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Waiting for the Sun

En hel natt på Black Box teater / A night at Black Box teater

3. Nov 2017

Waiting for the Sun is an all-night experience, a durational event

that explores voices and sound landscapes, through a constellation of immersive and dreamlike works. The night is composed of shows, radio shows, sound installations, talks, readings and films.

While most of our season program is dedicated to the presentation of individual shows, we also wish to propose other formats, with different modes of agencies.  Through 12 hours, Waiting for the sun gathers artists working with various mediums in a common venue (Black Box teater as a whole), intended as a space for experiences, encounters, possible resonances and interferences.

Waiting for the Sun is an invitation to a moment
 and a space where time is suspended, where aesthetic experience and theoretical contents are combined, where we are available to what we hear, where the withdrawal of prominent images generate another sense of awareness and sensitivity.
It is an invitation to feel the time dissolving softly and to enter refracted landscapes. And maybe it will open up for specific states of attention and perception. And maybe it will allow specific rooms of imagination, for producing images, for being with oneself together with others.

Waiting for the Sun is a journey into the beauty of the unstable.

Marcos Lutyens (USA) and Raimundas Malašauskas (LT/BE): Hypnotic Show – The Chocolate Factory : 

Waiting for the Sun features: Harald Fetveit (NO), Raimundas Malašauskas (LT/BE) & Marcos Lutyens (USA), Charlotte Szász (DE), Klara Lewis (SE) and Nik Void (UK), Tormod Carlsen (NO), Pedro Gómez-Egaña (NO/DK), Marianne Skjeldal (NO), Mårten Spångberg (SE). Films by David Larcher (UK) & Michael Snow (CA).

Photo Hypnotic Show: Jens Ulrich Koch. Photo Sonic Dances: David Relan.
Thanks to Greg Pope for the film program, to Mårten Spångberg, Harald Fetveit and Tormod Carlsen for contributions to the program and inputs. And big thanks to them all for the inspiring conversations.

Time schedule Waiting for the sun
3rd November 2017 / 7pm – 7 am

The timetables are given as an indication and may be subject to changes. You may come and go as you wish during the night.

Store Scene
Harald Fetveit (NO)
Lab for physical music – Resonance chamber
3 sessions of 15 min. You can stay as long as you want.

Raimundas Malašauskas (LT/BE) and Marcos Lutyens (USA):
Hypnotic Show-The Chocolate Factory

Charlotte Szasz (DE): Philosophy and the sun

23h15-1h / 5h-7h
Tormod Carlsen (NO): My Inner Landscapes

Mårten Spångberg (SE/BE): Cadfael and Francis

Lille Scene
21h15 / 23h30 / 1h30 / 3h30
Marianne Skjeldal (NO): Sonic Dances
4 sessions (1 hour approx.). Limited capacity. Please sign up at the ticket desk.

21h15 / 23h30 / 1h30
Pedro Gómez-Egaña (CO/NO): Séance of Canis
3 sessions (25 min approx.). Limited capacity. Please sign up at the ticket desk.

Klara Lewis (SE) & Nik Void (UK): Live Performance

David Larcher (UK): Mare´s tail (film)

Michael Snow (CA): La Région Centrale (film)

Lab for physical music immerses the listening body in a dynamic, sonic and spatial experience, offering the possibility of a live, instant, personal composition just by moving around in the space. Indeed, in this setting, all sounds occur locally. Depending on one’s position in the space, the experience can range from extreme amplification to near silence. Each listening experience will be different, even though the sound emitted by the speakers consists only of four, static sine waves.

Lab for physical music plays with the resonances that occur when the sound produced has a wavelength that matches the height, width, depth and volume of a space. It’s much like what happens inside a wind instrument, but since the room is so much larger it resonates at much lower frequencies. If more than one frequency is agitated, interference will occur in different places. This phenomenon is heard as a variety of rhythmical patterns one can enter and exit, turning the space into a playground for physical sound.

Harald Fetveit has studied at the art academies in Bergen, Trondheim, Vienna and Oslo and worked with dance and performance. He plays noise music and has toured in Europe, Japan, South Korea and Russia. In order to make a scene for special music in Oslo he established the concert series Dans for voksne in 2003, which is still running after more than 300 events. Through DFV he has also organized workshops and special projects like temporary sound laboratories for deaf people. Some of his work revolves naturally around making experiences from different fields of art function together.

