Redemptive fear becomes a spark, uncovering clothed truths, receptive and vulnerable in the face of existence, curiosity wanders, with the child's gaze, listening and seeing, open and hungry, alertly recalling a place, there is something more, beyond the horizon sounds its epithet, comfortingly capable. Immersed in books, composed in music, water flows, down from the cheek. Memories and emotions thunder, shining albeit quietly with resonance in the body, lonely and starving in search of hope.
https://jespervesterlund.bandcamp.com/album/for-souls
https://jespervesterlund.bandcamp.com/album/for-souls
For souls, released the 16th of may, 2024 on bandcamp.
Recorded in Stockholm
Recorded in Stockholm
Of Ghosts and Memories invites the visitor to a three-act radio theater. The play is a study of non-verbal storytelling where Vesterlund explores how narratives are constructed from the listener’s perspective. Within the created soundscape, the listener is welcomed to wander and explore their own ways in the space.
Act one initiates our journey, presenting a contrast between soft and harsh tones; a dialogue is created that smoothly transitions into act two, where spatiality becomes more distinguished. In act three we encounter the conclusion of the narrative, where the relationship between space and story converges. How do we move out and forward? Have we discovered a new path, or is it all an illusion?
In the creation of this piece, Vesterlund has utilized found sounds that surround us in everyday life. Suddenly, these sound waves become the scenery that most can recognize while simultaneously presenting a narrative. Of Ghosts and Memories is an exploration of the visitor and how their own perception of sound waves constructs an exhibition space.
Text by Linnea Wästfelt
Act one initiates our journey, presenting a contrast between soft and harsh tones; a dialogue is created that smoothly transitions into act two, where spatiality becomes more distinguished. In act three we encounter the conclusion of the narrative, where the relationship between space and story converges. How do we move out and forward? Have we discovered a new path, or is it all an illusion?
In the creation of this piece, Vesterlund has utilized found sounds that surround us in everyday life. Suddenly, these sound waves become the scenery that most can recognize while simultaneously presenting a narrative. Of Ghosts and Memories is an exploration of the visitor and how their own perception of sound waves constructs an exhibition space.
Text by Linnea Wästfelt
Collective listening session view, Hägerstensåsens Medborgarhus
Broadcasted between 17:30-18:00 Thursday 25th of April, 2024
Våg Brus
The radio wave moves through time and space without human recognition. The invisible waves exist everywhere, and we move through and with them all the time. Some suggest that soundwaves are constant and never stop existing once created. The radio wave is able to carry soundwaves from transmitter to receiver. In these exhibitions on frequency 88.9 FM, the radio wave creates our exhibition space.
Våg Brus presents an exhibition series broadcast from the local radio station transmitting from Hägerstensåsens medborgarhus. The broadcast houses the artworks, allowing the audience to explore them throughout the duration, when the transmission stops the exhibition closes. Thereafter, the artworks become a memory - never to be revisited in full again.
Våg Brus welcomes everyone, and the exhibition stretches all over Stockholm. Tune in from home, your car, the office, the kiosk, or join us for collective listening sessions at Hägerstensåsens medborgarhus this spring.
Broadcasted between 17:30-18:00 Thursday 25th of April, 2024
Våg Brus
The radio wave moves through time and space without human recognition. The invisible waves exist everywhere, and we move through and with them all the time. Some suggest that soundwaves are constant and never stop existing once created. The radio wave is able to carry soundwaves from transmitter to receiver. In these exhibitions on frequency 88.9 FM, the radio wave creates our exhibition space.
Våg Brus presents an exhibition series broadcast from the local radio station transmitting from Hägerstensåsens medborgarhus. The broadcast houses the artworks, allowing the audience to explore them throughout the duration, when the transmission stops the exhibition closes. Thereafter, the artworks become a memory - never to be revisited in full again.
Våg Brus welcomes everyone, and the exhibition stretches all over Stockholm. Tune in from home, your car, the office, the kiosk, or join us for collective listening sessions at Hägerstensåsens medborgarhus this spring.
