Interview with Det Elektriske Korps
Oslo, 13.11.2019
Q: Why / when / how did you start to work with performance, what is your background, how did you arrive at doing performance?
We have previously been working with various performative projects both solo and collaborative, primarily sonic expressions, actions and installations in public space. Einar aka Stiv Heks performs solo with found footage, tape-loops, eurorack modular and circuit bent instruments. He is also boss of the Hulesystem cassette label. Einar has been working with FORCEFIELDS in Japan and Europe. Øyvind's career in eclectic 90s pop/prog/metal peaked on tour with Mangolassi Marghaug in Japan 2008. Beyond that he has performed with custom-made electromechanical instruments in various constellations such as Illd, playing noise and ambient.
Einar is a Child Welfare Officer and Øyvind is educated from the Art Academy in Bergen.
Our projects Det Elektriske Korps and Samvær Under Tilsün began in 2016. S.U.T. emerged from our research on portable drum machines in relation to DEK and both projects has been expanding ever since. We are concerned with well-being and generating unusual yet amusing atmospheres through our combined efforts.
Q: What is your process like when you make a performance, from idea to actual work?
We talk a bit about it, make some practical tests for a proof of concept, and start working on our designs and concepts until we reach a satisfactory result, and then the process most likely starts again with further cycles of expansion and elaboration.
Q: Can you tell us about your latest project?
Samvær Under Tilsüns Pling Pong is an augmented table tennis system with your Life™ at stake - Wave your paddle wildly into thin air and perhaps you will be victorious and win the S.U.T Pling Pong travelling trophü?!
Irma (8) has contributed with custom designs and her father, the renowned typographer Ellmer Stefan, has composed a sequence of signs for the special Pling Pong tape that encircles the edges of the paddles.
Q: What role does performance art have in your life / artistic praxis? Do you also work within other fields, like installation, sculpture, drawing, and other expressions? How do they influence / inform each other?
Performance art keeps us busy on the weekends and is a conglomerate of our individual artistic practices and ideology.
Q: With what kind of form / material do you express yourself and use in your work and how did you arrive at using this material?
We try to gather as much material as possible.
Q: How do you experience or consider the audience / surrounding? What space / surrounding do you find interesting to work in? How does your surrounding influence your work? Do you involve the public? If so, how?
We are concerned with our audience, including ourselves, and aim to facilitate a positive situation for a collective experience. For instance through improvisation on portable drum machines in public space, our annual Samvær Under Tilsün; Grei Kafe/Sonic Theme Park I and II, with outdoor sound system, tea, griddle cake and experimental steamed raisin buns. We are not very strict when it comes to the distinction between audience and performer due to the nature of our projects.
Q: You are listed as Det Elektriske Korps, why are you then showing up as Samvær Under Tilsüns Pling Pong instead?
We changed our minds due to the manifestation of a new project in the meantime. Besides, Det Elektriske Korps and Samvær Under Tilsün are 2 SIDES OF THE SAME COIN!
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Q: Why / when / how did you start to work with performance, what is your background, how did you arrive at doing performance?
We have previously been working with various performative projects both solo and collaborative, primarily sonic expressions, actions and installations in public space. Einar aka Stiv Heks performs solo with found footage, tape-loops, eurorack modular and circuit bent instruments. He is also boss of the Hulesystem cassette label. Einar has been working with FORCEFIELDS in Japan and Europe. Øyvind's career in eclectic 90s pop/prog/metal peaked on tour with Mangolassi Marghaug in Japan 2008. Beyond that he has performed with custom-made electromechanical instruments in various constellations such as Illd, playing noise and ambient.
Einar is a Child Welfare Officer and Øyvind is educated from the Art Academy in Bergen.
Our projects Det Elektriske Korps and Samvær Under Tilsün began in 2016. S.U.T. emerged from our research on portable drum machines in relation to DEK and both projects has been expanding ever since. We are concerned with well-being and generating unusual yet amusing atmospheres through our combined efforts.
Q: What is your process like when you make a performance, from idea to actual work?
We talk a bit about it, make some practical tests for a proof of concept, and start working on our designs and concepts until we reach a satisfactory result, and then the process most likely starts again with further cycles of expansion and elaboration.
Q: Can you tell us about your latest project?
Samvær Under Tilsüns Pling Pong is an augmented table tennis system with your Life™ at stake - Wave your paddle wildly into thin air and perhaps you will be victorious and win the S.U.T Pling Pong travelling trophü?!
Irma (8) has contributed with custom designs and her father, the renowned typographer Ellmer Stefan, has composed a sequence of signs for the special Pling Pong tape that encircles the edges of the paddles.
Q: What role does performance art have in your life / artistic praxis? Do you also work within other fields, like installation, sculpture, drawing, and other expressions? How do they influence / inform each other?
Performance art keeps us busy on the weekends and is a conglomerate of our individual artistic practices and ideology.
Q: With what kind of form / material do you express yourself and use in your work and how did you arrive at using this material?
We try to gather as much material as possible.
Q: How do you experience or consider the audience / surrounding? What space / surrounding do you find interesting to work in? How does your surrounding influence your work? Do you involve the public? If so, how?
We are concerned with our audience, including ourselves, and aim to facilitate a positive situation for a collective experience. For instance through improvisation on portable drum machines in public space, our annual Samvær Under Tilsün; Grei Kafe/Sonic Theme Park I and II, with outdoor sound system, tea, griddle cake and experimental steamed raisin buns. We are not very strict when it comes to the distinction between audience and performer due to the nature of our projects.
Q: You are listed as Det Elektriske Korps, why are you then showing up as Samvær Under Tilsüns Pling Pong instead?
We changed our minds due to the manifestation of a new project in the meantime. Besides, Det Elektriske Korps and Samvær Under Tilsün are 2 SIDES OF THE SAME COIN!
<< Back