- 13/11 2005
Konstakademien / The Royal Academy of Fine Arts. Stockholm
texts about the exhibition and the work of Ann Rosén
(eng pdf 3MB)
om och kring utställningen och Ann Roséns konstnärskap
schhh… a meeting point and a platform for collaboration where
artists, musicians, composers, dancers, researchers, psychologists, architects
and others meet the visitors
schhh.... produced by Ann Rosén in collaboration with Fylkingen,
Driven Research Association, Sveriges
Allmänna Konstförening and the participants
(sound installation) 2005
TYSTNADER / SPATIAL SILENCES 2005
surround systems with DEPUTY SILENCES and sketches for new Walk in
Schhh… is intriguing. What could it and the pieces it organises
be about? Installations based around nothing at all. Silence. What will
happen if I put a bucket on my head? If I move around, am I rewarded by
noise? By silence? By frustration? What is there here in this… is
it a pillow? In their modesty, all of Schhh…’s pieces are
intriguing and incite exploration. Nine buckets, nine different shoulder-borne
soundworlds to listen to, compare, discuss. Observing others. What are
they doing? What are they making of it all? What, if anything, do they
hear? How can I describe or explain my perception to others? What am I
revealing to others without even trying? Schhh… exists in this mixture
of intrigue, exploration and sociality.
Multivalence and Openness
A space filled with a low drone and a scaffolded construction of suspended
loudspeakers. You can move around outside the construction and hear how
the drone varies with your walking or with a turn of the head. But within
the construction a tiny epiphany may be found: an unexpectedly silent
shape. You didn’t get it? A small notice may catch your eye as you
leave the room and bring you back in or the child with you may point the
anomaly out. Schhh… is multivalent, different characters are accessible,
different perceptions possible, different appreciations. But there is
no secrecy in all this, nothing hidden, no mumbo jumbo. You hear what
you hear, you see what you see. Artists and scientists talk openly and
accessibly. Schhh… is what it is.
Musician and researcher
it was really great to be invited to participate as a performer in Schhh...
and also thanks for inviting me to write the essay for the programme/catalogue.
it is a very long time since i was part of such an ambitious and imaginative
project - as i think i said during the discussions during one of the seminars
i joined in with, the SCHHH... project/exhibition/whatever you wnat to
call it set a fantastic example of what research in the creative arts
should be about, and made such a rich, complex and intelligent interdisciplinary
experience. for me, it allowed me to attempt things i would otherwise
not have done (the solo vioin improvisation in the silent sound space
room, for example), and also provided a stimulating and inspiring context
into which i was able to bring my postgraduate students...who are still
buzzing and talking about the trip to stockholm to participate in SCHHH...
i think that the way that performance, thinking, seminar discussion and
sound works were brought together was really well done, it really was
genuinely an interdisciplinary event. also, the way that events added
to one another, building up a huge mosaic of ideas and sounds and experiences
worked well. it was additionally really strong and brave of you to trust
your instincts, and really let the process take over.
all in all, this was such an inspiring and enjoyable experience for me
and the newcastle postgraduate students.
see you soon, hopefully.
all the best for now,
renodlad, och man skulle kunna säga sparsmakad, utställning
med högtalare, som i ett rum spelar basfrekvenser och i ett rum brus,
ger min hjärna en stunds eftertanke och t.o.m. vila från jäkt
och stress. Kanske för att intrycken är så minimalistiska
och rent fysiska via örat utan att propsa på överdriven
uppmärksamhet. Ett fint bidrag till ljudkonstens yttersta uttrycksmöjligheter.
Det var en fascinerande upplevelse. Min ambition var att
bjuda in folk
till att fundera själva på ett lekfullt sätt, utan att
alltför tillrättalagt material. Det var ett vågspel, och
i ett annat
sammanhang hade det kunnat bli en skräckupplevelse för mig som
'föreläsare'. Men inom ramen för 'Schhh...' fungerade det
Jag är fullt på det klara med att den försiktigt nyfikna,
atmosfär som rådde bland deltagarna i min programpunkt är
en del av den
konst som Ann Rosén frambringat.
Här kommer några synpunkter på utställningen och
I.Utställningen var generös och synnerligen välbehövlig
för Konstakademien. Den passade fantastiskt bra för lokalerna.
Vi upplever den inte som svår utan tvärtom ”folklig”
med verk som bjöd in betraktaren istället för att utestänga.
II.Programverksamheten var otroligt ambitiös i positiv mening.
III. Vi är nöjda med vårt deltagagande och den exponering
som vi fick i utställningen. Tyvärr kom inte de personer som
vi hade bjudit in till vår lunchpresentation men de kunde varken
vi eller du påverka.
IV. Santessons och Thunbergers presentation var intressant men de
hade oerhört svårt att övervinna lokalens akustik.
