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This project by Alwynne Pritchard for Kammerkoret GNEIS and friends was presented in collaboration with Neither Nor at Østre, Bergen on April the 8th, 2018.

with:
Alastair Jenkins, Ann-Kristin Bjerknes, Artur Ribeiro, Eileen Dalland, Hanna Pherson, Ingvild Sol, Irene Brendehaug, Kristin Mestad, Marta Jacob, Philip Njaidi, Tanja Silvestrini, Trine Hofsvik Strønen and Vincent Stephen.

Composer and artist Alwynne Pritchard continues her exploration of the relationship between the human voice and the fragile mechanics of the human body, this time in collaboration with Kammerkoret GNEIS and friends.

Taking place simultaneously in Lydgalleriet and in Østre’s black box venue, the audience is invited to move between the live, acoustic environment of the choir and a disembodied, amplified manifestation of the sounds they are investigating. This is interwoven with archive audio from cassette recordings made by Pritchard in 1980, to create a kind of ‘act of observance’ of the discrepancy between the body’s shifting internal clocks and apparent reification of time on tape. Stamp Club Report 1980 is an account of how physical motion/proximity/intimacy, spatial environments and modes of sound dissemination impact our experience of time.

Kammerkoret GNEIS was founded in 2005 by conductor Tore Kloster. The choir specialises in performing new music by composers based in the West of Norway.

This collaboration continues a process started with Regnsvart, commissioned by the choir and premiered at the Borealis festival in March 2017.