hgká

2012-01-05T15:41:00.026+02:00

Hallveig Agustsdottir
web portfolio

2012

· January 20th to March 10th
UNIEKSTE COLLECTIE PLATENHOES-ONTWERPEN IN BELGIUM,
group exhibition, Pianofabriek, Brussels, BE

· March 11th till the 25th
SOUNDs - exhibition in Arts & Books Gallery Draulans, Westerlo, BE

· March 24th to April 21st
group exhibition, WELTECHO gallery, Chemnitz, DE

· March 30th to April 21st
OBJETs SONOREs - solo at b-gallery, Brussels, BE
vernissage/opening 29th March !

· April 22nd to Mei 27th
FOLLOW THE LINE - solo at the Secret Kitchen, Temse, BE

...more info will be posted soon.

31 (sound) studies on paper / nr 2, 14 & 10

links

2012-01-05T15:37:00.005+02:00

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MARIEKE BERENDSEN
PAUL CRAENEN
FREDERIK CROENE
STEFAN PRINS
SIGRID TANGHE
HILDE VAN CANNEYT

CROXHAPOX
iMAL
LOGOS Foundation
F. MASEREEL Graphic Centre
MATRIX
PIANOFABRIEK
Q-02 werkplaats

collection of found-sound(s)

2011-08-14T22:36:00.083+03:00

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just click on the images to enlarge them...

‘to listen‘
I listen to (everything) I do; the sound(s) of my everyday life, my surroundings, my activities as an artist, my drawing materials, the pencils, the brushes, the charcoal, the paper, etc. etc. etc. …

about the ‘collection of found-sound(s)‘
An ‘imaginary’ soundscape where the objects ( could / should ) provoke sound-memories in the viewer; and so each and every time someone looks at the work it will ‘sound’ different.

categorizing sound:
- under construction ...

2011-08-14T22:36:00.082+03:00

Hallveig Agustsdottir
web portfolio

TEKENKUNST
vernissage friday 25/11 at 20h30 together with the event DRAWING FOR LIFE

group exhibition 26/11 - 22/12 2011
@
CC ZWANEBERG / Heist-Op-Den-Berg

exhibition 20/10 - 27/11 2011
BLEEKHOFSTRAAT 44 / 2140 Antwerpen

FRANCIS DENYS / HALLVEIG AGUSTSDOTTIR / REMCO ROES
curated by EVA STEYNEN

VERNISSAGE 20/10 at 18h

FINISSAGE 27/10 at 17h
with a book presentation
&
performance by Hallveig Agustsdottir and a sound intervention by YANNICK FRANCK

exhibition 2nd - 25th september

HALLVEIG AGUSTSDOTTIR / STIJN COLE / DIRK ELST /
WOUTER FEYAERTS / KELLY SCHACHT / VADIM VOSTERS
in
NICC / Tulpstraat 79 - 2060 Antwerpen

31 (sound) studies on paper / nr 21, 27 & 31

crox 352 / sound events
@ croxhapox

'improvisation on a drawing' performed by violinist Marieke Berendsen

'pianosketches' performed by Hallveig Agustsdottir

* to see photos & video recordings from both sound events click HERE

29th january OPENING 18h00
crox 352 / Hallveig Agustsdottir

in
croxhapox
Lucas Munichstraat 76/82, 9000 Gent

30th January - 27th February 2011
open thursdays to sundays from 14h00 to 18h00

interview met Hallveig Agustsdottir

by Hilde Van Canneyt

[ click on title to read full interview ]

HvC: And the result of your sound drawings; what matters more, the performance itself or the image(s) created during the performance, are you looking for a final result at the end, a completed image?
HA: The performance, the process, the moment is most important to me. I am acutally focusing more on the sounds; listening and interacting with the musicians with my sounds rather than thinking about how to make a 'specific' drawing - in that way it relates in some way to the surrealists way of automatic writings and drawings. I have no idea what the final image will be - I don't force the visual image in one direction or another, and all is open to exploration.

new works, see more in (sound)drawings

31 (sound) studies on paper / nr 2, 14 & 10

2011-03-15T12:22:00.089+02:00

HAL / Hallveig Agustsdottir
web portfolio

20/10 - 20/11 2011

upcoming exhibition curated by Eva Steynen in FACTOR 44
with artists Remco Roes / Francis Denys / Hallveig Agustsdottir

Bleekhofstraat 44 - 2140 Antwerpen / more info coming soon...

opening 03/09 2011

DE LADING / group exhibition

*from the collection of found-sound(s) by Hallveig Agustsdottir

with JOHAN GELPER - WOUTER DE CORTE - MEGGY RUSTAMOVA - OSHIN ALBRECHT
NICOLINE VAN STAPELE - ELENI PASCHALIDIS - HANNELORE VAN DIJCK
LORE RABAUT & FRANK DEPOORTER - ERIN HELSEN - ARNAUD COOLSAET
HALLVEIG AGUSTSDOTTIR - BERT DE GEYTER - SARA BOMANS - MELISSA MABESOONE
ROELAND HUYS - JAN DEKEYSER - KATO SIX - THANH LONG LAM
WOUTER COX & XAVIER CATRY - NIELS KETELERS - TESSA GROENEWOUD
BAS KETELAARS - KEN DE VYLDER - SOFIE VRANCKEN - SIMON VAN PARYS - ELKE GORDTS
KRISTOF VAN HEESCHVELDE - BART DHALUIN - MICHIEL BOLLIOU & LAURENCE VERDRUYE
REMCO ROES - WIM DE WAEGENEER

SCHOOLSTRAAT 29 - 9230 WETTEREN
exhibition standing from 03/09 - 30/10 2011
open saturdays & sundays from 14h - 18h

* in-situ installation

openLAB + exhibition on 16 & 17/4
PROJECTION ON FORMS & SPACES @ iMAL
centre for digital cultures and technology

residency 27/3 - 8/4 in Q-02 werkplaats
Koolmijnenkaai 30-34, 1080 Brussel

+ post-residency performance 8/4 @ 20h30
together with pianist Frederik Croene

31 (sound) studies on paper / nr 21, 27 & 31

RESONATE / postgraduate composers concert
9th march @ 13h10
ARTAUD performance centre - Brunel University School of Arts, West-London UK

works by Simon Katan / Yuko Ohara / Andrew Hall /

Amir Mahyar Tafreshipour / Hallveig Agustsdottir

crox 352 / sound events
@ croxhapox

'improvisation on a drawing' performed by violinist Marieke Berendsen

'pianosketches' performed by Hallveig Agustsdottir

* to see photos & video recordings from both sound events click HERE

29th january OPENING 18h00
crox 352 / Hallveig Agustsdottir

in
croxhapox
Lucas Munichstraat 76/82, 9000 Gent

30th January - 27th February 2011
open thursdays to sundays from 14h00 to 18h00

20th November - 5th December 2010

the group exhibition PRIJS VAN ASSE

selected artists:
Hallveig Agustsdottir, Rudi Bogaerts, Samir Boudia, Brantt, Erwin Clauws, Erik Nerinckx,
Ricky Oudermans, Meggy Rustamova, Pieter Vanden Broecke & Micha Wobbe

residency project @ Frans MASEREEL graphic Centre
selected artist:
Vadim Vosters, Kelly Schacht, Wouter Feyaerts,
Stijn Cole, Dirk Elst & Hallveig Agustsdottir

...collaborating with me on this project is pianist Frederik Croene

interview met Hallveig Agustsdottir
by Hilde Van Canneyt

click on title to read full interview

"And the result of your sound drawings; what matters more, the performance itself or the image(s) created during the performance, are you looking for a final result at the end, a completed image?
The performance, the process, the moment is most important to me. I am acutally focusing more on the sounds; listening and interacting with the musicians with my sounds. Rahter than thinking about how to make a 'specific' drawing. In that way it relates to the surrealistic way of creating automatic writings and drawings. So I have no idea what the final image will be. I don't force the visual image in one direction or another, but all is open to exploration."

