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There is an excess in the world that technologies try to erase, and encyclopaedias refuse to contain.
In signal-to-noise ratio, composer and sound artist Olga Kokcharova reverses the logic of recording technologies, which have long aimed to eliminate background noise. In close collaboration with Ensemble Contrechamps, she brings the so-called noise—rustle, breath, interference—to the fore, treating it as emotionally charged and sonically expressive.
Labyrinthic Explanation of Knowledge, by Ewa Jacobsson and Hilde Marie Holsen, follows another path. The installation brings together objects Jacobsson has accumulated over decades—knitting and aluminium, sweets and metal sheets, pearls and waste, fragile textures and processed sound.
Some are soft and familiar, others cold and industrial—some generally considered waste. But in this installation, none are valued above the others. What matters is how they act, sound, and resonate together.
Tiny speakers are embedded in each object, forming a circuit through which sound moves in shifting patterns. Holsen’s trumpet and Contrechamps’ instrumental sounds circulate between the objects, opening space for uncertainty, for the minor and the peripheral, and for intuition and sensation as ways of knowing the world.
Programme
Olga Kokcharova
signal-to-noise ratio (2024) (Norwegian premiere)
Ewa Jacobsson & Hilde Marie Holsen
Labyrinthic Explanation of Knowledge (world premiere)
Both works are composed in close collaboration with Contrechamps
Facts
Installation collage. Photo: Ewa Jacobsson and Anna Lerheim Ask
Olga Kokcharova. Photo: Johannes Berger
Ewa Jacobsson. Photo: Anna Lerheim Ask
Hilde Marie Holsen. Photo: Julie Hrncirova
Ensemble Contrechamps. Photo: Regis Golay