to provide market gains or to support the status quo with vague assertions of its own virtue. "Creative" is now a word associated more with a glorified advertising worker than for an independent artist. Likewise, an artist should now be seen as a precarious "entrepreneur" competing in a cut-throat capitalist market of scarcity.

This situation deprives society of the real value artists provide to reveal alternative realities. In this text I satirically, and hopefully humorously, enumerate some of the rules as I perceive them, a suffocating and impossible to fulfill parade of responsibilities—some reasonable and some not—burdened entirely on the individual.

While the art world makes grand claims of having a cutting-edge, critical, and progressive nature, in most cases one must be a very particular kind of person to truly succeed in it. I've made no direct comments in the text about race, class, gender, disability, sexuality, or social privilege, but these questions can be considered implicit in many of the statements by their exclusivity.

The artist's role in society is complex, and is not well served by attempting to fit art practice into the demands of the status quo. In so doing we are left with weak art and artists who are unable to adequately adapt after being turfed out from the market when their usefulness to a fickle power structure runs dry. Truly independent art should operate outside the status quo, directly challenging its inequalities, celebrity worship, and narrow utilitarianism, rejecting complicity in its idea of what art and artists should be.
At the beginning of 2013 I was asked to contribute an article for a great web project called Forage Press, run by Tomi Lahdesmaki.

I chose my article to be about drone music and its material power, which I contributed to with charcoal drawings, text, and a music list. You can go to Forage for the full article.

/ (1 of 1)
A work-in-progress, this is an installation built from a Radiola M40 radio from 1927.

I like to sit my practice somewhere in between nostalgia and talismanic fetish. The work recalls the past but, in its sculptural alteration, at the same time suggests the past as a dream-state that can never be returned to, a notion that can only be re-created in the moment by the observer. We are confronted with the object's properties, function, physical characteristics and embodied power, and how this affects our sensibilities of the present. A radio is a way to conjure into noise the silent waves passing through our bodies.

/ (1 of 1)

The goal of the project is to get the radio working and transmit to it audio material developed by myself and singer/historian Clara Gustavsson, as well as to elaborate the installation with more multi-media material. You can hear an early sound idea below created for a one-day installation at Textival, Gothenburg, in March 2012.