He has collaborated with a.o. Mattin, Lucio  Capece, Anla Courtis, Taku Unami, Hankil Ryu, Hong Chulki, Alexei Borisov, Lene Grenager, John Hegre, Agnes Hvizdalek and Baktruppen.

Since 2008, Raimundas Malašauskas and Marcos Lutyens have orchestrated a series of hypnosis-based art projects, which happened across several countries in visual arts venues.
The Hypnotic Show is an experiment that takes place in the mind, both individual and collective. Exploring hypnotism as a medium and investigating into consciousness, the Hypnotic Show activates modes of awareness and peculiar ways of sensing, of being, of perceiving.
Now manifested at Black Box teater, located in a former chocolate factory, this site-specific work will convey notion of space and image, through alternative narrative.

The Hypnotic Show is a sensitive experience that offers,  for a moment, the possibility of surrender.

This talk examines the relation between the sun and philosophers, between the sun and philosophy. Commonly philosophy is a discipline using the calmness of the night to think. The resting of the world seems an ideal time for contemplation. But not so for all philosophers, of whom many enjoyed sun bathing and preferred the activities in plain daylight. While ‚light’ is of course associated with insight and has always been the big admiration of all philosophy, also the knowledge of the sun has shifted the big paradigms within the history of philosophy. And  through this history of knowledge, we want to explore the sun as an anthropological orientation point from Plato to Alexander von Humboldt, from Nietzsche to Maurice Blanchot. With this, we want to raise the question of ultimate alterity and the horizon as an illusion in order to explore the existential value of instability.

Charlotte Szász (b. 1991) holds a MA from Freie Universität Berlin with a specialization in theoretical philosophy and metaphysics. Her MA thesis, supervised by Prof. Dr. Frank Ruda, was called »To live according to the possibilities of this world: Quentin Meillassoux’ immanent Eschatology« and critically engaged with the theological models in Quentin Meillassoux work. Beside authoring divers press- and catalogue texts as a freelancing writer, she continues the theme of her MA thesis in a freshly started dissertation project to explore the traces of theological model of end times, known as ‚eschatology‘, in philosophy following German Idealism. Based in Berlin, after having studied there and at the Sorbonne Paris 4, she also organizes a salon for feminist philosophy.

Sonic Dances stages a proposal for an intimate shared situation for listening and the emergence of possible worlds. It creates a space where other forms of dancing together can occur, a space for touch without touching, dance without dancing, while insisting on the possibility of an intimate, poetic encounter between bodies.
By exploring the mobility of voice, sound and verbal language, Sonic Dances seeks ways of activating bodies’ own senses, their own choreographic, kinaesthetic and empathetic potential. Encouraging bodies to listen and respond to what is present. Asking how we can be close to each other, Sonic Dances opens a space where this can be negotiated through the dance of sounds and words.

Marianne Skjeldal holds an MFA from DOCH/ Stockholm University of the Arts, with specialisation in Choreography and Performance and a two year degree from School of New Dance, now Høyskolen for Dansekunst – Through various formats, Marianne is producing her own work at the intersection of choreography and performance, examining different forms of presence, listening and ways of being intimate, as well as methods for transformation and possible transcendence. She is also part of various collaborative work as a dancer, choreographer, performer, mentor and curator. Her works, combining movement with text and voice, are most often linked to a specific site, to space, objects and materials, and the relational approach to the audience is always addressed. She has presented work in Scandinavia, Finland, Germany, France, Spain, Belgium, Holland, Italy, Greece, Hungary, Croatia, Serbia, Russia, the United States, Chile, Brazil and Ethiopia. In 2011 she was awarded Norwegian Government Grant for Artists.

Visitors are asked to sign up for participation in small groups.

A group of people gathers in the basement of a building in the center of the city. They are confused, and lost. Something is happening outside and they are taking refuge inside this building, but they don’t really know what led them there and why. One of the people in the group is a medium, and he uses his skill in order to invoke a spirit and hopefully shed some light on the situation.

