RESPONSIVE SPACE – SOUNDING INTO MATERIALITY

Gunhild Mathea Husvik-Olaussen

RESPONSIVE SPACE – SOUNDING INTO MATERIALITY (2014–2020) is an in-depth research project into the interrelationship between us and our surroundings. The artworks can be described as large sculptural sound installations which blur the lines between visual art, performing arts and sound art. The works explore space, material, sound, body and time as equal parts in a composition. The main artworks of the research INTERFERENCE, RESONANCE, SEDIMENT, PLACE 1 and PLACE 2 are in a variety of ways inquiries towards an expanded experience of the dialogue between presence and materiality. The artworks are composed environments which respond and take shape and form from their surroundings, seeking to touch proximity zones where we as humans can sense aspects of being closely intertwined with our surroundings. The act of listening is of central importance in the artistic survey. Olaussen stages space utilising the mediums of sound, minimalistic sculpture and dramaturgical structures. This exposition is part of Gunhild Mathea Husvik-Olaussen’s artistic research project Responsive Space – Sounding into Materiality (2014–2020) at the Norwegian Theatre Academy, Østfold University College. The project complies with the guidelines for the Norwegian Artistic Research Programme from 2019. Artistic practice and reflection are at the heart of the research programme. Originally published in Norwegian in 2019, this work has now been translated into English by Peter Cripps, with the support of the Norwegian Directorate for Higher Education and Skills.

ACKNOWLEDGEMENTS

FRONT PAGE SOUNDING MATTER AT F15 RESONANCE AT HOK INTERFERENCE AT LYDGALLERIET PETRICHOR REFERENCES ACKNOWLEDGEMENTS

First and foremost, I wish to express my gratitude to the Norwegian Theatre Academy at Østfold University College for granting me the opportunity to undertake this research project. I extend my appreciation to Anne Berit Løland, Serge von Arx, Karmenlara Ely Seidman, colleagues, and students at the Academy of Performing Arts for their inspiring discussions and meetings. I am also grateful to the Norwegian Artistic Research Programme, with special acknowledgement to Geir Ivar Strøm for his dedicated commitment. Additionally, I appreciate the contributions and insightful reflections of my fellow research fellows within the programme, which have significantly contributed to the development of this project.

I would like to express my deepest gratitude to my main supervisor, Karen Erika Earle Kipphoff, for believing in me every step of the way, for encouraging me to stay close to the materials, and for your genuine warmth and support. My sincere thanks go to Trond Lossius, whose deep insight, patience, and generosity have been invaluable throughout this process. Your ability to listen, understand, and share from your vast reservoir of knowledge has profoundly shaped both the project and my development as an artist and researcher. This work would not have been possible without you. I am also deeply grateful to Christian Blom for taking on the role of supervisor during the final phase of the research project and for generously sharing your rich artistic perspective.

Thank you all who have contributed to the development of the artistic works: Ane Thon Knutsen, Ane Marthe Sørlien Holen, Amber Ablett, Bernt Isak Wærstad, David Alræk, Espen Hådi-Siverts, Ingrid Solvik, Janne-Camilla Lyster, Jonas Barsten, Jan Martin Smørdal, Janne Hoem, Kristine Tjøgersen, Marianne Stranger, Magnus Myhr, Morten Halfstad Forsberg, Roar Sletteland, Nils Rickard Engström Thimgren, Silje Aker Johnsen, Therese Næss Diesen, and Øystein Elle. Thank you for sharing your knowledge and dedication with me.

Thanks to NOTAM for the collaboration, solid expertise, and a warm professional community. A special thanks to Thom Johansen for your expertise and the commitment you so generously share. Thanks to curators Julie Lillelien Porter, Thorbjørn Tønder Hansen, Svein Terje Torvik, Maria C. Havstam, Espen Gangvik, and James Ray Moore for their belief in the project and for excellent collaboration.

Thanks to Henie Onstad Kunstsenter and Technical Director Hans Christian Skui Lindvig for their great flexibility and professionalism. Thanks to the wonderful staff at Galleri F15 for an excellent collaboration, and especially to Technical Director Eivind Karlsen and art technician Truls Solerød Johnsen—installation is an art! Special thanks to Simen Østad and Nicolas William Hughes for excellent mediation, and to Bjørn Hatterud for the beautiful text you wrote.