New works, see more in (sound)drawings

31 (sound) studies on paper / nr 2, 14 & 10

crox 352 / sound events I & II

2011-03-15T12:21:00.019+02:00

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just click on the images to enlarge them...

sound event I / 13th february 2011
'improvisation on a drawing' performed by violinist Marieke Berendsen

...exploring in (musical)sound, the physical gestures, subtleties of marks and the atmosphere created in the drawings of Hallveig shown at the crox 352 exhibition in the experimental arthouse CROXHAPOX, Ghent, BE.

excerpt 1:

excerpt 2:

sound event II / 20th february 2011
pianosketches performed by Hallveig Agustsdottir

..interested in the movements/gestures and the physicality in creation of both music and visual art will come into play in Hallveig's solo performance 'pianosketches'. Drawing on, and through the strings of a dismantled pianoframe; by the use of pencils and paper, Hallveig creates a duo between the artist's materials and the strings and resonance of the pianoframe.

performance-sketches

2011-03-02T23:30:00.043+02:00

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just click on the images to enlarge them...

20.02.2011 = r (1-4/5)
pencil on paper
each: 21 x 29.7cm

pianosketches 2011

interested in the movements/gestures and the physicality in creation of both music and visual art will come into play in Hallveig's solo performance 'pianosketches'. Drawing on, and through the strings of a dismantled pianoframe; by the use of pencils and paper, Hallveig creates a duo between the artist's materials and the strings and resonance of the pianoframe.

02.02.2011 (1-3)
pencil on paper
each: 21 x 29.7cm

03.02.2011 (1-5)
pencil on paper
each: 21 x 29.7cm

03.02.2011
live recording while drawing

an afternoon in the artist's studio

2010-09-01T02:06:00.012+03:00

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interview with Hallveig Agustsdottir
an afternoon in the artist's studio
by Hilde Van Canneyt

Hilde Van Canneyt: Hello Hallveig, we are meeting today in your studio, Bij Sint Jacobs in Ghent. But you are not from here, you come from Iceland originally; how did it happen that you moved to Belgium?

Hallveig Agustsdottir: Hi Hilde, yes, originally I came to Ghent to study music. I studied for one year at the Conservatory here in Ghent, playing the clarinet. At the time it was not possible in Iceland to receive higher education, that is master degree, neither in music nor in visual arts, so many Icelandic artists and musicians go abroad for further studies. But although music was the reason that brought me to Belgium, I had been studying both visual arts and music in Reykjavik for some years.

Was it possible to study both together in one school?
No, I was studying art a major subject in college, from the age of 16 to 20 years of age; as well as having music lessons and playing the clarinet at a music school in down town Reykjavik.

And then you came to Belgium?
Yes, to focus on the music, but visual arts kept pulling me, so in 2002 I went for an entrance exam at the Sint-Lucas Art School, and got accepted at the painting department.

How long have you been living in Ghent?
I came to Ghent in September 2000, so I've been living here for ten years now. The time has just flown by so fast.

When did you graduate from Sint-Lucas?
I graduated in June 2006, and from there I was accepted into the postgraduate department Transmedia at Sint-Lukas Brussels, which was a two year program.

And now you are doing a Doctorate research in London?
Yes at School of Arts, Brunel University in West-London.

Is that in relation to music as well?
Indeed, I am looking at ways for a connection, or common ground between music and visual arts, between sound and image.

When you started at Sint-Lucas Ghent, were you already busy with that same theme which you are working on now?
In our second year we could choose our own theme to work from and I knew right away what I wanted do. Although visual art and music had been in my life for as long as I can remember, they were always separate. I always felt that I had to choose between the one or the other. Then one of my teachers in Iceland asked me why I was always trying to choose between the two, why didn’t I simply combine them. This came back to me when I was studying at Sint-Lucas, and so I decided to go for it, to look for a way to work with both of them together.

So it was from the time you came to Sint-Lucas that you focused on this direction in your work.
Yes.

When I look around in your studio at this moment, I see that your recent work is mostly in black and white, your drawings, sound drawings, as you call them. But it has not been like that since you started at Sint-Lucas, has it?
No, my work was all very colourful in the beginning. I started doing a kind of colour-coded paintings; I made a system of corresponding colour to each note on the musical scale – so for each half step on the musical scale I added a colour, in total 12 steps/notes, 12 colours.

So this is how you started?
Yes, and you can see some of the paintings from back then just behind you. The colours represent a specific note and the space it takes on the canvas refers to rhythm, to time.

And then when you graduated from Sint–Lucas, what was your conclusion, the evolution in your work, after those four years?
During these years I had gone from ‘silent’ colour paintings to exploring sound. I was getting curious about the sounds that came from the materials I was using, were making; what was the sound of paper, pencils, the brushes, of a canvas.

So you were curious about what sounds might be coming out of the canvas?
Yes, and I was also looking for ways to create works with, or in time. Time is the most difficult, or separating element when dealing with music and visual art, the image. This search, this direction towards ‘time’ brought me to work more with video as well as with photography. I was looking for ways to register time.

In the plastic arts?
Yes. One of my results is the photographic series movement/moment, in which I was experimenting with the shutter-time of the camera.

What kind of video works were you making at this point?
I was using the video camera to register, both in image and audio, the material an artist works with. For example in one of the first video works I did, I took a large piece of paper and folded it, crumpled it together so that it created both a visual effect as well as an audible experience.

videostill from SOUND SCULPTURE - click here to watch video

When visiting your website today there are quite different video works to be seen, one of which are videos with musicians; what is your concept behind them?
Yes, in these videos I am using the video editing process as a compositional tool. First I compose short musical motives, which I give to the musicians to perform. This I record, and then I start working on the final composition in the editing process. Sometimes I give the image dominance over the music, and other times it is the music, which determines the outcome of the image.

videostill from de(re)construction - performed by Frederik Croene
click here to watch video

Later on I also started creating abstracted, or more accurately, concrete, (blurred and distorted), image- and soundscape in my video works. These works are normally in-situ works, connected to a certain location. Working with the video editing is a way for me to experiment further with the link between image and sound, to see how a manipulation of the image affects the audio, and vice versa.

videostill from A POINT OF VIEW - click here to watch video

So all of the video works I do, come out of a longing to connect or combine image and sound, and to experiment with this in different ways.

Then moving from your video works to photography. You also exhibit photographic works. At first sight we might not see clearly what is depicted in your photographs; I assume they too have something to do with music? What can you tell us about your photographs?
When I started with photography during my studies in Ghent, I was reading a lot about an American composer, John Cage, and I got very inspired by his musical works, his writings, his philosophy, and his visual work. What inspired the first photographs was his theory that music is everywhere. For him everything, all sounds, all noises, everything we hear, is music. And in fact there exists no real silence, that is, a moment of no audibility. He talked about once stepping into a sound-isolation-room, to experience total silence, but to his surprise he still heard sounds, he could hear his body, the sounds of his nervous system at work. This I find very beautiful, and so I wanted to work with this subject, but in a visual way. And from that idea arises that everything you see, everything we see, has the possibility of being art.

So you glimpse images around you, in the street, which all inspire to become artworks?
Yes, in the street, in an empty room, in a ruined building, on the floor of my studio, at home, just anywhere, everywhere, we just have to keep our eyes open.

art is everywhere, photographic series

And so in 2006 you graduated from Sint-Lucas Ghent, and started at the Transmedia postgraduate program at Sint-Lukas Brussels. What direction did your work take from then on?
At this point I focused more and more on working with video footage, well, video and performances too.

Performance as well, can you tell us what we can expect from Hallveig’s performances?
Normally I work in collaboration with one or more musicians. It is an experience in music–sounds-noises, and image. I get inspired by what the musicians play and the musicians react both on projected images I create as well as the amplified sounds of my drawings, the sound of the pencils and charcoal touching the surface of the paper.

So the musicians are ‘following’ you?
It goes both ways. The musicians are reacting to what I do, draw, or how my drawing sounds like, and at the same time I am reacting to what they are producing on their instruments. It is collaboration, a dialog between us, a dialog without words.

photos taken at a concert in Logos, Ghent. November 2009.
click here to watch video : performance sketches...

I have for example worked with members of the Thelema Trio, also for some years now with the Dutch violinist Marieke Berendsen, and more recently with the Belgian pianist Frederik Croene.

You mentioned in our correspondence that movement is important, the physicality of creating is important, and accepting the consequences. Can you explain this a little bit?
It has in many ways to do with working together with musicians in a performance. Our movements in the performance, the physicality of their performance, their interaction to their instruments, and movement is something that happens in time, which brings us back to the fact that the ‘time’ element is a bit tricky when collaborating, combining the two disciplines. The way of drawing during a performance is very different from working alone in my studio with ‘all the time in the world’ to make my image. In a performance I have to be in the moment, react in the moment, and so accept what happens, there is no erasing, there is no turning back, what comes down on your paper stays there, and that is what I must work with. This is something I enjoy very much about the performances. It brings a new challenge into the work.

