Counting, Memory and Interrogation
Counting, memory and interrogation appear as a single coherent process where the audience surrounds the arena and is surrounded by four video screens. In the arena meanings-supporting events are unfurling – they extends towards the open horizon: the private sphere (in Hellstenius), the Mongolian desert (in Frounberg) and the psychopathic space (in Krunglevicius). We reach out for an extended meaning in relation to the abstraction classical music often represents. The desire is that the idea relates to general human psychological conditions and other universal human issues. We will examine what it is doing, to impact the formation and experience for the audience.
The performance is part of Vinterlydfestivalen and appears as a presentation of parts of the work of Norwegian Academy of Music target area for research and development: musical creation and renewal. The projects presented are all parts of the main subject area; Interactions and new sound possibilities. Interactions are in this context interpreted as the relationship between the public and private, distraction and concentration (in Hellstenius), relationships between memory and myth (in Frounberg) and the boundary between expression of power and assault (in Krunglevicius).
The performance includes three works:
Henrik Hellstenius: Victoria Counting II
Victoria Johnson, electric violin
Edvins Østvik, sound design
Mattias Arvastsson, video
Jon TOMBRE, director
Ivar Frounberg: dal niente
Kari Anne Bjerkestrand, dance,
Ivar Frounberg, laptop
Kjell Tore Innervik, laptop
Alexander Refsum Jensenius, laptop
Kristian Nymoen, laptop
Ignas Krunglevicius: interrogation
Rolf Erik Nystrøm, saxophone
The performance is financed by pilot funds from the Norwegian Academy of music
(text by Frounberg, Hellstenius, Kruglevicius and Johnson)
