peter norrman

[ art practice ]

PARTS ARE EXTRA - an art platform

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Peter Norrman • Christina Campanella

PARTS ARE EXTRA

a sound and cinema project

Blending sonic collage with documentary-style footage and re-purposed archival recordings in both media, the duo creates a starkly fantastical universe of dystopian landscapes and eerie, dreamlike worlds. Driven by a live score of deconstructed electronic art songs, fractured narratives of uncharted journeys, spaces of transition, modern decay and the fragility of the natural world are subtly revealed. 

 

 

 

RETAIN

RETAIN

Small cine-sculptures. Made from found Brooklyn historic objects (decommissioned), micro projectors, optics, plexiglass, vellum and old tripod legs.

Artist: Peter Norrman
Sound: Peter Norrman/Christina Campanella

terminalconvention.com/

Project description:

My first ideas for this project was the idea of the decommissioned airport as the Auditorium and Cinematic Space. Or, the Airport as An Image Maker. 
I asked myself: How does the airport retain images? How can I think about the airport as a Projector? An Identifier? A fleeting and transient Image Maker (of x-rays, visitors badges, travelers snapshots). The airport both connects and projects stories. It is both the beginning and the end of an event.  
The more I thought of a large scale response to my questions, the more I was drawn to something very small. This seemed to resonate with the transitoriness of airports. The transient gesture as a small gesture.
As I further examined my response to the site I was drawn to ideas around short durational time (jetlag and my 2 day visit from Brooklyn), the space as an 'archeological site'  and my findings while digging through left-behind electronic trash (digital artifacts). Drawing from ideas around 2,976 found small jpegs of airport visitors in the 90s (all less than 200k), of identity and identification, and the site as a cinematic apparatus I am creating 3-5 cine-sculptures made from parts that will all travel with me from Brooklyn.
The work will further touch upon: ideas of leaving/returning, bodies in motion, Brooklyn immigration and decommissioned spaces. In addition each sculpture is an apparatus in itself (old reconfigured technology, micro projectors) and draw from ideas around the airport as a cinematic apparatus: taking photos (eyescans, ID cards), non-recorded events (x-ray), global media culture (tv-screens), stories (visitors, workers), and training and how-to videos (repeated practicalities).
The ultimate project is a culmination of architectural archeology and experimental cinema.

 

N.WAVES installation

N.WAVES

 

A multiplatform art project about the concept of northerness. 

 

By Leif Jordansson and Peter Norrman.

Using the unique rise of landmass in the High Coast region of northern Sweden as a departure point, we have created an immersive sound and video environment that reworks this northern narrative about the post glacial rebound and changing northern landscape. It is both a suggestive historic narrative and an ambient reflection of the soft and aggressive changes of this unusual landscape.
In our installation - n.waves - the manipulated video will further explore ideas of coastal landshift, the desolate expanse of the north, temporal changes and shifting movements in the nature and the landscape, and otherworldy arctic imagery. The multichannel sound will use drones, tones and field recordings from nature; birds, thawing of ice, ripples of water, but also space recordings from the NASA archives. Most of the sounds are treated electronically and are also juxtaposed with tonal sounds from an orchestral sinfonietta creating a dialogue with the electronic soundscape. (in collaboration with Pelle Kronestedt)

 

Please Don't Video

A film a made in collaboration with David Byrne.

Text from DB's email sendout.

.........................................................

Hello

Here's the video for the Santigold track "Please Don't." We did a photo session for a magazine the other day, and I told the interviewer that on this song, by the time you get to the chorus, she owns it - she's turned it into a Santigold song. Perfect.

Click on the image to watch the video: 

There are six of these videos that have been completed for this project. Most, like this one, use news and archival footage to, well, show that every word of the song is true! Most of the lyrics on this one are lifted gently from interviews and quotations - the "please don't" chorus especially. At some point as first lady, Imelda began to feel that she could help Philippine interests by charming world leaders into seeing things her way. "Handbag diplomacy" she called it - as she liked to imply that to solve a problem, she could bypass President Marcos and just grab a handbag and hop on a plane with some of her assistants. It sometimes worked! There was, for example, an Islamic-backed insurgency rising in the south of the Philippine archipelago, and she thought that a leader in that part of the world, Qaddafi in this case, might help pull the plug on that support if he saw things her way. Apparently he did - the funding stopped and the insurrection lost momentum, and she later described him as a pushover, a mama's boy.

-DB