Indeed our approach to music and visual arts is very different. We experience music in a concert, something that happens in a specific time space, but our experience of a painting is totally different.
Yes we can watch a painting for a few seconds and grasp its total image, or indeed we can sit and stare at it for hours. But in music, you can only experience it in the time it takes to perform it, from beginning to end.

Which is also an interesting aspect for you then?
Yes absolutely. Because during a performance, the musician's movements also become something visual to the viewer; and this is something I'm trying to connect to my drawings, to the performance projects. I am conscious of my movements as well, the action of drawing. It's sort of connection to my own ‘musical days’ of playing the clarinet, it was a very physical thing to do.

Do you still play your clarinet?
No, I haven't played for a long time now, but I do have an old, out of tune, piano in my studio which I love to make sounds from.

And the result of your sound drawings; what matters more, the performance itself or the image(s) created during the performance, are you looking for a final result at the end, a completed image?
The performance, the process, the moment is most important to me. I am actually focusing more on the sounds; listening and interacting with the musicians with my sounds. Rather than thinking about how to make a ‘specific’ drawing. In that way it relates to the surrealistic way of creating automatic writings and drawings. So I have no idea what the final image will be. I don't force the visual image in one direction or another, but all is open to exploration.

Also in your performances you work mostly in black (and white), with charcoal and graphite?
Yes, well, for almost a year now I have mostly been working, on drawings with black-ish materials on white paper; pencils, charcoal, graphite. And only very recently I have started to add white gesso and acrylic. In my very first performance I was working with colour, acrylic or watercolours. Then I wanted to make things simpler, I was going more into the direction of the sounds and so decided to leave colour out of the ‘picture’ during this process…

30 (sound)studies on paper - nr.1 & 2

Otherwise, with colour there is too much to ‘think about’?

In a way yes, because in earlier works I had been exploring the connection between colours and specific sounds in a synaesthetic way – but for me there was always something missing, not correct. It was not an honest way, for me, to work in the field of ‘visual music’. It was too subjective. Through my research I had found out that in fact people who are synaesthetes, who see colours while listening to music do not have a common response. For one person the note C is red, and for another it is blue. So even though I decided that my C is yellow on the painting, in the drawing, the viewer will maybe feel that yellow sounds as an E or an A#. And so, in a performance with musicians, they too will interpret colours differently.

And then there would be the third element to think of, to respond to?
Yes, so I wanted to move away from the colours, simplify, and focus more specifically on sounds, sound making, and so I decided to go all black.

Is this somehow related to your Doctorate, your research at Brunel University?
It is yes, I am working on developing my own visual language, a graphic notation of some sort, which can be read, interpreted, and used by both visual artists and musicians.

Do you feel that you have explored all options? Have you perhaps reached your goal already? Have you done all that is possible to do?
No, not at all, I believe that this will be a task that will last through out my whole life. It will never be finished. It is an endless process, which makes it even more interesting and beautiful.

So you will keep looking for ways to further your sound drawings? Do you perhaps already know how it will develop, what you will do?
No, I just take one day at a time, and that is what I like so much about it, the process of discovering. I have no clue what will be the end result, I am just enjoying being in the process, of going somewhere – and I just look forward to see where it will be.

It is important for you to communicate with the viewer, your public. What do you want to get across to them with your art? To be more aware of connections between image and sound - is that the purpose of your art?
I would like to make the viewer aware, or curious, to think of what noises or sounds, lay behind the image, the making of an image. Not just to look at the total image, technique or texture, but also wonder what were the sounds produced during the creation of the work. This way of ‘looking’ opens up our awareness, possibly, hopefully, up to new dimensions.
I am also very much interested in pointing out the simple things, the things we might easily overlook. I am interested in getting people to step closer, to take a better look… it is not just about the ‘big picture,’ it is about the smallest detail – everything has the same value in the work. And it is the same, if I’m working with photographs, sounds, music, drawings. It's about giving attention to the small, simple things we have tendency to pass by, ignore in our everyday, busy, over-saturated lives. Why not take a break for a moment, stop everything, take a deep breath, and enjoy the moment we are in.

imaginary soundscape II - detail

videostill from SOUND POEM - performed by Marieke Berendsen

click here to watch video

You have been living here in Belgium for ten years now, do you see a difference between Icelandic and Belgian art?
Yes, in the beginning I felt a big difference. In Iceland the use of colour is important, possibly because of the magnificent nature we have all around us, but here I felt everything much more sombre, grey. Maybe in the same way the artists here express their environment directly or indirectly into their art.

Can you tell us a bit more about visual artists from Iceland? We hear of Icelandic music, of Björk and Sigur Ros, but how about the visual arts?
The one that comes directly to mind is Olafur Eliasson (1967), you might remember ‘The Weather Project’ he did at Tate Modern in 2003. And then maybe it is also interesting to mention that for example Björk works in collaboration with young Icelandic artists when designing her covers, costumes, etc. She has collaboration closely with the Icelandic Love Corporation, which was exhibited with other Icelandic artists at the Museum Dhondt-Dhaenens a few years ago.

You mentioned that John Cage has been a great inspiration to you; but how about the plastic arts, which artist(s) would you name as influence or inspiration to your work?
I would have to mention Kandinsky for sure, and Paul Klee, Oskar Fischinger, and Piet Mondrian. Kandinsky wrote two important books which have been a great inspiration to me: ‘Concerning Spirituality in Art’ published in 1914, and ‘Point and Line to Plane’ from 1926. He was not working directly with sounds so to speak, but he believed that he could provoke a sound (musical) experience in the viewers mind by looking at his paintings. Then the figurative-free artworks of Klee, and his ‘Pedagogical Sketchbook.’ And of course Mondrian’s paintings, like ‘Broadway Boogie Woogie,’ ‘FoxTrot,’ and his ‘Composition’ paintings.

Are other artists working within these two disciplines, as you are?
There is a lot of interest, I find, to combine the two or more creative disciplines. I could mention young artists here in Ghent as Steffie Van Cauter and Hans Beckers, who are working with music, image, and performance. Also Steve Roden, an artist from the United States, who took part in the Happy New Ears festival in Kortrijk some years ago. Well, and many many more...

What do you think is important for an artist now, in the year 2010?
What is important? I don’t know. We all have to find our own way I guess. For myself, I am just trying to focus on doing my art, being true to what it is, and what it can be.

And you, do you want to make contemporary art, or timeless art?
I just want to do my art, whatever that may be. If I start thinking to much of making ‘new’ art, or popular art, then it creates so much pressure on me that I can not focus anymore – I just need to concentrate on developing myself, and finding ways for myself, in freedom. Concerning this matter, there is a quotation by John Cage from the 1950s to which I connect very much. He describes the pressure and limitation that comes with trying to make up the next masterpiece of art, or composition in his case. It creates fear and uncertainty in the artist's mind; he must do better than others, he must impress more than the others… but all this just creates a gap, a gap from Life. The art creation then has nothing to do with Life anymore – it is isolated; forced.

So for you, you need that freedom you talk about? That’s why you like to be an artist?
Yes very much so.

Do you call yourself an artist when people ask you what you do?
Yes

That is important for you? So for you artist is similar to freedom a bit?
Yes, well, it both gives constraint, but more importantly it gives me a lot of freedom.

Freedom to develop yourself? Unlike maybe what a regular job would do then? Do you see yourself working the next 40 years in your studio?
Yes, I could not think of getting ‘stuck’ somewhere, there needs to be motion, forward motion. And I would love to be able to keep working in my studio until my last day on this earth.

But what about feedback. What will you do if you don’t get enough feedback on your art?
Hmm…

Will you focus on making artwork for a large public?
I don’t know, I don’t think about that. It is not my way to make art that will ‘please’ the public, I will do my art, and then hopefully there is a public out there for my art. I will make art that…

…is for yourself?
Yes, it has to be like that, it has to be something I want to do. It has to be true and honest – from myself. So I need to be careful not to start thinking, what do other people want from me, because then the art becomes something different...

What would you say is your greatest quality as an artist?
Aha…?! Maybe my sense of time, timing?

And are you making art because you feel ‘unsettled’ in some way?
No I would not say that, it is more just a way for me to express myself.