Séance of Canis draws on the relationships between spiritism and the rise of new technologies for telecommunications in the late 1800s and explores what these relationships could look like today.

Pedro Gómez-Egaña was born in Colombia, and now lives and works in Bergen and Copenhagen. He studied music composition, performance, and visual arts at Goldsmiths College and Bergen National Academy of Arts, where he completed his doctoral project in the Norwegian Research Fellowship Programme. Gómez-Egaña’s practice expands across performance, sculpture, video, installation, text, and sound works. Central to his artistic approach is the performative aspect of sculpture, which he presents as dynamic, animated objects or as theatrical environments.  Gómez-Egaña’s works have been presented at the Istanbul Biennial, Contour Biennial, Kochi-Muziris Biennale, Performa 13, Museo de Arte Moderno de Medellin, Kunsthall Mulhouse, Brussels Biennial, CCMOCA Buenos Aires, Mana Contemporary, Marrakech Biennial, and Colomboscope Biennial, with recent solo shows at Entrée Bergen, Casas Riegner Bogotá, and Hordaland Art Centre.

 A live performance by two of the most exciting electronic artists changing the face of electronic music today: London-based sound sculptress Nik Void and experimental Swedish composer, Klara Lewis. As a duo, they create a vibrant mixture of art and sound, incorporating experimentation, field recordings, electronics and an eclectic mix of influences. Their live performance is spontaneous, improvisational, profound and vibrating.

Nik Void is an experimental electronic artist and producer from London,  best known as one half of the London based band Factory Floor and one third of Carter Tutti Void.  The improvisational nature of both groups give Void the perfect platform to practise her challenging approach, delivering transformative interpretations of her studio recordings. Her execution of sound be it with guitar, voice or modular synthesis united with her demystification approach unleash a pragmatic imbalance allowing the creation of space for ‘mistakes’ paired with aleatoric composition. As a result she blurs the lines of techno, ambient, avant garde and noise into a new form. She is currently focusing more on solo projects, particularly within an arts context, having developed projects for ICA, Art Basel, Barbican, and Tate Modern.

Klara Lewis is a critically acclaimed sound sculptress and has for the past three years been presenting her audio-visual show in clubs and art galleries around the world. Lewis builds her work from heavily manipulated samples and field recordings creating a unique combination of the organic and digital. With her signature sound-recycling technique Lewis collects material from our world and creates something entirely new. After two well-received solo albums (Editions Mego) and one EP (Peder Mannerfelt Produktion) Lewis is now working on a number of collaborations with such artists as Simon Fisher Turner, Rainier Lericolais, Robert Lippok (raster-noton artist & To Rococo Rot member) and Nik Void (Factory Floor & Carter Tutti Void). Lewis has also created a commissioned sound installation for Uppsala Art Museums permanent collection and remixed singles by Factory Floor and Carmen Villain.

Looking into a void. The black empty stage. The audience listens to a live broadcast transmitted to them on FM radios from an unknown place. In the broadcast, the radio host tries to tell his life story by describing different landscapes he remembers. It is an invitation to imagine a life and an investigation in to subjective storytelling from a horizontal perspective.

Seeing everything as landscape has been Carlsen’s longstanding fascination. He has sought out places and contexts marked by paradox ever since he moved to Russia to train as a circus artist after completing his upper secondary education. As of January 2017 Tormod Carlsen is an associated artist at Black Box teater for a period of two years.

A young American woman reading an introduction to modern art. A girl with a nose too prominent for her voice. A darkness that isn’t what it appears to be. Seductive and black, impossible to neglect because it is recognizable. A French novelist using short staccato sentences. The darkness that sweeps in, that drops on us like a grey blanket, like the front desk of a middle-sized office building. Prominent darkness rises, a darkness’ darkness drained also of the traces of something. Night is the double circle devouring itself as its bodies turns into erogenous landscapes, everything is equal and now.

Nothing is on show here, but out of nothing emerges a liquid darkness that floods our minds. A voice comes back and turns around like Robert Pattinson.

Cadfael and Francis is a cinematic whispering, a drama of reflections that walks again, a voice accompanied or an accompaniment resonating of a voice.

