PERFORMANCE DAY IN BERLIN IS
OCTOBER 31. 2002 AT 9 PM
The Matti Kallioinen concert is sponsored by
Abnormal Audio was founded by artists Jakob Senneby and Allen Grubesic. The two had worked together previously in Sssystème and decided to initiate abnormalaudio as a platform for promoting and releasing sound projects by performance and new media visual artists.
The first release
Enter the bizarre fantasy world of Matti Kallioinen, as the music takes you to nowhere land where you can taste the brews of the smurfs and gobblins. Matti Kallioinen's playful tunes will enchant you as they play through the journey to the planet of "concentrated lemonade"...
The second release
Tobias Bernstrup, October 2002
The maxi single vinyl is sold at Sparwasser HQ for 9 EUR
Interview between Matti Kallioinen and Peter Cornell that is made exclusively for the record release on Abnormal Audio.
Peter Cornell is an art critic and professor of art theory at the Royal College of Art in Stockholm.
Stockholm, September 2002
Peter Cornell: All your works
have a magical immediacy, are impossible tostay out of. Often
you inhabit them yourself. In Gnome House soup was being made,
you were boiling broth from what was left after the gallery had
been cleaned. People gathered round the stewing pot, looked at
the slides projected on the walls (a crumb of dough in each glass
frame) or could play a game in the inmost room if you guessed
which of raisins spread out on the floor was correct, you could
eat it. In your This is Where Junior Lives we suddenly found ourselves
in the room of an 11-year-old; and your happy face stuck up from
a little white podium on the floor like a living sculpture. There
were Pampers diapers on the walls, a cute picture of a cat, a
container of raspberry squash in the corner for visitors and a
little dog on the floor. I remember my reaction of exhiliration
and suppressed, scarcely perceptible fear: you displayed yourself
like a freak with no body and no protection.
Matti Kallioinen: The positive
thing about relational art was that (at its best) it came gushing
out straight into the face of the often amazed spectator, instead
of turning inwards. However, the movement soon became a prototype
for the production of art in the 90s and gave rise to a cascade
of boring quasi-democratic works. The spectator was expected to
"participate by writing something on a Post-It or draw something
on a whiteboard. The artist never had to take the risk of being
disturbing and moreover it was/is easy to get funding when you
pretend to be a democrat. But a democracy in which you never express
your own opinion and always bounce questions on to someone else
is, after all, totally sick. What I missed a lot more in art was
people who expressed their visions in a way that made them real,
tangible, or even importunate for the world around them.
PC: Junior is there some kind of strategy in the childishness? Your works often contain references to children, in the materials, the play situations, caves and shadowplay and a Grimms, Fairy Tale feeling of something both wonderful and frightening. This is true for instance of the works where you use food and drink and body fluids in a kind of experiment that involves both slapstick and compulsion.
MK: Art for me is playing. I
would rather play when producing art than make "real art,
whatever that might be. The idea that playing is childish or cute
is not true. Playing is about locating power, defining limits,
determining what it is possible to say, do or think. Slapstick
and compulsion, isn,t that what the body is best at?
PC: And you call your CD "Juice Concentrate a title that indicates the link between your artistic use of sound and image. Can you tell us a bit more about the ideas behind your music and where it originates?
MK: There are no strict boundaries
between my art and my music. I see the music as a kind of abstract
puppet show with different characters acting short scenes, very
visually in other words. And I want listeners to experience the
music that surrounds them in space as fantastic scenography.
PC: As far as I can see music has always been close to you ever since you played the violin while you were growing up in Sundsvall in the north of Sweden. You produce your CD,s by using totally different sounds and quite a different technology. But despite the sophisticated electronics, you allow your music to be have the kind of electronic sound that I associate with the home electronics of the 70s and 80s. How do you set about it?
MK: I use software that lets
you assemble your own instruments using small components that
either generate or modify the signals. It a kind of Lego for sounds,
very like the way in which the modular synths of the 60s worked.
Electronic recordings from those days (Perrey-Kingsley, Bruce
Haack, Dave Vorhaus, Joe Meek for instance) are full of inventiveness,
humour and playfulness, and this has inspired my sound. Sampling,
which came in the 80s, is really the only new thing that has happened
with sound since then. Otherwise the evolution of the synth has
focused on the more limited instruments, because they were easier
to use and to sell.
Concert with Matti Kallioinen at Sparwasser HQ's Z-bar on October 31. 2002
Emmon mixes the cool sounds of 80´s electro, disco and pop with touches of video game sounds. Behind the name stands Emma Nylén, a student at Konstfack, the art school of Stockholm. It was also here the story of Emmon began. Emma was working on sound installations and wanted to find out how different kinds of sounds affects the body physically, for instance how infrasound makes you nauseous. On the opposite, the dance friendly and often quite cheerful music of Emmon represents the positive part of the experiment. One of the first songs written was Monodome featured on the debut demo Hemmon. Emmon began performing live accompanied by flashy video projections made by Måns Nyman. Jenny Mörtsell and Martin Bergström who are responsible for graphic designs and clothes respectively are also part of the Emmon crew. At the moment, Emmon is working on her debut album Discoperkele set out for release on the Swedish label AbNormalAudio some time during next year.
EMMON in concert at Sparwasser HQ on October 31. 2002