It is not like ‘therapy,’ so to speak?
No not really, although sometimes it can be healthy to make one, or more, of the large-scale sound drawings, like here on the wall behind me, when you feel things are going in the wrong direction - (laughing).

untitled/soundtracks... - nr. 6 & 4

But in general, it is more my way of ‘speaking’, expressing myself, because I have ‘difficulty’ with words, I don’t like using words too much. I seem to have looked for ways all my life to express myself without using, without speaking words - so I draw, play music, write… This might have something to do with the fact that I did not start to speak until quite late, around the age of three years...

Is it maybe because you feel words are too hollow?
Yes for sure they can be hollow, and fake. Our actions are more ‘reliable’ than our words. We cannot hide, or undo our actions, unlike our words. This is also why I am into the performance way of drawing, accepting the consequences, the mark is there on the paper, you cannot undo it, make it differently, try to hide it, or make it more beautiful. It is what it is, it’s honest.

And so you would say that your drawings, your art, does not lie?
They are straightforward, ‘what you see is what you get.’

…because we can feel the energy, your energy, in them.
(nod)

I think this is a beautiful end to our interview and so we will not force any more words in it.

Hilde Van Canneyt, met dank aan Croxhapox
2nd September 2010
http://hildevancanneyt.blogspot.com/

Hallveig stelt tentoon: Resonant Frequencies, Oude Nijverheidschool, Lindenlei 38, Gent. 16 en 17 oktober 2010 in het kader van de OPEN ATELIERS van NUCLEO.

Scraping the surface

2010-08-21T13:17:00.021+03:00

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about the drawing of Hallveig Agustsdottir
by Michael Bouchez

Being fascinated by the relation between music and visual art and not wanting to choose between them, Hallveig Agustsdottir turned to soundscapes in her most recent drawings. She started a quest for an accurate way of depicting music, sounds, noise. Yet this sound-based approach turns out to be a starting point for exploring texture and material. By restricting herself to an artist’s basic materials (paper, charcoal and gesso) she seems to discover freedom within this strict limitation.

Paper, more so than canvas, is sensitive to mark making and thus can be dented and scarred. By carving, scraping and injuring, the paper itself becomes textured which affects the black of the charcoal and the white acrylics applied on it. The unctuous wet gesso disintegrates the charcoal at some points in unintended veils of brown and blue while the surface becomes a bursting crust that erodes and recovers itself through the both soft and powerful handling of the materials.

Through an aleatoric method of working Hallveig shows us the importance she attaches to the process of the making of the drawings and wipes out the difference between noise and music, scribbling and drawing, black and white. She accepts all consequences of every mark and that implies that every drawing is worked on until it satisfies and has balance. Layer upon layer is added, erasing is obtained by adding more drawing and gesso. In that way the drawing process evokes a whole world of creation and destruction, light and dark, with reminiscences to landscapes, musical scores and noise. And the viewer isn’t even forced to choose between them.

2010-08-21T13:10:00.001+03:00

Hallveig Agustsdottir
web portfolio

November 2010

residency project @ Frans MASEREEL graphic Centre
curated by Mieke Mels
selected artist:
Vadim Vosters, Kelly Schacht, Wouter Feyaerts,
Stijn Cole, Rossella Biscotti & Hallveig Agustsdottir

...collaborating with me in this project will be the pianist Frederik Croene

16th - 17th October

OPEN ATELIERS / THREEPLUSONE exhibits @ Lindenlei

20th August - 17th October

NUCLEO residency project @ Nijverheidsschool Lindenlei

...collaborating for this project are the 3+1 artists Marie-Laure Delaby,
Juan Duque & Hallveig Agustsdottir + Yannick Franck & Sabrina Harri

New photographic works: 'in-situ'

New works, see more in (sound)drawings

30 (sound) studies on paper / nr 2,3 & 4

the experience remains magical... by Malcolm Le Grice

2010-08-21T13:09:00.044+03:00

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The work of Hallveig Agustsdottir explores an almost equal fusion between music and the visual arts. She is a young artist who has already produced exciting and original works developing ideas that stem from three traditions: musical, artistic and cinema – in particular, the visual musical score, musically constructed video and the improvised production of sound, for example, directly from the act of drawing.

Though linked to ideas of synaesthesia her work is not strictly synaesthetic – it does not seek any direct equivalence between colour and musical tone as did Alexander Scriabin for example. Instead, as in a number of recent works, such as the 30 (sound)studies series (2010) and untitled/soundtracks…(2010), it explores a music of physical gesture as it may be produced by amplifying the sound between charcoal and paper as she makes a drawing. In this way, her work develops the tradition of action painting originated by Jackson Pollock or the abstract expressionism of Willem De Kooning. Like with the music of Keith Rowe, the sounds in Agustsdottir’s ‘sound drawings’ are a direct product of the action being performed – nuances of the gesture create both the different experiences of sound and the subtleties of marks in the resulting visual work.

But this is not the only direction she has explored. Much of her work is centred on creative collaboration, mainly with the Dutch violinist Marieke Berendsen and Belgian pianist Frederik Croene, through improvised performances. These are led by her visual score or are an immediate improvised response to her visual production ‘drawing or painting’ during the performance. This builds on a tradition of graphic notation developed by composers like Morton Feldman or Cornelius Cardew, but adds a new factor of immediate improvisation and feed-back between the maker of the score and the improvisation of the musicians. As with many serious composers, Agustsdottir underpins her creative work with a thorough basis in theoretical research, studying the field of all forms of musical notation and particularly the incorporation of visual and expressive elements in the graphic score.

In addition to her visual musical performances, Agustsdottir has made a number of video works that explore the way video recording and editing can be used as a method of musical composition. In these works, a musician – violinist or cellist for example - has been recorded playing a series of phrases. These video sequences have then been edited as repeating fragments and re-ordered or super-imposed on each other. Here the musical composition and the visual exploration are a direct result of exploring the opportunities offered by the digital video medium. The creation of music and the capacities of the medium are directly linked. These are not simply recordings – documentaries – if musical performance, but creative works of video music. a few lines for cello… (2007), reflection (2008) and Sound Poem, for violin (2008) are examples of these video compositions. As with all her work, the process and act of making sound and visual experience are an evident and integral part of the work.

In all her work, process and effect are always equally available for the audience – the experience remains magical and is only enhanced by awareness of how the magic is produced.

Malcolm Le Grice

in-situ

2010-08-14T23:54:00.011+03:00

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just click on the images to enlarge them...

in-situ / L 38
analogue photographs

2010

articles, texts & interviews

2010-07-17T19:05:00.036+03:00

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the experience remains magical... - 2010
by Malcolm Le Grice

Scraping the surface - 2010
by Michael Bouchez

an afternoon in the artist's studio / Interview - 2010
by Hilde Van Canneyt

Young Artists (selected by) Dirk Pauwels - 2007
by Mieke Mels

workshops/lectures

2010-03-26T15:56:00.124+02:00

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Synaesthetic perception is the rule, and we are unaware of it only because scientific knowledge shifts the centre of gravity of experience, so that we unlearn how to see, hear, and generally speaking, feel.

- Maurice Merleau-Ponty -

/ on SYNESTHESIA / what is VISUAL MUSIC / graphic NOTATION /
/ meaning of COLOUR /
/ SOUND ART / looking at ABSTRACT FILM & VIDEO Art/

this page is under construction...

2010-03-26T15:56:00.122+02:00

Hallveig G K Ágústsdóttir
web portfolio

news

imaginary soundscape IV + detail

26th of June
JONGE ZWERVERS 2de editie
@ ArtCinema OFFoff

films, video-audios, poetry/video
& (multimedia) performances

...in search of sound(s)
solo exhibition @ the Conservatory Ghent
2nd march - 30th june

10 november at 20h00
concert in Logos Tetrahedrone, Ghent
performing will be the Dutch violinist Marieke Berendsen,
Belgium pianist Frederik Croene and myself.