Mårten Spångberg is a choreographer living and working in Stockholm and Brussels. His interests concern dance as an expanded field, something he has approached through experimental practices and creative processes in a multiplicity of formats and expressions. Recent large-scale works include Natten and La Substance, but in English, both of which have been shown at Black Box teater and have toured internationally to rave reviews. As of January 2017 Mårten Spångberg is an associated artist at Black Box teater for a period of two years.

Larcher once described the film as, “a photographer’s home movie put through a washing machine,” It is a man’s life transposed into a visual realm, a realm of spirits and demons, which unravel as mystical totalities until reality fragments. It is an epic 150-minute journey into the iconoclast’s mind, where connections between images defy logic but construct a language of their own. This is Larcher’s attempt at re-presenting a cacophony of imagery and sounds into some sort of coherence; narrative is the least of the director’s interests.

Part-travelogue and part-experiment, Larcher and his family went on the road across continents for years, processing the reels as they went along in the back of their van. We are invited to join his playful experiments with the nature of film as a medium, a chemical concoction that occasionally offers glimpses of truth.

David Larcher was born in 1942; a war baby, as he describes himself. He studied anthropology and paleontology before turning to an artistic training at the Royal College of Art. He was a photographer from the mid-sixties and made his first film in 1969. From 1996 until recently he was a professor of Video Art/Electronic Media at the Academy of Media Arts in Cologne, Germany

Larcher as a person is almost as mythical as his films. When I first met him at The London Film Makers Co-op in the early 90s; he was a wild, deeply intelligent, drunkenly obnoxious, hippy dandy who you knew had had a swinging sixties, LSD soaked past that had never really ended. He is the kind of legendary figure who turns up at the last minute having driven for 10 hours straight demanding to party….

(Text by Greg Pope who selected the film)

About Greg Pope (UK/NO)

After dabbling in punk rock bands and absurdist performance, Greg Pope founded film collective ‘Situation Cinema’ (Brighton 1986) and ‘Loophole Cinema’ (London, 1989). Working collaboratively and individually, Pope has made video installations, live art and single screen film works since 1996. These works include live cinema performance pieces as well as 35mm film productions and slide projection performances.

Pope has been programming the monthly film series “The Dream That Kicks” at Oslo Cinematek since 2010 and is currently working on a programme called “Objects To Be Destroyed” for the Tromsø International Film Festival in January 2018.

Pope has performed and been screened at numerous festivals and events in Europe, North and South America and Australia.

Michael Snow (CA): La Région Centrale (1971)

“From the perspective of a mountaintop, this cinematic landscape features vast prospects and a rocky terrain recorded by a camera rigged for movement in any and all directions, including turning, rolling, and spinning—a landscape that defies gravity. To achieve this effect in the wilderness, Snow conceived of a remote-controlled camera-activating machine.
La Région Centrale transports its audience to a rugged Canadian landscape that is discovered at noon and then explored in seventeen episodes of dizzying motion as the machine’s shadow lengthens, night falls, and light returns. The soundtrack, composed by Snow for a quasi-synthesizer, refers to the sine waves and electronic pulses that had set the camera in motion and heightens the sensation of being under the power of an all-seeing machine. The experience is vertiginous, hallucinatory, and defining of the technological sublime.” Martha Langford
To end with a quote from the filmmaker: “I decided to extend the machine aspect of film so that there might be a more objective feeling, you wouldn’t be thinking of someone’s expressive handling of the thing, but perhaps how and why the whole thing got set in motion. (…) You are here, the film is there, it is neither fascism nor entertainment.”

Michael Snow is a pioneer of conceptualist and multimedia practice in Canada and around the world. Snow was born in Toronto and studied at the Ontario College of Art. After his first exhibitions in the late 1950s, Snow experimented with a variety of media, breaking new ground in many. As a filmmaker, Snow is widely acclaimed: two films in particular, 1967’s Wavelength and 1971’s La Région Centrale, are important avant-garde-cinema works. Through the 1960s, mostly while living in New York, Snow also produced his famous Walking Woman series, a succession of paintings, sculptures and photographs exploring and reconsidering the treatment of the figure in art, all using the same cartoonish silhouette of a woman. (One Walking Woman sculpture was featured at Expo 67.) Since his return to Canada in the 1970s, Snow has engaged with various forms in an exploration of perception, representation, language and sound.