Carina Törnblom + Jannike Brantås
i'm happy that the exhibition finally worked out so well.
i enjoyed participating in your work a lot.
to get in touch with audience members by staying in the space was great.
to feel their non verbal responses and behaviours.
also the openess to offer so many people the space for their own ideas
and art work is a great gift what i didn't get so far.
this possibility impressed and inspired me at the same time.
my own exploration and work in the space felt very much rich and nouriched
from what you created.
so i felt very much inspired to behave to your ideas interms of the installations.
it was very much easy for me to relate without be simple minded or silly.
but in a strange and great way it opened up very easy possibilities to
i told you already that i would have enjoyed to do something for every
of the 3 spaces and also to explore more of my ideas.
i 'm looking forward to be able to do something like that in the near
thank you and all the best
is not easy to describe Ann Roséns exhibition schhh… at Konstakademien
2005. The exhibition worked, during some intense weeks, as a platform
for meetings between artists, musicians, psychologists, architects, dancers,
scientists, and composers. Since most of these meetings manifested themselves
in public performances, seminars etc. visitors could also take part in
these meetings. The exhibition consisted partly of Ann Roséns sound
installations, which finally received the space they need and deserve.
The keyword for Ann Roséns work ought to be meetings.
The pieces shown at the exhibition focused on the meetings between sound
and silence and between sound and the audience. The audience could easily
interact with the art, in the walk in composition Schhh... the visitor’s
mere presence in the room affected movement preceptors who in turn controlled
the movements of the sound. When movement is detected near the preceptors,
the room becomes silent. This meant that a constant movement was created,
either through the movement of the sound or through the movement of the
audience. In a similar way the audience was able to interact with Spatial
Silences by moving around in the installation in search for the silent
zones that move around in the space. By interacting with the art and be
able to affect it, the experience of the art becomes even stronger.
Another part of the exhibition was the mini surround systems with deputy
silences, aka the buckets. The visitor was offered an opportunity to enter
a mini-world, simply by slipping on the bucket over one’s head.
Inside the bucket you would find yourself in a sometimes enchanted and
sometimes chaotic world, far away from what’s going on outside the
Apart from Ann Roséns sound art the exhibition also consisted of
Plats schhh... that featured a programme of daily events always starting
at 12.30 with Ann’s sound piece 5'15''. The broad programme covered
many parts of the contemporary, experimental art- and music-scene. Several
of the acts focused on dialogues and meetings between the artists, the
exhibition and the audience for example the Newcastle-based musician and
scientist Bennett Hogg, played violin in dialogue with Spatial Silence.
The computer-generated sounds of Spatial Silences formed an opposite element
to the organic sounds of Hogg’s violin. Hogg describes himself as
a violin player who is a punkrock artist, which in a strange way makes
sense when one experiences his emotional, violent and virtuosic outbursts
in his performances.
Another act was Zapruda Trio who presented a seductive and wilful music,
by misusing electric circuits, computers, instrument and toys. The trio
became one instrument, regulating the sounds between them.
The Berlin-based choreographer and dancer Ingo Reulecke performed two
acts at Plats schhh… In the first performance, Intro, he worked
in dialogue with the exhibition by exploring the space of Spatial Silences
by using his own body’s movements. With a total body-control he
became a part of the room and also a part of the silence. The second performance
was made with the Instant group, five dancers making minimalistic movements
in dialogue with the exhibition as well as the audience.
Singer and performance artist Anne Pajunen invited the visitors to play
a game. Toss the dice and see what happens! Pajunen used a confusiongenerator
to rearrange the room and its existing and non-existing sounds. The visitor
became part of the game determining its nature. During the performances
Anne manipulated her own voice to the extent that one often wondered who’s
voice was coming from here throat
The musician as well as one the participants in the Instant Group, Lise-Lotte
Norelius, involved the audience in her Beep Show, where she created a
new personal piece for each person who took part in her show.
Mini-concerts (one piece per concert) with Electro Acoustic Music was
another ingredient in Plats Schh. For instance Rolf Enström’s
Tjidjag, Tjidjagaisse 21', a piece based on the voice of a Laplandish
shaman setting a special, emotional and hypnotic touch to the whole work
and by the adding of troll-drum the emotional touch became even more obvious.
Åke Parmerud’s, La Vie Meqanique 11', is based on different
mechanical sounds turned in to music. Repeated sounds contributes to a
rhytmic, danceable sound-piece. Jenny Sunesson is sampling speeches by
politicians Kristina Axén Ohlin and Annika Billström in Död
Stad Vit Stad 22' and makes a critical comment on the current housing-policy
Plats schhh... created a vivid, experimental environment where the participants
contributed with expert knowledge from their specific fields. In seminars,
workshops, presentations and lectures the participants broadened their
way of thinking as well as coming up with new ideas for future co-operations.
Intern at Fylkingen
Ann Rosén 2005