17 october - 15 november
group exhibition Input/Output, at De Bond, Brugge

extensions... exhibition @ Zennestraat 17

atelier

2010-03-26T15:55:00.031+02:00

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Mieke Mels : Young Artists (selected by) Dirk Pauwels, 2007

2009-12-04T23:18:00.079+02:00

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Music is art. In Hallveig's case music is 'visual art'. This Icelandic artist paints, photographs and draws - 'portrays' - music. The two disciplines are constantly intersecting each other and are inseparably linked.
In her musical-visual experiments, Hallveig takes inspiration from the philosophy of John Cage. His theories on art, music and sound run like a thread throughout her work. According to Cage, life is music, because music is everywhere. Sound is everywhere, even if it seems to be silent. Silence is music, everything is music.
This philosophy is expressed 'visually' in countless ways in Hallveig's work, often combined with accompaniment by her own musical compositions. In her series Art is Everywhere (2005 - ) she applied Cage's idea literally, which resulted in a series of photos of her own painted compositions. They translate music into colours. Each colour has its own tone. For such painters as Kandinsky and Mondriaan this sort of fusion of senses, or 'synesthesia', was an innate gift. In Hallveig's case, however, thinking in terms of colour when she hears sounds is a way of thinking she has mastered for herself.
In addition to colourful works, Hallveig also creates minimalist compositions. They are either extremely linear drawings in which the rhythm of the music can be discerned, or Sound Poems (2005) in which such musical terms as 'dolce', 'dolcissimo', and 'calando' are painted on canvas like poems.
Music is time. Drawing requires time. Hallveig explores this in several works, including a series of photos whose main theme is time. With a long exposure, the camera captures her hand as it draws, so that the image generates movement and thus 'time' too. In a recent series she has been looking at silence. She goes out into the streets with her camera, looking for meaningless images. Her intention is to give them a meaning by superimposing the images in several layers. Silence is music, silence is art.

Translation from Dutch by Gregory Ball

Muziek is Kunst. In het geval van Hallveig is muziek voor haar 'beeldende' kunst. De IJslandse kunstenares schildert, fotografeert, tekent... kortom 'verbeeldt' muziek. Beide disciplines kruisen elkaar voortdurend, zijn onlosmakelijk met elkaar verbonden.
Hallveig laat zich in haar muzikaal/beeldende experimenten inspireren door de filosofieën van John Cage. Zijn theorieën omtrent kunst, muziek en geluid lopen als een rode draad doorheen haar oeuvre. Volgens John Cage is het leven muziek want muziek is overal. Overal is er geluid, ook al lijkt het stil. Stilte is muziek, alles is muziek.
Deze filosofieën komen bij Hallveig op talloze manieren 'beeldend' tot uiting, vaak gecombineerd met begeleiding van eigen muziekcomposities. In de reeks Art is Everywhere (2005 - ) past ze Cage's idee letterlijk toe, wat resulteert in een reeks foto's van eigen schilderkunstige composities. Muziek wordt er vertaald in kleuren. Elke kleur heeft zijn eigen toon. Bij kunstenaars als Wassily Kandinsky en Piet Mondriaan was een dergelijke zintuigversmelting of 'synesthesie' een aangeboren 'gave'. Het denken in kleuren bij het horen van klanken is voor Hallveig echter een manier van denken die ze zichzelf eigen heeft gemaakt.
Naast kleurrijke werken, maakt Hallveig ook minimalistische composities. Het zijn tekeningen met een sterk lineair karakter waar het ritme van de muziek te lezen valt, of Sound Poems (2005) waar muzikale begrippen zoals 'dolce', 'dolcissimo' en 'calando' als een gedicht op doek geschilderd staan.
Muziek is tijd. Tekenen vraagt tijd. Hallveig onderzoekt dit onder andere in een reeks foto's waarin tijd centraal staat. Het fototoestel registreert met een lange sluitertijd haar tekenende hand waardoor het beeld beweging en dus ook 'tijd' genereert. In een recente reeks gaat Hallveig de stilte opzoeken. Ze trekt met haar fototoestel de straat op, zoekend naar betekenisloze beelden. Door de beelden achteraf over elkaar te schuiven in verschillende lagen, wil ze er betekenis aan geven. Stilte is muziek, stilte is kunst.

de(re)construction, for piano(s)

2009-12-04T23:17:00.008+02:00

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a composition concept and video by Hallveig G.K. Ágústsdóttir
improvisation on a score by Frederik Croene

(inspired by an Icelandic folksong)
10'47''
2009

depictions

2009-08-29T02:04:00.035+03:00

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just click on the images to enlarge them...

digital photographs
mounted on mdf plates
10x10 cm
2009

exhibition view from extensions... :

a point of view (excerpt)

2009-06-29T00:15:00.006+03:00

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by Hallveig G.K. Ágústsdóttir

5'01''
light and colourscape (+soundscape)
2009

fragments

2009-06-09T22:29:00.055+03:00

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just click on the images to enlarge them...

light and colour fragments from an atelier

digital photographs
mounted on mdf plates
10x10 cm
2009

exhibition view from Expanded-scape in June 2009:

untitled ensemble

2009-05-25T14:44:00.026+03:00

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HALLVEIG Ágústsdóttir / amplified & projected live drawing
MARIEKE Berendsen / violin
FREDERIK Croene / piano démécanisé

[ I ] performance sketches... / 2009
work for a visual artist (amplified live drawing), and musician(s)
performed by
Hallveig Agustsdottir/sound drawing, Marieke Berendsen/violin,
and Frederik Croene/piano démécanisé

[ II ] projection - reaction (II) / 2008-2009
a composition for violin(s) and video projection
performed by Marieke Berendsen
composition and video by Hallveig Agustsdottir

[ III ] de(re)construction / 2009
a video+audio composition for piano(s), inspired by an old Icelandic folksong
performed/improvised by Frederik Croene
composition/concept and video by Hallveig Agustsdottir

portrait - a violinist

2008-12-15T18:13:00.012+02:00

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by Hallveig G.K. Ágústsdóttir
with Marieke Berendsen on violin.

3'10''
silent video
2009

sound poem & reflections, for violin(s)

2008-09-16T17:53:00.006+03:00

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sound poem for a violin(s)
by Hallveig G.K. Ágústsdóttir
with Marieke Berendsen on violin.

reflection for violin(s)
by Hallveig G.K. Ágústsdóttir
with Marieke Berendsen on violin.

2008-07-23T14:41:00.001+03:00

"...we must become preoccupied with and even dazzled by the space and objects of our everyday life,..." Allan Kaprow

News

A video recording of the performance of Ice Poems for piano, which I composed in 2004, has arrived!

To have a look just click on one of the images:

The video was recorded at the concert in Logos, Ghent, 20 May this year; and performing is the Peruvian musician Marco Mazzini.

Here is a link to a new video I have just uploaded of 'projection-reaction' for violin, performed in the concert at Logos, 20 May last. For this occasion I have made an excerpt of 5'43min presenting the violinist Marieke Berendsen:

!! VIDEO !!

For more information about some of my resent works just follow these links:

>> performance nr.2 (Isländisches Praeludium) <<
>> a few lines for cello... <<
>> Collage Composition for Bass Clarinet <<
>> 'projection - reaction' for violin(s) <<

I have just added some new photos from
the concert at Logos to my blog, and soon I will upload a video recording,
but for now you can follow this link to the photos:

!!Concert at Logos, Photos!!

There will be a concert at Logos - a centre for experimental music and sound art,
in Ghent on May 20th at 20h00.

On the program are works/compositions which I have created over the last 4 years. There will be a mix of video works, piano solo, improvisation and interaction between visual artist and musician, as well as a premier of my new violin work 'projection-reaction'.

Performing with me will be Marieke Berendsen on violin,
& Marco Antonio Mazzini on bass clarinet and piano.
The cellist Aygul Pribylovskaya will also appear in one of my video works.

Everyone is very welcome !

projection-reaction (I) - excerpt

2008-07-23T14:38:00.010+03:00

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projection-reaction (2008)
for violin(s)
by Hallveig G.K. Ágústsdóttir
performed by Marieke Berendsen.

VideoPreviews...V

2008-06-12T18:32:00.009+03:00

front page - photographs - drawings - works on canvas - composition/audio - videos

exhibitions - concerts/projects - threeplusone - untitled ensemble

'projection - reaction'
for violin(s)
by Hallveig G.K. Ágústsdóttir
with Marieke Berendsen on violin.

performance nr.2 (Isländisches Praeludium)

2008-06-06T12:16:00.011+03:00

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2007 -

A interactive piece for musician (bass clarinet + piano) and visual artist. The musician works from several sources; any traditional score selected in connection to the project each time, a graphic notation, and direct reaction of the visuals created by the artist in the performance itself. And the artist does a pre-colour analyse of the traditional score and follows the structure of the graphic notation, as well as interacting with the musician/music in the performance itself.