Thanks to Østfold University College, Ultima Festival, Henie Onstad Kunstsenter, Galleri F15, Østfold Cultural Development, the Audio and Visual Fund, the Performing Arts Fund of Arts Council Norway, Regional Project Funds for Visual Arts/Norwegian Network of Art Centres, the Visual Artists’ Remuneration Fund, Notam, BEK, and Benum for supporting the development of the artistic works.

Thanks to everyone who has contributed and inspired:

Alexander Refsum Jensenius at RITMO, Aleksander Nicolay Holtermann Østgaard,

Anne Sigrid Hveem, Ann Iren Buan, Asbjørn Blokkum Flø, Bjørn Løken, Blikk 1 in Sarpsborg, Bjørnar Habbestad, Benedikte Thallaug Wedset, Beatrice Ferrara, Carl Christian Lange, Cato Langnes, Cristiana Ciarmoli, David Børresen, Eli Bø, Erik Dæhlin, Eivind Hofstad Evjemo, Frode Anker Røsstad, Florentin Bosshard, Gøril Rostad, Gyrid Nordal Kaldestad, Geir Ole Andersen at HR Tools, Gabriel Benon-Muniz, Helene Førde, Helena Bosdal, Hans Wilmers, Harald Holone, Hong Wu, Hedda Grindland Abildsnes, Håvard Skaset, Ingvild Langård, Ingri Fiksdal, Ingeborg Øien Thorsland, Jon Halvor Bjørnseth, Jørgen «Sissyfus» Skjulstad, Jan Elisabeth Lindvik and The Norwegian Film School, Jon Benjamin Tallerås, Jørn Tore Egseth, Jennifer Torrence, Johanne Hestvold, Kjetil Fitjar Bøe and Zachariassen Jernvare, Kyrre Heldal Karlsen, Karen Pederstad, Katrine Køster Holst, Knut Olaf Sunde, Kristoffer Myskja, Lisa Torell, Lars Mørk Finborud, Lena Walton Herfindal, Lucie Noel Thune, Leandro Pisano, Marie Kaada Hovden, Mikkis Recording Company, Martin Tollefsbøl, Marcus Martinuzzi, Per Øyvind Johansen and Aspheim Flygel og Pianosenter, Paul J. Mckenna, Pierre-Olivier Lombarteix, Roy Ole Førland, Roy Eilertsen and Glassmester Ove Blegen, Richard Larochette, Reidar Nordby, Ragnar Knudsen, Stef Meul, Simen Dieserud Thornquist, Siri Langdalen, Signe Becker, Sigurd Ytre-Arne, Stian Omenås, Texas Reklamebyrå, Therese Birkelund Ulvo, Tale Hendnes, Torgny Amdam, Thomas Winther and BITRAF, Theodor Barth, Thorolf Thuestad, Tibnor, Terje Samuelsen, Tanja Løken, Vegard Kleven, Øystein Wyller Odden.

Thanks to the feminists before me who paved the way for women to be working mothers.

Thanks to friends and family, and a very special and heartfelt thanks to Johan Husvik-Olaussen, Ingeborg, and Åse for supporting me along the way, it means the world to me.

INTERFERENS (2019)

ARTISTIC WORK

Concept, execution and production: Gunhild Mathea Husvik-Olaussen

Sound composition: Gunhild Mathea Husvik-Olaussen

Glass bowls and sine tones: Gunhild Mathea Husvik-Olaussen

Soprano: Silje Aker Johnsen

Technology: Thom Johansen / NOTAM

Poetic score, lyrics: Janne-Camilla Lyster

Poetic score, graphic interpretation: Ane Thon Knutsen

The concert in the installation at Lydgalleriet on 10 and 11 May 2019 was composed and performed by Ane Marthe Sørlien Holen.

Artistic documentation: David Alræk

Artist´s assistants: Amber Ablett og Therese Næss Diesen

PRODUCTION

Produced in collaboration with Lydgalleriet and Galleri F 15

Supported by the Norwegian Theatre Academy at Østfold University College, the Programme for Artistic Research, the Arts Council Norway’s Audio and Visual Fund, Contemporary Arts Centres in Norway´s regional project funding for visual art, the Norwegian Visual Artists’ Fund, NOTAM.

