Conveyer – 9/2 at 7 pm

Conveyer is an performance spinning off from the project "Ljudingrepp i offentlig miljö". During the autumn 2007 a number of sound actions took place in public places of different functions, such as entrances, corridors and squares. The project is a study on how we move under the influence from sound. What happens when the sound environment is changed? Will our movement and behaviour change according to the sound? The studies has been made in the Elektrum building in Kista, outdoors in Kista and in Sätra centre.The installation and by passers where documented, but Rosén and Hellström also invited the choreographers Ingo Reulecke, Moa Hanssen and Maija Hirvanen as observers to study the swarm of people. Their studies form the foundation for the performance

A project by Ann Rosén, Sten-Olof Hellström, Ingo Reulecke, Moa Hansson, Maija Hirvanen.

The project is a collaboration between ADRA – art driven research association, Interactive Institute and Weld.

During the summer and autumn of 2007 Ann Rosén and Sten-Olof Hellström worked as artists-in-residence at the Interactive Institute. Together they carried out a number of “sound-inserts” with the help of a portable sound installation that they placed at different locations in Kista and Sätra. The idea was to study how the sound affected the environment and above all people passing by.

Ann Rosén and Sten-Olof Hellström have in several works explored what sound really is and how we perceive it. They are thereby working in an explicit tradition where the exploration is both a starting point and a method and sound is problematised as a physical as well as a perceptual phenomenon. In previous work they have among other things worked with silence by letting sounds negate each other, with building architectonic spaces only using sound and with different types of interaction between spectators and the sound installation.

In Conveyer there is an essential difference in how the meeting between people and sound takes place compared to the previous projects. Here Rosén and Hellström looked for places with masses of people passing on a daily basis where they exposed people for different types of sound. The situation therefore became very different from the gallery installations they otherwise work with where the audience is somewhat more informed and prepared. This does not by any means imply that they are only looking for authenticity or trying to create a clinical research situation. Rather it seems that the reactions of different people results in quick sketches of places that then are reworked and transformed into something probably still recognisable yet completely different.