Page 1/4

Photo from performance nr.2 at Logos, Ghent, 20 May 2008

Graphic notation for performance nr.2 , 2008

Notes for performance:

1. The musician does not only follow what is written down and/or indicated on his score, but also takes just as full notice of what the painter/artist is doing, and translates that also into the improvisation process.

In return, the painter/artist takes what the musician is creating and translates, or transforms, that into a visual image.

In doing this the composition will never have the same outcome from a performance, the outcome will always be different.

- The focus is on the process which is created in each performance.

2. Accompanying the graphic notation should always be a traditional music score.
This music score can either be an original composition by the performers, an arrangement, or any classical (or non-classical) score.

The score that is chosen should be used as an inspiration, and a guideline to the improvisation of the graphic notation.
It is possible to use as much and as little as one note from the score, - the most important is that the score gives the mood to the performance.

3. The graphic notation can be played on any instrument, with the chose of one performer or more.

- Each performance should last about 30 minutes.

- The graphic notation can be read left to right or from top to bottom.

Each box gives a possibility of introducing a new motive, as well as indicate time and dynamics by their size. More than one box can be played/performed at the same time.

4. Floating sounds and long notes will be visualised in horizontal forms, and rhythm and chords will be visualised vertically.

Colours used will be chosen from an analyse of the musical score accompanying the graphic notation. Sections will be colour coded based on their dominant tonality or individual notes.

Example of two images created during
the performance in Logos, 20 May 2008

a few lines for cello...

2008-06-06T12:15:00.010+03:00

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image+audio composition presented in two videos
3.04min & 1.36min
2007

For this video work I composed short melodies which then were recorded, edited, copied, pasted, and worked to create an extended composition.

Stills from a few lines for cello..., performed by Aygul Pribylovskaya.

The projection of this video work should be on a white screen in the live size of the musician.

---

To see the videos just click HERE

Collage Composition for Bass Clarinet

2008-06-06T12:14:00.007+03:00

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image+audio composition
6.12min
2008

I did a composition database for several instruments which contains short motives and/or melodies, all the way down to single notes.
With this material I started recording musicians, but not only the audio but also video images. Then I took the recorded material and started doing simple over layering of the melody/motive in the video editing to create a composition.

In short, musical motives were recorded, edited, copied, pasted, and worked to create a composition.

Stills from Collage Composition for Bass Clarinet, played by Marco Mazzini

---

To see an early version of the video just click HERE

'projection - reaction' for violin(s)

2008-06-06T12:11:00.006+03:00

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video image+audio composition with live performance
12.12min
2008

click here to see VIDEOdocumentation

A composition mixed with traditional notated motives/melodies and graphic notation. The violinist starts by playing the written down melody but then moves into improvisation with his/her personal translation of the graphic notation. After playing for about 1 minute (this time can vary) the musician starts to perform with his/her own projection on a screen in front of him/her, and now, as well as taking guidance from the graphic notation, the musician starts to react on what he/she hears and sees.

Violinist, Marieke Berendsen

INSTRUCTIONS:

Score :
1m-4m
The score is thought of being in 4 movements, and each movement has a dominant note with in it. It should give the colour to the music. It is thought of being as the basis for anything which is done in that movement, but need not be used exclusively.
A1-3, B1-2 & C1-2
The score is divided into 4 major groups, A1-3, B1-2, C1 and C2. The idea is that C2 is to be used both as a source material in itself but should also infiltrate into the other groups. The performer can chose a section from C2 to use in the other 3 groups as she/he wishes, or use it as a guide to other material she/he would like to use.
A1
This section can be repeated, but need not be. If it is repeated then it should not sound the same both times. It is also possible to only repeat 1 or 2 of the 3 lines.
ad libitum…
The idea is that the ‘personality’ of the composer and the performer mix in the performance of this piece. The composer brings the material and then the performer puts her/his own impression on it, her/his own colours so to speak.

Nothing is fixed in the score, anything and everything is open for change from the performer. What is written down is more to give a atmosphere, colour, to what the music is/should be about.

In short, there is in fact a ad libitum over the whole score even though there are some extra notations of it inside the score.

Graphic notation :

The performer can look as wide or as close into the score as he/she wishes, that is, he/she can focus in on some details to use in the performance, chose 4 items/images out from the rest, or read from the whole thing as an inspiration to the music.

When making the notation I did look at it as in 4 movements to be read from left to right, but this is not something that the performer needs to follow as I mentioned here above.

Timeline:

concert & project photos:

2008-05-23T14:07:00.074+03:00

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...click on the images to enlarge them!

2009

· November 10th - Concert at Logos in Ghent, Belgium.

2008

· May 20th - Concert project at Logos in Ghent, Belgium.

2004-2007

Collage Composition for Bass Clarinet

2008-01-29T19:56:00.003+02:00

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by Hallveig G.K. Ágústsdóttir
with Marco Antonio Mazzini on bass clarinet.

'sound sculpture'

2007-11-04T16:07:00.002+02:00

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by Hallveig G.K. Ágústsdóttir

'duo' for paper and piano

2007-11-04T16:06:00.003+02:00

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composition by Hallveig G.K. Ágústsdóttir
performance by Hallveig G.K. Ágústsdóttir

a few lines for cello...

2007-10-24T18:48:00.005+03:00

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(a work in 2 videos)
composition by Hallveig G.K. Ágústsdóttir
with Aygul Pribylovskaya on cello.

'nothing-something'

2007-03-20T17:43:00.005+02:00

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What is silence?

What is nothing?

These two words normally give the feeling of emptiness, of absence - but is there such a thing as absolute silence, nothing?

The American composer and artist John Cage was fascinated by the term 'silence' and had the opportunity once to step into an anechoic chamber for the purpose of experience the absolute silence, but what he found out was that we can maybe isolate the sounds from outside, but our living body is constantly creating sounds. From that moment on, what Cage considered silence could be any environmental sound heard when we are being quiet. So even an airplane taking off or the heavy sound of rush hour traffic could be considered as 'silence'.

Now if we look again to the term 'nothing', in comparison with the Cagean silence, it is best to classify nothing as 'of no importance', as well as 'of no interest'. In this photographic series I have done just that. Since the Cagean silence may consist of sounds, even loud sounds, then can not the 'nothing' in our environment of everyday live, the things we never notice and/or ignore, also be(come) something.

digital photographs
mounted between plexiglas
30x30 cm
2007

works on canvas

2006-09-30T14:36:00.018+03:00

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'untitled' (Islandisches Praeludium)
acryl on canvas
120x160cm
2007

Sound poems (1-3)
Acrylprint on canvas
35x40cm
2005

dolce
black ink on canvas
30x30cm
2005

chords (1-3)
acrylic on canvas
15x30cm
2005

view of 2/4, 3/4, 4/4,
works on canvas

3/4
permanent marker on canvas
100x100 cm
2005

4/4
permanent marker on canvas
90x90 cm
2005

'questions & answers' (x3)
acrylic on canvas
120x24cm
2004

Music chords

2006-09-26T04:45:00.002+03:00

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analogue photographs
13,4x20,4cm
2004

exhibition images:

2006-09-26T04:40:00.076+03:00

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just click on the images to enlarge them...

2011

crox352 / Hallveig Agustsdottir @ croxhapox

*Photos by Marc De Clercq

2010

Resonant Frequencies : with Threeplusone

Working directly on the surface of the room, an image- and soundscape gradually came out of the process of scraping, scratching, touching, painting, drawing by means of provoking sounds… The sounds were recorded, deconstructed, and reconstructed into a composition which together with the finished drawing, filled up the space.

...in search of sound(s)

2009

extensions... : with Threeplusone

EXPANDED-SCAPES : with Threeplusone

movement/moment

PANORAMATIC 'A Cross Atlantic Response'

2008-2009

G.O.V Project at the Gasteig

»portrait - a violinist

X-M-Art II @ Het Achterhuis

2007

UNDERGROUND / Sound & Vision

YOUNG ARTISTS (selected by)

2006-2007

LIGHT PLAY

KAMER XII

2005

AmuseeVous expo

'movement/moment' serie_2

2006-09-24T03:19:00.003+03:00

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photographs
50x60cm
2006

To see photographs from this series at the 'LIGHT PLAY' exhibition at Z33, in Hasselt, Belgium, just click HERE.

'Movement/moment' serie_3

photographs
95x140cm
2007

'movement/moment' serie_1

2006-09-24T03:18:00.005+03:00

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All of live that we preceive is constantly in a state of change.

