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News Dec 9 2014
"Silence, Noise, and Collapse" was, despite a low turnout, a great event - stay tuned for more documentation to show up on this website. Two packed days generates a lot of stuff.
It also generated a band, of sorts: The Norbert Wiener Memorial Feedback Orchestra, an open group playing with unstable systems. Below is the first performance from Dec 7th. We will perform again on the 13th (this coming Saturday) in Bottna, Bohuslän, Sweden, in a small house in the countryside, as part of a winter procession - see this event for more details.

Fall Schedule

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 10–13 Four-day in-gallery work as part of "Chain Reaction" at Two Little Birds, Gothenburg. All-day "quiet noise" session on the 12th, together with Richard Widerberg. Final artist presentations on the 21st.
Nov 22 Release of "Hate Lurks in Quiet Spaces" at Konstepidemin'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.
Dec 12 The Norbert Wiener Memorial Feedback Orchestra, in Bottna, Bohuslän, Sweden. Event.

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.

The day after I completed the first version of "The Room is Growing," I took a radio transmitter, some radios, microphones, and a camera with me and decided to explore the abandoned parts of the factory with sound. In the night, I went between rooms placing radios in several hard to reach places and transmitted to them. Almost a year later, here is the result—an odd hybrid of field recording and black metal. It was exhibited from Nov 22 to Dec 14, 2014, at Konstepidemin Gothenburg's web gallery.

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Hate thrives on its own, unchallenged by different opinions. It likes the loneliness of homogeneity, seeking only other hate, proud of its own shallow convictions. Hate is discreet, afraid, and is easily missed because it is often quiet, waiting in the shadows. Hate is pathetic and ignorant, but not innocent. Only by calling hate forward can it can be challenged, an irritating and constant effort. In this struggle, it is easy to hate the haters, joining them at their own game in a meaningless and futile race to the bottom.

A study of the grim feelings brought about by loneliness and isolation, but also on the sonic character of different types of spaces, large and small.

Created entirely from a single sample. All tracks recorded during the night of Dec 8, 2013 in various snowy, damp, and dilapidated rooms in Fengersfors Paper Factory at the Not Quite artist center in Dalsland, Sweden. Mixed and mastered Autumn 2014.

This album has dynamics. Your stereo has a volume control—use it.

More pictures and other projects can be found at youaredissolved.com.
released 22 November 2014

Barrie James Sutcliffe: FM radio transmitter, digital playback device, multiple radio receivers placed in different locations, live stereo field recordings.
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A new version of my previous installation was presented in the city of Cardiff, Wales on October 25, 2014, and ran until the 5th November. On the first day of the exhibition I performed live for approximately three and a half hours. Nearly all sound was recorded and was replayed into the space for the remainder of the exhibit. An album of this is forthcoming.

More than anything else this installation emphasizes a room in such a way that it seems like you experience more than just the room itself, but in almost every respect this effect is entirely due to the features of the room itself which are not normally taken advantage of. See below for more information.

This iteration was installed in the boiler room of the old Customs and Immigration Building in Cardiff Bay. The building had been abandoned for at least forty years but had been locked up, and thus was mercifully free of vandalism. I was part of the group exhibition "Paradise Lost" involving dozens more artists who performed and installed all over the same building. It was arranged by art collective tactileBOSCH and part of the city wide event "Cardiff Contemporary." The opening was a great success with hundreds attending.

The basement of the building contained several rooms which were occupied by a few more artists and added to the sense of oppressive yet insular atmosphere this environment offered. The boiler room itself was much smaller than the steam engine room of the previous installation, and its hard concrete sound made for a different experience. As before, I played loud drone music on analog synthesizers, but the short echo of the room transformed it into a kind of minimalistic techno. Tuned to different resonant frequencies of the room, the sound was a felt physical experience. Risking getting dirty, touching different objects in the room gave the audience more ways to experience the vibrations. The level of smoke levels changes in the room over time, either at the behest of whoever is controlling the smoke machine, or simply due to the winds blowing through the many holes in the building.

Not only light, sound, and smoke, for this room I also spent some time to unearth different objects from the rubble and placed them in the installation to recall the space's original use. Making such a work also involved considerable effort to bring electricity to a ruined house (thanks to the crew for that), so in various places I used features of the room as cable supports, emphasizing the presence of something new in the building.

The building itself was once part of Cardiff's booming port, and was just one of many stately administration centres and banks built in the Victorian era thanks to the coal trade from Wales.

Thanks to Paul, Helene, Beth, John, Aly, and the rest of the team in Cardiff. Last photo by Av Padda.
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I was invited by the folks at Fabriksg. 48 in Gothenburg to be involved in their inaugural exhibition "Mackan," with three other artists all making work on the theme of the sandwich. The one-day event took place on the 30th August, 2014.

Being an avid maker of sandwiches myself, I decided to do a sandwich-making performance, in addition to displaying several sandwiches. I offered one and only one sandwich, no modifications, but gave it away for free. It is a recipe I use quite often, a filling and tasty stand-by.

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The sandwiches presented were all variations on that one sandwich, altered to fit the needs of various fad diets. They are essentially very cheap jokes about food and the people who define themselves by the food they eat. I find picky eating to be interesting and frustrating, and decided to deal with those issues by offering sandwiches for free to the gallery goers, knowing full well that the art community have amongst themselves some of the pickiest eaters known to man. It is interesting that everyone, including myself, has some particular dietary need or preference, so rarely is anyone ever truly satisfied with what another can offer.

People were generally more accepting than annoyed that I would refuse to alter my recipe. The sandwich was free after all—when something is free in a market economy, the customer does not get to call the shots. This can relate to all sorts of other free services we use in our society today, and how that can compromise our personal integrity.

The recipes:
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Thanks to Annie, Maya, and Anders. The first set of photos were taken by Ina Marie Winther Åshaug.
The title of this performance comes from this wonderful song by Citizen Blast Kane.

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" was my contribution - a live sound and light installation taking over the entire steam engine room (and part of the boiler room).

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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.

The installation was performed again in October 2014 in Cardiff, Wales (see separate post), further refining the ideas of sensory experience this work introduced.

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."