The Listening Body was based on an inherent wonderment in me about the expression, "it's in the walls". Well... what is in the walls? Probably nothing more than layers of paint and brick, but I couldn't help but wonder. The expression so vividly describes a context and an immaterial state that cannot really be put into words, a kind of etched haunted atmosphere. For me, I understand the term as trying to inform me to be attentive, responsive and observant to bodily sensations that occur in relation to space. Slowly, curiosity began to anchor itself more and more in my consciousness and I felt a need to understand and articulate the perceived transformative phenomenon associated with expression. Why is it that some rooms resonate with and within us and others do not? Does it actually have to do with what is in the walls?
And so, after some time, my questions prompted me to start conducting site-specific acoustic measurements and an investigation of resonance frequencies at Konstakademien and Galleri Mejan for my thesis. Using a dynamic and a calibrated microphone, a sound card, a laptop and an active speaker, I studied the specific frequency responses of the rooms and composed two sound works that embodied the actual dimensions and inherent atmosphere of the architecture. My intention was to reflect the room back on itself, and welcome visitors to listen quietly to what is actually in the walls.
And so, after some time, my questions prompted me to start conducting site-specific acoustic measurements and an investigation of resonance frequencies at Konstakademien and Galleri Mejan for my thesis. Using a dynamic and a calibrated microphone, a sound card, a laptop and an active speaker, I studied the specific frequency responses of the rooms and composed two sound works that embodied the actual dimensions and inherent atmosphere of the architecture. My intention was to reflect the room back on itself, and welcome visitors to listen quietly to what is actually in the walls.
Installation view, Academy of Fine Arts
Six Channels
Playing time: 15 minutes, once an hour
Six Channels
Playing time: 15 minutes, once an hour
The Listening Body was based on an inherent wonderment in me about the expression, "it's in the walls". Well... what is in the walls? Probably nothing more than layers of paint and brick, but I couldn't help but wonder. The expression so vividly describes a context and an immaterial state that cannot really be put into words, a kind of etched haunted atmosphere. For me, I understand the term as trying to inform me to be attentive, responsive and observant to bodily sensations that occur in relation to space. Slowly, curiosity began to anchor itself more and more in my consciousness and I felt a need to understand and articulate the perceived transformative phenomenon associated with expression. Why is it that some rooms resonate with and within us and others do not? Does it actually have to do with what is in the walls?
And so, after some time, my questions prompted me to start conducting site-specific acoustic measurements and an investigation of resonance frequencies at Konstakademien and Galleri Mejan for my thesis. Using a dynamic and a calibrated microphone, a sound card, a laptop and an active speaker, I studied the specific frequency responses of the rooms and composed two sound works that embodied the actual dimensions and inherent atmosphere of the architecture. My intention was to reflect the room back on itself, and welcome visitors to listen quietly to what is actually in the walls.
And so, after some time, my questions prompted me to start conducting site-specific acoustic measurements and an investigation of resonance frequencies at Konstakademien and Galleri Mejan for my thesis. Using a dynamic and a calibrated microphone, a sound card, a laptop and an active speaker, I studied the specific frequency responses of the rooms and composed two sound works that embodied the actual dimensions and inherent atmosphere of the architecture. My intention was to reflect the room back on itself, and welcome visitors to listen quietly to what is actually in the walls.
Installation view, Gallery Mejan
Eight channels + Sub,
Prepared light input, ND filter
Playing time: 15 Minutes Loop
Eight channels + Sub,
Prepared light input, ND filter
Playing time: 15 Minutes Loop
The whirring sound hit me. A process of inner resonance was initiated. The ambience of the ventilation system awakened something in me, a recognition - an existence. I was unable to use linguistic terms to describe the phenomenon conveyed by the sound. Quietly I sat down, in silence, and observed. The winding sound put me in a state that I just felt I needed to frame. The sound touched me physically - almost a bit haunted. I attached a contact microphone to the damper, and then plugged it into my handheld recorder. After about fifteen minutes, the recording ended and we parted ways.
Soundpiece
2022
2022
