Underskog

Fredag 20 januar kommer Rudi Valdersnes til Wrap og gjør Audioglimt. Han spiller til scener fra Yafei Qi’s interessante kunstfilm “Hours and Hours” og den imponerende russiske animasjonsfilmen, og propagandafilmen “Shooting Range” fra 1979 av V. Tarasov. Soyuzmultfilm, basert på et skuespill av V. Slatkin.

Konserten starter klokken 20.00. Dørene åpner klokka 19.00 Konserten varer i ca. 40 minutter.

Mer om kunstnerne, musikken og filmene:

Musiker

Rudi Valdersnes (1978, NO) has his work as an instrumentalist, composer and DJ.
In recent years, Valdersnes has distinguished himself as a central figure in the experimental techno scenes in Norway, both as a producer and DJ. His distinctive style revolves around repetitive structures and elongated percussion landscapes that are mainly based on polyrhythms as the main element. His music is characterized by depicting clear and contemplative narratives, often described as hypnotic and meditative. His musical background began in his youth as a songwriter and guitarist in punk rock and new-wave bands. Strongly inspired by folk music and by early minimalist composers, he has designed his distinctive personal expression and style in electronic music.
He has a long career as a musician with playing assignments at home and abroad on the merit list, in addition to a number of commissioned works for key festivals such as the EKKO Festival, the Meteor Festival and the Bergen Festival, Valdersnes proves to be a versatile and dedicated musician.
Spring 2020, Valdersnes will be incorporated as a member of the Norwegian Composers’ Association. In 2018, Jiska Huizing, Julie Silset and Rudi Valdersnes started the record company Ideophone Records, which focuses on electronic and electroacoustic music for the adventurous dance floor and listeners. Through the record company and his involvement in the DOT collective, he arranges club nights and other musical events. In the autumn of 2018, Valdersnes initiated the concert series Ohm at Cafe Opera, where artists from various musical disciplines were invited to do a collaborative concert. The artists Bjørn Tomren, Ida Nerbø, Craig Wells and Fridtjof Wesseltoft were among some of the contributors.

Description of art:
The music I produce is mainly percussion-based using hardware synths and self-made instruments in wood and pliers. My overall artistic project is to obtain and cultivate my own rekved instruments. I only use objects that I have found on the shore on my trips in the local area or on longer trips. Instrument collection consists of marimba in wood, shakers in wood, shells or seaweed, rhythm sticks, hand drums with goatskin, güiro and various chimes.
The percussion instruments are inspired by folk music from different parts of the world. The working method I use in music production is to sample and then record the instruments. The hardware synths are then tuned in the tonality that the acoustic instruments offer. This opens up for an organic and different approach to electronic music production.
I enjoy working with other musicians and artists from different genres and disciplines. My approach to music is first and foremost improvisation based and through a strong experience of curiosity and creativity.

Filmkunstnerne

Yafei Qi’s film Hours and Hours follows the daily routine of a man that has confined himself to his apartment over the course of three days. He feeds his cats, showers, eats breakfast, and takes medication. He cleans, observes life on the street through his window, watches TV and reads a few pages in a book. Monotony gradually into morphs into loneliness and finally alienation and anxiety.

The Swedish historians Lars Trägårdh and Henrik Berggren use the term “statist individualism” to argue that the contract between the state and individual in the Nordic countries is not collectivist, as is often assumed, but hinges on the state guaranteeing individual freedom. Qi became interested in this idea during the pandemic. How do we care for neighbours or relatives in difficult times? If we follow Trägårdh and Berggren, then perhaps in the Nordic countries we consider care a responsibility of the state rather than the family. There is an expectation that the state will care for the elderly and the sick, pay for higher education and so on, thereby guaranteeing freedom for the individual. From this perspective, the typical Nordic person is a hyper-individualist.

Chantal Akermans film Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975) has been a key reference for Qi while working on Hours and Hours. Like Akermans film, Hours and Hours shows everyday tasks performed over a few days in a small apartment. But unlike Jeanne Dielman, who lives her life in the service of others, as a mother, cooking and cleaning and working as a prostitute, Qi’s protagonist has his basic material needs met by the state.

Yafei Qi lives and works in Oslo. She received her MFA from The Art Academy in Bergen and her BFA from The Central Academy of Fine arts in Beijing. Previous solo exhibitions include Wearing the Fog, Migrant Bird Space, Berlin, 2019; Life Tells Lies, NoPlace, Oslo, 2017.

Hours and Hours is supported by Regionale prosjektmidler from Kunstsentrene i Norge (KiN). This exhibition is the result of Atelier Nord’s yearly Open Call.

“Shooting Range” from 1979 by V. Tarasov. Soyuzmultfilm, based on a play by V. Slatkin.

Based on a play by V. Slatkin. An unemployed American gets a job in a shooting gallery as a live target; the greedy capitalist owner charges patrons double for the chance to shoot at a human being. Tarasov, a fan of J.D. Salinger’s “The Catcher in the Rye,” modeled the film’s hero on Holden Caulfield. An artist as well as an animation director, Tarasov combed through back issues of “America,” a magazine published by the U.S. government during the Cold War, and American comic books, to lovingly create the film’s fabulous New York City back drop. The attention to detail is amazing (and sometimes off base), from the graffiti on the buildings to the brand name on the back of the hero’s tennis shoes.