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BZZZ! International Sound Art Festival July 3-5 2015
Fri-sat: 5 pm - 10 pm / Sun: 2 - 4 pm



MAX WAINWRIGHT - “Sound Factory Workshop”
(Bring Vinyl, Audio Files and Objects!)
MICHELE COLLINS - “Wisdoms Corner”
(Un-Official Public Speaking - Reuse, Remix Reclaim Words)
ALESSANDRO PERINI - “Wooden Waves”(Tactile Sound Installation)
JULIE ERICSSON - “Heaven”(Sound Garden Installation)
MIKAEL ERICSSON - “Kvarnofon”, “Harplinge Watch Tower”
(Permanent Installations)
LEIF HOLMSTRAND - “Hymenopteran Bosatsu”, “High Restrainment”,
“Babies in a Net”, “Veins of the Giant Thingy” (Permanent Installations)

19:00 INVIGNING Kajsa Magnarsson, Mikael Ericsson, Julie Ericsson

19:15 NEIL LUCK - “My Dull Mouth” (vocalist and tape)
20:00 MARTA FORSBERG - “Weave and Dream” (led lights and electronics)
20:45 MAX WAINWRIGHT - “Useless Objects Brought to Sound”
(site specific performance/installation)
21:30 OLOF HEINÖ - “Calypso Cut-Up DJ”


19:00 LUCIE VÍTKOVÁ - “Imprints of the Landscape” (accordion, voice and tap shoes)
20:00 DAMIAN LINTEL-SMITH - “Psychiceyeclix” (circuit bent, rewired games consoles,
drum machines, synths and camcorders)


Sound Art Curator: Kajsa Magnarsson
CEO, Art Laboratory Director & Founder: Julie Ericsson
Chief of Artistic Operations & Founder: Mikael Ericsson
HARP ART LAB, Harplinge Väderkvarn, Kvarnliden 8, Harplinge, Sweden
070 7304631 info@harpartlab.se www.harpartlab.se
FACEBOOK: www.facebook.com/harpartlab

Program as PDF: Click here!


NEIL LUCK - "My Dull Mouth"

"My Dull Mouth" is a performance constructed from the wreckage of other recent pieces by Neil Luck. Failed experiments, bad performances, out-takes, bloopers, and half-arsed compositions are salvaged, deconstructed, and regurgitated as serviceable material. The flotsam and jetsam of the artist's practice is brought together at a table top and reduced down to its basic elements. A compendium of 'bargain-basement' highlights, My Dull Mouth is a constantly evolving and growing work, a testimony to consistently low-quality output of the artist.

Neil Luck is a composer, performer and director based in London. His practice focuses on the
theatrical and physiological nature of musical performance, a concern which underpinned all his
work in a range of media from music-theatre, to concert works, curatorial projects, installations and
public projects.

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"Wooden waves", is a tactile sound installation, reflecting on the relationship between the human artifacts and the nature of the sea, that people will experience with their bodies. The sound installation uses the wooden floor of Harplinge windmill as a vibrating surface and lets people feel the movement of sound vibrations along their bodies, when lying on the floor. "Wooden waves" is a new project by Alessandro Perini from a series of works he is producing in the frame of his research project about sound and vibration, documented on www.touchmysound.wordpress.com

- BA in Science and Technology of Musical Communication  (Università Statale di Milano, 2006)
- BA in Electronic Music and Technologies of Sound  (Conservatorio di Musica di Como, 2007)
- BA in Composition  (Conservatorio di Musica di Como, 2009)
- MA in Composition, with honorable mention  (Conservatorio di Musica di Como, 2011)
- MA II in Composition (Music Academy of Malmö, 2013).

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MARTA FORSBERG - “Weave and Dream”

"Weave and Dream" är ett utforskande av mörker, ljus och färg där jag utgår från arkitekturen i Harp Art Lab. Under en vecka bygger jag en installation på väderkvarnens första våning med hjälp av LED-ljus, tylltyg, paljettband och minimalistisk drone-baserad elektronisk musik. Verket blir ramen runt en parallell verklighet, som glasväggar mot resten av världen. Där innanför rör jag mig obehindrat, och dit vill jag bjuda andra att besöka mig. Weave and Dream står för trygghet, utrymme, vila och glöd. Ett rum att omslutas och vila i, där det enda som finns är det som sker här och nu.

My name is Marta Forsberg, and I am currently a bachelor student in Electroacoustic composition at the Royal College of Music in Stockholm. I am a violinist and a electroacoustic composer. I work in the field of free improvisation and slow, drone based music. My main aspiration as a composer is to create an all embracing environment for the music, performers and the audience by visualising sound with colour and light constructions. I perform continually as a violinist and electronica musician both as a solo artist and in various ensembles.

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DAMIAN LINTEL-SMITH - “Psychiceyeclix”

I perform with circuit bent/rewired games consoles/drum machines/synths, camcorders pointed at the audience glitched up. All my equipment is recycled, with rewiring old redundant equipment can be circuit bent into a usable state of now. Visuals & audio are continuously mutating, glitching in time with each other showing the interplay between visuals & audio.

I make circuit bent audio/visual/experimental music/instruments as Psychiceyeclix since 2001, based in London. I have performed in many countries over the years including Greece, Japan, Spain, France and Holland. I have made 6 music ep's/albums, 10+ music videos, 100+ circuit bending videos, 1 Audio/visual ep.

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LUCIE VÍTKOVÁ - “Imprints of the Landscape”

"Imprints of the Landscape" is a new piece in which I am exploring the site of Harplinge Windmill. I am going to choose four different places with interesting and contrasting sound environments where I would like to record sound excerpts. Out of the recordings, I am going to write down four new scores (combining classical, graphic and text notations). Then, I will perform these compositions at the concert situation of the festival with accordion, harmonica, voice and tap shoes. That way, the outside sonic landscape will appear inside of the windmill, framed by my presence at those specific places, catching the moment and sharing it with the festival audiences.