The world is in a constant state of change.
Everything is always on the move,
even though we do not experience this constant movement in person, it is there,
just like the sounds in or lives are always there.
And so is music.

So, to be able to visualize music there must be a visualization of time and movement.

all photos on this page are:
digital photograps
20x27cm
2006

art is everywhere

2006-09-24T03:17:00.002+03:00

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just click on the images to enlarge them...

Wherever we are, what we hear is mostly noise.
When we ignore it, it disturbs us.
When we listen to it, we find it fascinating.

In this photographic series I am translating these lines of John Cage into my own work, visual world.

Wherever I am I see, I see art.

digital photographs
20x20cm
2005-2007

To see photographs from this series in the 'YOUNG ARTISTS (selected by)' exhibition in Ghent, Belgium, just click HERE.

2006-09-20T03:53:00.000+03:00

"All of life that we preceive is constantly in a state of change"

» News

» Light play at the Z33

The exhibition Light play at Z33 in Hasselt, Belgium opens October 29.

»"Three Hands" in a new CD from the III Contemporary Festival - Peru

» Project in the Rode Pomp in October 2007

video(composition)s

2006-09-20T03:51:00.046+03:00

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just click on the title of the works to see the video...

»de(re)construction for piano(s)
audio+video composition
10'47''
2009

»r-zen17
video composition with soundscape
12'27'' - played in constant loop
2009

»a point of view
video with, or without audio
10'00'' - in a constant loop
2009

»portrait - a violinist
video without audio
3'10''
2008-2009

»sound poem for violin
two videos with audio
3'35'' (1st movement)
2008

»reflection
video with audio
8'08''
2008

»Collage Composition for Bass Clarinet
video with audio
6'12''
2008

»a few lines for cello...
two videoworks with audio
3'04'' and 1'36''
2007

»sound sculpture
videowork with audio
0'47''
2006

»duo for piano and paper
videowork with audio
2'16''
2006

»Silent movement
videowork without audio
0'17''
2006

links

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Museums, Galleries, Organizations, Magazines, Musicians and Artists.
All the following links open in a new window.

» BOZAR - Centre for Fine Arts and Music, in Brussels.
» Argos - a Brussels based centre for art and .
» Van Abbemuseum - a museum of Modern Art in Holland, Eindhoven.
» Guggenheim Museum - museums of Modern Art.
» Z33 - An Art centre which focuses on design and contemporary art.
» Muhka - Museum of Contemporary Art in Antwerp.
» Vooruit - An Art centre in Ghent which offers concerts, exhibitions, theater etc.
» ei huis - Experimental intermedia in Ghent.
» Het Achterhuis - Gallery in Ghent, Belgium.
» AmuseeVous - An organization for artistic events.
» CIA.IS - Centre for Icelandic Art and Artists.
» Reykjavík Art Museums - Icelandic Art.

» Rode Pomp - Concert hall in Ghent.
» Logos - Organisation for the promotion of new music and audio related arts.
» Thelema Trio -
Contemporary ensemble from Belgium, with an unusual instrumentation.
» Marco Antonio Mazzini -
Peruvian clarinetist, dedicated mostly to the performance of new music.
» Ward De Vleeschhouwer - Belgian pianist and composer.
» Peter Verdonck - Belgian saxophonist and composer.
» Heleen Van Haegenborgh -
Belgian pianist and composer with focus on modern music.
» Marieke Berendsen & Bruno Nelissen = duo Bouffadou -
Dutch duo of violin and electric guitar.

» Thordis Adalsteinsdottir - Icelandic artist in New York.
» Pieter Geenen - Belgian audiovisual artist in Brussels.
» Karen Vermeren - Belgian painter.
» Tinka Pittoors - Belgian artist.
» Laura Colmenares Guerra - Colombian VJ and installation artist.
» Marie-Laure Delaby - Belgian multimedia artist in Brussels.
» Sofia Bustorff - International video artist based in Brussels.

» E-flux -
distribution of information for contemporary visual arts institutions via the internet.
» Artforum - Art Magazine.
» Leonardo -
international arts community which promotes and documents works at the intersection of the arts, sciences, and technology.
» UBU Web - an independent resource dedicated to all strains of the avant-garde.

concerts, residencies & other projects

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2012

· March 24th - sound-drawing performance @ WELTECHO gallery, Chemnitz, Germany.

2011

· November 27th - sound-drawing performance @ F44, Antwerp, Belgium.

· September 1st - sound-drawing performance @ NICC, Antwerp, Belgium.

· June 22nd - KEM open-exam-concert in Academie Muziek & Woord Oud-Heverlee, Hassrode, Belgium.

· June 11th - KEM concert in CC Heist-op-den-Berg, Belgium.

· April 9th - April 17th - participation in the workshop + exhibition PROJECTION ON FORMS & SPACES @ iMAL, centre for digital cultures and technology, in Brussels, Belgium. The audio-visual performance composed DRAWING #2 will take place on 16th and 17th April.

· March 27th - April 8th - Residency + concert @ q-02 werkplaats in Brussels, Belgium.

· March 9th - PG Composers concert at Artaud Performance Centre - Brunel School of Arts, London UK

· February 20th - crox 352 / sound event II, with artist Hallveig Agustsdottir at croxhapox, Gent, BE.
· February 13th - crox 352 / sound event I, with violinist Marieke Berendsen at croxhapox, Gent, BE.

* to see photos and videos from crox 352 / sound events just click HERE

· February 7th - 14th - Residency project at the Masereel graphic Centre in Kasterlee, Belgium.

2010

· November 25th - Performance with Belgian pianist Frederik Croene, at the Academy of Fine Arts in Waasmunster, Belgium.

· November 1st - 5th - Residency project with Belgian pianist Frederik Croene, at the Masereel graphic Centre in Kasterlee, Belgium.

· September 18th - Video projection for a performance project at the OdeGand Festival in Ghent, BE.

· August 15th - October 17th - Residency + exhibition via NUCLEO @ Lindenlei, Ghent, Belgium. Collaborating on this project are artists Juan Duque (Co), Marie-Laure Delaby (Be), Sabrina Harri (Fi), Yannick Franck (Be) and Hallveig Agustsdottir (Is).

· June 26th - JONGE ZWERVERS 2de editie, ArtCinema OFFoff in Ghent, Belgium.

2009

· November 10th - concert at Logos in Ghent, Belgium. A program with video works, performances, and improvisation session with violinist Marieke Berendsen, pianist Frederik Croene and visual artist Hallveig Agustsdottir. The concert starts at 20.00. PHOTOS

· August 8th - LiPiBRePe in concert - free improvisation music and works by Hallveig Agustsdottir, Steve Reich, Sadiel Cuentas and Marco Antonio Mazzini, Centro Cultural Ricardo Palma, Lima, Peru.

· August 5th - LiPiBRePe in concert - free improvisation music and works by Hallveig Agustsdottir, John Cage, Sadiel Cuentas and Marco Antonio Mazzini, Centro Cultural Cafae, Lima, Peru.

· May 16th - Participated in the Portfoliodag, organized by WARP in Sint-Niklaas.

2008

· May 20th - Concert project at Logos in Ghent, Belgium.
Video works, performances, improvisations, and compositions will be presented to you this evening which starts at 20.00.

click here to see PHOTOS

2007

· September 15th - Performance at the 'UNDERGROUND / Sound&Vision' exhibition at the Salons voor Schone Kunsten, Sint-Niklaas, Belgium. The house opens at 19.00 and the performance will start at 20.00.

· May 27th - Participated in the Portfoliodag, organized by WARP in Sint-Niklaas.

2005

· December 18th - Improvisation project in De Vieze Gasten in Gent.
You can click on the photos to enlarge them:

Iris Thissen, cello & direction - Peter Verdonck, saxophone - Bert Dobbelaere, actor
Hallveig G.K. Ágústsdóttir, artist

· Oktober 12th - Society of Composer Inc. National Conference, Greensbora, North Carolina, USA. Performance of "Ice Poems" by Thelema trio.

· February 22th - Logos. Performance of "So Many Ways". Thelema Trio.

· January 26th - Rode pomp. Performance of "So Many Ways".

