PNEK has been a Summer Sessions partner for 5 years, supporting young artists to go abroad for a production residency at a host institute.
Summer Sessions 2017
“Soundtrack for Webcams” by Magnus Bugge
Soundtrack for Webcams (2017) is an audiovisual installation by artist-composer Magnus Bugge (NO) that pairs real-time generated soundtracks with open webcam streams.
At any given moment, thousands of webcams all over the world actively observe our world. Most of these cameras are always on, sometimes broadcasting uninterruptedly for years on end. They capture mundane objects and everyday life, such as traffic jams and office spaces, and broadcast them online in low resolutions, adding jitter, errors and glitches to these monotonous scenes. An aesthetic that we associate with the soulless machinery operating stationary in the background of our information society, and that has become as recognizable to us as the scenes they capture.
Soundtrack for Webcams, pairs these live scenes with an audio counterpart that is dynamically evolving, as soundtracks composed for a films or a video games do. To achieve this, the soundtrack is generated fully automatically on the basis of the editing pace and content of the live video streams. As in films and games, the soundtrack foregrounds our emotional attachment to the subject. Rather than useless machinery staring into nothingness, these cameras suddenly seem to capture something quite significant.
Summer Sessions 2016
“Undiscovered Territory” by Siri Borge
Undiscovered Territory has its starting point in a series of MRI-scans of the artist’s genital area. They are presented as 49 different slides, both from the front to the back, and from the top to the bottom. These images are laser printed on plexiglass, and presented both horizontal and vertical, according to what perspective they were captured.
The work makes reference to the lack of research on the female body in medical science. The answer as to why this lack of research exists is as simple as it is provoking: the lack of interest in female health issues, which leads to the lack of funding, which leads to the lack of research.
Summer Sessions 2015
“Untitled” by Benjamin Nelson
A sound installation/sculpture developed over a two month residency at V2_ Institute For The Unstable Media in Rotterdam as part of the Summer Sessions program in collaboration with PNEK.
The work uses a custom designed and built sculptural speaker system of 27 unique channels to create an environmental work. Each white cube is a cast plaster speaker playing a unique cycle of sounds. The continuously evolving composition is additionally shaped by the characteristics of the room (reflection, reverberation, ambient noise) as well as the listener’s position within the installation.
The work was exhibited in V2_’s exhibition as part of the Kunst In Het Witte De Withkwartier International Art Festival.
Summer Sessions 2014
“Reverie” by Niklas Adam
Quiet visual scenes, such as gardens and landscapes, as well as soothing sounds, such as rain or light crackles, can provoke a pleasant condition commonly referred to as ‘reverie’. The installation Reverie is an electronic sanctuary that aims to provoke this state of being lost in thought on the basis of a composition of 25 spinning glass fibre rods and 20 meters of air cushions brought to life by an electronic pulley system.
Summer Sessions 2013
“The Iron Ring” by Cecila Jonsson
Where ‘green mining’ aims for a more ecological approach to mining metals, The Iron Ring explores how contaminated mining grounds can benefit from the mining of metals for jewellery. In The Iron Ring scenario 24kg of iron-contaminated grass are removed from polluted mining grounds and transformed into a ring of 2g metallic iron.
Iron is considered very important to life in general and has a lower toxicity compared to other metals. Extensive and abandoned metal mines and other human activities have however led to an acceleration of metal release into the ecosystem and has reached toxic levels. So-called iron hyper-accumulating plants are tolerant to inorganic irons and are able to grow on polluted grounds. There they extract the metal to store it in extremely high concentrations inside their roots, stems and leaves. For cleaning of the polluted soil to take place, the process however relies on human interaction: harvesting. The plants’ biomass – in other words, their polluted biological material – needs to be removed from the ground before the plants wilt and the metal falls back to the ground. After the harvest new sprouts can grow and continue the clean-up.
The Iron Ring installation takes a visitor through the project’s trials and failures, a process conducted in close collaboration with gold- and blacksmiths, researchers, technicians and farmers that were acquainted along the way of the project. The installation consists of artefacts and video documentation that represent the seven steps that were required to create an iron ring from 24kg of grass harvested from the acidic river banks in an area where the landscape was severely transformed by iron ore mining. The resulting ring forms a proof of concept for the production of jewellery in a way from which mining grounds benefit rather than merely ‘suffer less’.