Lucie Vítková is a composer, improviser and performer (accordion, harmonica, voice and tap dance) from the Czech Republic, studying at the Universität der Künste Berlin with Marc Sabat. Her compositions focus on sonification (compositions based on abstract models derived from physical objects), while in her improvisation practice explores characteristics of discrete spaces through the interaction between sound and movement. In her recent work, she is interested in the musical legacy of Morse Code and the social-political aspects of music and art in relation to everyday life.

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MAX WAINWRIGHT - “Sound-Object Factory-Installation”

During BZZZ! I will have a sort of sound-object factory-installation, where I will take things I find and have brought and make them into other things. I will play sounds, make short-term installations, leave instruments lying around. Anyone can join me in these activities, or bring a favourite recods (cd/cassette/vinyl are fine), bring some object that could be made to sound, try out some new instruments, or simply watch and listen.

I will document the weekend here: http://www.maxwainwright.com/wiki/index.php?title=BZZZ

My name is Max Wainwright and I make things and sounds. I tend to focus on how to make sounds (what physical activities are involved) and with what I make them. Interests related to the how are (lack of) control and planning: I want to keep things open, let events unfold as they will; any resulting sounds are acceptable. They are interesting not primarily in themselves but in relation to how they were made. I live in Gothenburg, Sweden.

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MICHELE COLLINS - “Wisdoms Corner”

For the BZZZ Festival, Michele Collins will tranform parts of Harplinge windmill into a "Speakers Corner" or rather "Wisdom's Corner". In this site-specific work, the audience will be encouraged to participate to re-use their words, remix their meanings and reclaim their power and the freedom of speech. A new sense of place and power will be explored. Express yourself! Welcome to participate and re-create!

Michele Colloins is a multi-disciplinary performer from San Fransisco USA, living in Sweden. Rhythm, tempo and tone along with, sincerity and responsiveness are the main elements used in her work. For over 30 years she has created herown inter-disciplinary productions and collaborated in productions with musicians dancers and filmmakers worldwide. Performances are everchanging, formed and flavored by the playfulness of the actors and the response from the audiences. She is constantly renewing and reviewing her artistry, relating it to other artists of her trade.

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"Heaven" is a new site-specific sound art work by Julie Ericsson. In a large cube of plexiglass, sculptural mobiles of prisms and reused materials creates an universe of light and sound. In this sealed space constant climate change occurs by the impact of nature. This creates an everchanging installation in the interplay between light, sound and movement.

Julie Ericsson works with sound, sculpture and photography and has exhibited in Sweden, Holland, Spain, France, Belgium and Italy. Julie Ericsson is art laboratory director at Harp Art Lab which she founded with Mikael Ericsson in 2010.

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LEIF HOLMSTRAND - "Four Site-Specific Works"

"Veins Of The Giant Thingy" (2013) is one of four site-specific works at Harp Art Lab by Leif Holmstrand. Three other sculptures are installed outdoor, hanging from the balcony of the windmill, exposed by weather and climate change: "High Restrainment", "Babies In A Net" (2013) and "Hymenopteran Bosatsu" (2014).

Lef Holmstrand: Swedish artist, musician and writer. Heavy sculptural installation pieces built out of garbage, textiles and manipulated cut-up furniture may alternate with sound installation, still image and video. Performance also plays an important part in this body of work. A lot of the projects are small fragments of a much larger, possibly collective queer activist pursuit. Born 1972.

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MIKAEL ERICSSON - "Millophonia/Kvarnofon"

Mikael Ericsson participate in BZZZ 2015 with "Kvarnofonen" - a permanent sound art work installed at Harp Art Lab in 2012. The sails, of the windmill, are running two enormous bellows that are supplying a modified pipe organ with air. The sound is controlled by a pneumatic mechanism that operates the pipe organ action via piano-rolls that are preprogrammed by the artist. This procedure is 100% handmade by cutting, punching and stitching it all together to feed Millophonia with fresh sound art.

Mikael Ericsson (SE) has a MFA from the Royal Danish Academy of Fine Arts, Copenhagen, School of Visual Arts. He works with various forms of artistic expressions such as drawing, animation, sculpture, sound, film and television. In the recent years Ericsson has created a series of large-scale audio and video installations using hand drawing animation, florescent light and moving projectors to stage his cinematic installations. Ericsson is Chief of Artistic Operations at Harp Art Lab which he founded with Julie Ericsson in 2010.

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Kajsa Magnarsson is a Swedish sound artist, performer and curator. Her work mostly deals with political or sociological subjects, exploring objects and phenomena with a curious and reflective eye, never shying away from provocative topics. Magnarsson doesn’t want to project an opinion on the listener or viewer, but rather make the audience reflect by themselves. She started to work as a curator for the Bzzz! International Sound Art Festival in 2014 at Harp Art Lab in Harplinge, Sweden, and is since then the permanent sound art curator at Harp Art Lab. Magnarsson is the founder and current chairperson of the Swedish Society of Sound Art (Svenska Ljudkonstföreningen).

Kajsa Magnarsson lives in Gothenburg, Sweden and in Berlin, Germany.
Universität der Künste, Berlin, Germany, Composition, 2015 -
Academy of Music and Drama, Gothenburg, Sweden, Composition, Sound Art, 2012 - 2015
Gotland School of Music Composition, Visby, Sweden, Composition, 2009 - 2011

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Program as PDF: click here!


Harp Art Lab | Harplinge Windmill | Sweden