2004

· November 2nd - International Festival of Contemporary Music in Lima, Peru. World premiere of "So Many Ways". Thelema Trio

· October 13th - The Rode Pomp. Gent, Belgium. World premiere of "Ice Poems" performed by, and dedicated to, Thelema Trio.

exhibitions

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2012

· April 22nd to Mei 27th - solo at the Secret Kitchen, Temse, BE

· March 30th to April 21st - solo at b-gallery, Brussels, BE

· March 24th to April 21st - group exhibition, WELTECHO gallery, Chemnitz, DE

· March 11th till the 25th - solo at Arts & Books Gallery Draulans, Westerlo, BE

· January 20th to March 10th - UNIEKSTE COLLECTIE PLATENHOES-ONTWERPEN IN BELGIUM, group exhibition, Pianofabriek, Brussels, BE

2011

· November 25th to December 22nd - TEKENKUNST group exhibition, CC Zwaneberg,
Heist Op Den Berg, BE.

· October 20th to November 20th - Remco Roes, Francis Denyz & Hallveig Agustsdottir in FACTOR44, Antwerp, BE.

· September 3rd to October 30th - DE LADING group exhibition, Wetteren, Belgium

· September 1st to 25th - CHARACTERS MAKE STORIES at NICC, Antwerp, Belgium

· Mei 20th to June 19th - exhibition 10+11+12 at STRICTLY RABBIT, Ghent, Belgium.

· April 16th and 17th - PROJECTION ON FORMS & SPACES @ iMAL, Brussels, Belgium.

· January 30th to February 27th - 'crox 352' Hallveig Agustsdottir exhibition at Croxhapox, Ghent, Belgium. To see photos from the exhibition click HERE.

2010

· November 20th to December 5th - 'PRIJS VAN ASSE' group exhibition at Kapel Zwartzusters, Asse, Belgium. 10 artists were selected by the jury members Jan Hoet (curator), Marc Ruyters (H ART), Mieke Mels (art historian) & Jan De Smedt (Gallery De Ziener).

selected artists:
Hallveig Agustsdottir, Rudi Bogaerts, Samir Boudia, Brantt, Erwin Clauws, Erik Nerinckx, Ricky Oudermans, Meggy Rustamova, Pieter Vanden Broecke & Micha Wobbe.

· October 16th to 17th - RESONANT FREQUENCIES / OPEN Ateliers group exhibition at Lindenlei 38, Ghent, Belgium. Photos

· March 2nd to June 30th - ...in search of sound(s) solo exhibition at the Royal Conservatory of Ghent, Hoogpoort 64, Ghent, Belgium. Photos

· February 10th to 28th - the OPENING exhibition 'Klanken Kleuren' of "de culturloft" & galerie Art d'Amis at Tentoonstellingslaan 147, 9000 Ghent, Belgium.

2008-2009

· October 17th to November 15th 2009 - Input/Output exhibition at De Bond, Buiten Smedenvest 1 Brugge, Belgium.

selected artists:
Hallveig Agustsdottir, Charlotte De Groote, Peter De Meyer, Marie-Laure Delaby, Filip Gilissen, Phillip Henderickx, Oscar Hugal, Berten Jaekers, Jonas Marga, Matgorzata Maria Olchowska, Sven Overheul, Jasper Rigole, Yoko Tack, Stijn Van Acker, Sofie Van Der Linden and Tamara Van San.

· August 1st to September 6th 2009 - extensions...(working title) residency + exhibition of Threeplusone at Croxhapox Zennestraat 17, Brussels, Belgium. Photos

· June 5th to 7th 2009 - EXPANDED SCAPES exhibition of Threeplusone at Leopoldskazerne, Kattenberg 4, Ghent, Belgium. Photos

· February 14th to March 14th 2009 - Exhibition PANORAMATIC "A CROSS ATLANTIC RESPONSE" at Espace Ladda, Sint-Pietersnieuwstraat 21, Ghent, Belgium. Photos

· February 12th to March 13th 2009 - movement/moment solo exhibition at the Royal Conservatory of Ghent, Hoogpoort 64, Ghent, Belgium. Photos

· December 12th to February 28th 2009 - Exhibition X-mART at Het Achterhuis, in Ghent, Belgium. Open in the weekends or by an appointment.

· December 10th to January 15th 2009 - Project OPEN VIDEOS at the Gasteig, in Munich, Germany. Open daily from 18.00 - 22.30.

The selected workes for this project come from all over the world but have the one thing in common of being silent works. They will be projected on to a big screen that has been placed at the front of the Gasteig building. Click HERE to see the playlist for the video's.

2007-2008

· December 14th to January 20th (2008) - Visual arts competition and exhibition INPUT / OUTPUT at the De Bond, Buiten Smedenvest 1, Brugge, Belgium. The opening is on December 13th and starts at 19.30.
The exhibition will be open everyday between 13.00 and 18.00, except for December 25th and 26th, and January 1st and 2nd.

Artists at the exhibition were:
Nel Aerts, Hallveig Agustsdottir, Steven Baelen, Tjörven Bruyneel, Peter Depelchin, Christophe Engels, Pieter Geenen, Manor Grunewald, Charlotte Lybeer, Tinka Pittoors, Dries Renglé, Lien Sergeant, Jeremy Swinnen, Nele Tas, Stijn Van Acker, Rinus Van de Velde and Preben Van Der Straete.

· September 16th to October 21st - Exhibition 'Underground / Sound & Vision' at the Salons voor Schone Kunsten, Stationstraat 85, Sint-Niklaas, Belgium. The Opening evening will take place on Saturday the 15th of September, starting at 19:00, which includes performances and musical events.
The exhibition will be open Thursdays to Saturdays from 14:00-17:00 and Sundays from 10:00-17:00.

Artists at the exhibition were:
Hallveig Agustsdottir (ICL), Fred Bervoets (B), Hubert Czerepok (Pol), Arnaud Gerniers (B), Ellen Hofstra (Nl), Jacques Jadot & Luc Barbier (B), Eva Koch (DK), Paul McCarthy (USA), Wim Lambrecht (B), Sofie Muller (B), Stef Renodeyn (B), Jasper Rigole (B), Jan Van Imschoot (B), Tim Vets (B), Artur Zmijewski (Pol).

Photos

· July 6th to 12th (in Brussels) - The international project 'a->b Urban Trajectories' of 30 artists and which takes place in 3 cities, will open on the 5 July in 'L'Imprimerie', Brussels.

· May 6th to June 2rd - Exhibition 'Young Artists (selected by)' in the Palmarium building in the Botanic Garden of the University of Ghent, Belgium.
An Opening reception will be on Sunday 6th of May from 11.00 to 18:00. The exhibition will be open everyday (except Mondays) from 10:00 to 18:00

Artists at the exhibition were:
Hallveig Guðný Kolsöe Ágústsdóttir, Steven Baelen, Jonas Drieghe, Johan Gelper, Tinka Pittoors, Annelies Tyberghein, Pieter Vanden Broecke, Peter van Loon, Karen Vermeren

Photos

2006-2007

· October 29th to January 21th 2007 - Exhibition 'LIGHT PLAY' in Z33, in Hasselt, Belgium. Open from 11.00 - 18.00 Tuesday to Saturday, and from 14.00-17.00 on Sundays.

Artists at the exhibition were:
Hallveig Agustsdottir (IS), Larry Bell (USA), David Claerbout (B), Gianni Colombo (I), Erki De Vries (B) & Tim Vets (B), Fred Eerdekens (B), Olafur Eliasson (DK), Simon Heijdens (NL), Jeppe Hein (DK), Cristina Iglesias (E), Ann Veronica Janssens (B), Germaine Kruip (NL), László Moholy-Nogy (H), Nicolas Schöffer (F).

Photos

· September 2nd to October 6th - OUT OF CONTROL exhibition of last year students from various Flemish Art schools, organised by the Vrije Universiteit Brussel.

· February 6th to 10th - Exhibition in KAMER XII, in Sint-Lucas, Zwartezustersstraat 34, in Ghent. Open from 08.00 - 18.00 Monday to Friday.
Photos

2005

· December 18th - Improvisation project in De Vieze Gasten in Ghent.

· November 17th - AmuseeVous art evening at the MIAT (Museum voor Industriele Archeologie en Textiel) in Ghent.
Photos

· February - Solo Exhibition. Royal Conservatory Ghent, Belgium.
Photos

· February 23de - Mini-m art evening in Het Achterhuis. Mini-m was organised by De Verbeelding & Spirit vzw.
Photos

2004

· September 24th-26th - Participation at the opening of Het Achterhuis in Ghent, in collaboration with the Peruvian clarinetist Marco A. Mazzini.
Photos