LYDFROKOST is a series of happenings where musicians, sound artists and other art practitioners are invited to perform, show or talk about a piece related to sound in an informal environment.

Free entrance and breakfast.

+ May 31st 2017: Lydfrokost #3 with Ekaterina Sharova in collaboration with Arctic Forum

How can slow culture producers in the Northern Russia contribute to the ecology awareness issues in the Arctic region? What potential does culture have in the Arctic, where many power interests meet? How can international cultural workers collaborate about sustainable, human-centered culture production in the North?
The Northern regions are pressed by commercial, globalized fast culture, where plastic and shopping centers replace the traditional wooden architecture of the North. In the light of this, the local cultural workers find themselves in the context where the cultural production is, on the one hand, still run after the plan economy principles, and, on the other hand, allows little innovation and support of freelance art scene. The discussion about conditions for cultural workers becomes an essencial question for anyone working with culture in Russia.
At the same time, independent cultural initiatives are growing fast in the Northern Russia during the last years. Festivals Taibola, Inversia, Uncapitals, Barents Bird, The Arctic Theater, Gallery Ч9, Arctic Art Forum represent the innovative cultural scene of the region, which has been quickly developing recently.
Arkhangelsk region is changing from being a depressive, remote area into the central gateway to the Russian Arctic. On 29-30 March, the large-scale international forum Arctic, Territory of Dialogue took place in Arkhangelsk, where presidents of Russia, Finland, Iceland were present. Some of the central issues discussed at the forum was the topic of depopulation of the region and the existing challenges with the human capital.
What is the role of culture in the Arctic today?
What does the “slow culture” mean in the context of the Russian Arctic?
What would the human-centered, rather than institution-centered approach could mean?
How to develop the innovations in arts and design, instead of Kalashnikov?

About Ekaterina:
Ekaterina Sharova is a curator born in Arkhangelsk and educated at Pomorsky State University (2004), the University of Oslo (2009, 2012) and the Norwegian Institute in Rome (2012). She works in Russia and Norway with non-institutional practices and interdisciplinary experiments. Her major area of interest is a correlation between hierarchical and horizontal types of social organization, and center-periphery relationships. Ekaterina has been co-curating The First Supper Symposium (2014), The Mobile Institute. A Portable Knowledge Lab on Tour, a part of parallel program for Manifesta Biennial (2014), Barents Spektakel (2015), Arctic Art Forum (2016). She took part at the Triennial of Russian Contemporary Art in Garage (Moscow, 2017).



+ may 1 2016; 10:30: Lydfrokost #2 Luca Forcucci i samarbeid med NOTAM

After presenting the researches he has been focusing on for the last 2 weeks, Luca Forcucci will bring us for a soundwalk across the neighborhood.
A soundwalk is a walk with a focus on listening to the environment. The term was first used by members of the World Soundscape Project under the leadership of composer R. Murray Schafer in Vancouver in the 1970s. Hildegard Westerkamp, from the same group of artists, defines soundwalking as “… any excursion whose main purpose is listening to the environment. It is exposing our ears to every sound around us no matter where we are.”
About Luca:
As a composer, artist, writer and researcher, Forcucci observes the perceptive and dynamic properties/relations of sound and space. The field of possibilities is explored in music and art as experience. In this context, he is interested in perception and consciousness.
His artworks are presented worldwide on a regular basis (Biennale of Sao Paulo, Akademie der Künste Berlin, MAXXI: Museum of XXI Century Arts Rome, Rockbund Museum Shanghai, Haus der Elektronischen Künste Basel, Présences Electroniques Festival Geneva) and are in the collections of the Swiss National Library and Swatch. He has received awards from the Swiss Federal Office for Culture, Pro Helvetia, Swatch, Cité Internationale des Arts Paris, and he was nominated in the arts at the World Technology Summit in New York.



+ april 24 2016; 10:30 : Lydfrokost #1 Morten Minothi Kristiansen og Ole Kristian Wetten i samarbeid med Edge of Wrong

A framed metal plate hung with springs. A transducer is mounted and transfers vibrations from recorded/live audio to the plate. The plate functions as a speaker cone, and the sound produced reflects this materials characteristics. The plates shape resembles a guillotine, this is accidental. As the title suggests this is the third installment, and with new content. This time bird calls from South Africa will be played back, and this on the occasion of the Norwegian – South African festival Edge of Wrong happening in Cape Town 15. – 24. April.
South African birds never come to Norway, but has recently flapped goodbye to the Norwegian migrating birds. So for once, we thought it would be nice to turn things up side down. South African bird calls in Oslo, Norway.
A curiousity in this regard is the barn swallow from Norway, which has South Africa as its winter area. As Norwegian winter is long it spends most of the year in South Africa and should therefor be counted as a South African bird migrating to Norway for nesting.
PLATA is kept resonating by Morten Minothi Kristiansen and Ole Kristian Wetten.


About Ole-Kristian and Morten:
Ole Kristian is a bassist. He performs regularly with internationally renowned pop acts such as Elvira Nikolaisen and Flunk. His home studio reveals him as a nutty professor in forward motion artistically speaking. Passionate about sound and how they come about.
Morten Minothi is a guitarist. A central artist and organizer in the noise scene in Oslo. He is the brain child of the Norwegian – South African festival and concert series Edge of Wrong since 2006. With a soft spot for religious folk music he is most content in the field of extreme noise. Ole Kristian and Morten have played together in as diverse contexts as noise shows to cheezy fund raiser gigs.
En innramma metallplate som henger i fjæringer. En transducer er montert og overfører vibrasjoner fra lydfil. Plata fungerer som et høyttalerelement, og lyden reflekterer materialet, en metallisk klang. Platas form minner om en giljotin, men det er bare tilfeldig. Som tittelen røper er dette tredje utgave, og med nytt innhold. Denne gangen spiller vi av opptak av fuglelyder fra Sør Afrika i anledning den norsk – sør afrikanske festivalen Edge of Wrong som holdes i Cape Town 22. – 24. April.
Sør Afrikanske fugler trekker ikke til Norge, men har nylig tatt farvel med de norske trekkfuglene. Så da tenkte vi at det hadde vært fint å snu det på hodet for en gangs skyld. Sør Afrikanske fugler på Tøyen.
En kuriositet i denne sammenhengen er låvesvalen som har Sør-Afrika som vinterområde. Den tilbringer mer tid i Afrika enn i Norge, så de kan egentlig regnes som Afrikanske fugler som flyr til Norge for å hekke (fra
PLATA holdes i gang av Morten Minothi Kristiansen og Ole Kristian Wetten.