EXHIBITIONS

Part of the solo exhibition Sounding Matter at Galleri F 15 (01.02–15.03.20), curated by Maria C. Havstam

Solo exhibition, Trondheim Electronic Arts Centre, (11.10–17.11.19), curated by Espen Gangvik.

Solo exhibition, Lydgalleriet in Bergen (10.05–02.06.19), curated by Julie Lillelien Porter.

Nominated by nyMusikk to represent Norway at the World Music Days 2018 in Beijing.

Preliminary project presented at the Artistic Research Forum (18.10 – 20.10.17) at the Norwegian Theatre Academy, Fredrikstad.

RESONANCE (2019)

ARTISTIC WORK

Concept, execution and production: Gunhild Mathea Husvik-Olaussen

Technology: Roar Sletteland, Jonas Barsten, Bernt Isak Wærstad and Gunhild Mathea Husvik-Olaussen

Sound composition: Aleatory composition in MaxMSP composed in a partnership between Bernt Isak Wærstad and Gunhild Mathea Husvik-Olaussen

Sound technician: Bernt Isak Wærstad

Woodwork: Nils Rickard Engström Thimgren

Lighting: Espen Hådi-Sivert

The concerts at the Henie Onstad Art Centre during the Ultima festival 2019 were developed in collaboration with dancer Magnus Myhr and musicians Bernt Isak Wærstad, Kristine Tjøgersen and Jan Martin Smørdal

Artist’s assistants: Therese Næss Diesen, Amber Ablett, Ingrid Solvik, Øystein Wyller Odden, Johan Husvik-Olaussen, Helena Bosdal, Ane Marthe Sørlien Holen

PARTNERS ON THE PRELIMINARY PROJECT 2016

Technology: Jonas Barsten

Blacksmith: Anne Sigrid Hveem

Artist’s assistants: Aleksander Nicolay Holtermann Østgaard and Johan Husvik-Olaussen

Dramaturgy consultant: Erik Dæhlin

Lighting consultant: Kyrre Heldal Karlsen

PRODUCTION

Produced in partnership with the Ultima festival, Henie Onstad Art Centre, Galleri F 15 and Østfold Internasjonale Teater

Supported by the Norwegian Theatre Academy at Østfold University College, the Programme for Artistic Research, Arts Council Norway’s Audio and Visual Fund and Fri Scenekunst project, Contemporary Arts Centres in Norway´s regional project funding for visual art, the Norwegian Visual Artists’ Fund, Notam, BEK

EXHIBITIONS

Part of the solo exhibition Sounding Matter at Galleri F 15 (01.02–15.03.20), curated by Maria C. Havstam

Solo exhibition and concerts at the Henie Onstad Art Centre during the Ultima festival (14.09 - 15.09.19), curated by Thorbjørn Tønder Hansen and Svein Terje Torvik

Exhibition of preliminary project at the Norwegian Theatre Academy (23.04-24.04.16)

PLACE 1 & 2 (2020)

ARTISTIC WORK

Concept, execution and production: Gunhild Mathea Husvik-Olaussen

Sound composition: Performed, composed, and mixed by Gunhild Mathea Husvik-Olaussen
Sound recording: Therese Næss Diesen

Artist’s assistants: Amber Ablett, Therese Næss Diesen and Ingrid Solvik

PRODUCTION

Produced in partnership with Galleri F15

EXHIBITION

Part of the solo exhibition Sounding Matter at Galleri F 15 (01.02.–15.03.20), curated by Maria C. Havstam

SEDIMENT (2019)

ARTISTIC WORK

Concept, execution and production: Gunhild Mathea Husvik-Olaussen

Artist’s assistants: Johan, Ingeborg and Åse Husvik-Olaussen, Therese Næss Diesen, Ingrid Solvik 

PRODUCTION

Produced in collaboration with Galleri F 15

Supported by the Norwegian Theatre Academy at Østfold University College, the Programme for Artistic Research, the Arts Council Norway’s Audio and Visual Fund and Fri Scenekunst project, Contemporary Arts Centres in Norway´s regional project funding for visual art, the Norwegian Visual Artists’ Fund.

EXHIBITIONS

Part of the solo exhibition Sounding Matter at Galleri F 15 (01.02.–15.03.20), curated by Maria C. Havstam

Originally published in Norwegian in 2019, this work has now been translated into English by Peter Cripps, with the support of the Norwegian Directorate for Higher Education and Skills.

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