> about> cv> works> research          
I can be contacted at: kjersti.sundland(at)gmail.com
////HOME///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////UPDATED 27/11/16/


Bergen Kjøtt, January 2015
Installation. Kjersti Sundland and Anne Bang-Steinsvik
6 contact microphones connected to chairs in front of the screen, speakers, live video signal, light fixtures.

Situated outside the factory, there was a couple of large oak trees. The camera angle was making the scene seem like it was taken from a large forest. The contact microphones where picking up the vibrations in the chairs when people sat down, four different sound frequencies was processed through the computer, translating the sound signal to three light fixtures outside.

Conjoin 1#2 was been inspired by the concept of cinesensory experience. The term is taken from Amir Soltani`s essay on cinema and architecture, titled Cinesensory: A filmic design for mapping haptic space" where he is identifying a new site for spatial consciousness in film audience that he defines as "Cinesensory". Soltani point out in his essay," how movement and motion became a visual fantasy, a perceptual shift in peoples consciousness in early cinema. A comparison with the city dweller / flaneur is being made with the moviegoer in the early days of film, being able to represent or locate particular psychological aspects of built environments. I found it interesting to use this the term cinesensorial, and connect it with psychological aspects of how we perceive and navigate ourselves in our environments, but more in relation to a sense of "loss" of coordinates, as a form of fragmentation in our bodily experience. Cinesensorial, or seeing "through screens", seemed also to inform, or point towards questions not only on how we orient ourselves spatially, but also socially and psychologically.

Link to video documentation from installation on Vimeo:

Funded by Norwegian Cultural Council and Bergen Academy of Art and Design external artistic research board. Technical development, Stian Larsen, Bergen Centre of Electronic Art.


Conjoin #1

Autumn Nights, Kalfarlien 18
Curated by Nora Adwan October 2014
Microphones, plexi screen, live video signal from camera, lights and projection.

"What does it mean to be lost? I follow the path the forest, stray from the path, and all of a sudden, I feel completely disorientated. Space is still organized within the conformity of my body. There are regions to my front an back, to my right and left, but they are not geared to any reference points, and hence are quite useless. Front and back regions suddenly feel arbitrary, since I have no better reason to go forward than to go back. Let a flickering light appear behind a distant clump of trees. I remain lost in that I still do not know where I am in the forest, but space has dramatically regained its structure. The flickering light has established a goal. As I more towards that goal, front and back, left and right has reassumed their meaning: I stride forward, I am glad to have left dark space, and make sure that I not veer to the left or right.
Yi –Fu Tuan " Space and place"

Situated in an old residence in Kalfarlien, this installation was placed in an attic, as part Autumn Nights, a series of art exhibitions and events. A camera was installed in the garden outside the house. Two microphones in the attic, and a small microphone placed in the narrow staircase leading up to the room where connected to a computer. When people walked in the stairs or made sound in the room. Light fixtures outside where shedding lights on to the live video image from the garden. The word "conjoin" translated into Norwegian is "sammenføyning", a word used to describe how different materials are joined e.g. used to describe the action of welding, gluing or nailing materials together.

Funded by Norwegian Cultural Council and Bergen Academy of Art and Design external artistic research board. Technical development, Stian Larsen, Bergen Centre of Electronic Art.


Looking Backwards – Recording Now

Hå Gamle Prestegård 2013
Video projections, sound, live web camera, tree, and wooden box. Spot light.

The installation consists of two video works and sculptural object. A large wooden panel is hung from the ceiling creating two parallel projections surfaces on each side of the panel. The video consists of recorded material from a trip I made to Murmansk in 2010. On this trip I recorded scenes from two different residential houses, one student collective and at a elderly woman's flat. The scenes where digitally manipulated to fit into three different locations in Bergen. One student collective, one young father and child, and a young women`s flat. Together the video material creates a interiour scene, where all the residents live together. A pan shot moving from one side of the interior to the other side, is slowly evolving, creating an 8 minutes looped sequence.
The other side of the panel projects a live video feed from the wooden box in the room, where a small tree was placed. Small contact microphones in the room translated the sound signal to a light bulb lighting up the tree in the box. The contact microphones were picking up sounds from people walking in the room, the wind outside, and the soundtrack from the video on the other side of the panel.The installation is based on childhood memories from the television broadcasts in the 80`s with its political tension between the Russian borders in the north. The everyday scene in the video is connected to the sounds from nature outside, and to the "image" of nature inside the gallery.


Enduring Portraits

A commissioned video installation to for the exhibition titled Time Code, at Bologna Museum of Modern Art, 2008. Selected screenings; Audio Visiva, Milan, 2008, The Ritual of walking in a circle, S12 Bergen 2012, Hanseatic videowork, 2014.

Text from press release:
Enduring Portraits is the portrait of a female face subjected to slow ageing. Biological evolution takes place over a different time from the natural one. The artist samples the faces of two women of different ages filmed previously, obtaining a series of 40 variations which show the gradual passing of time. Using Isadora software, the ageing of a female face is determined by the running time of the video. Enduring Portraits was specially created for the TIME CODE project and the MAMbo exhibition space.

The TIME CODE project was conceived with the intent to highlight and analyze the many temporal structures which are characteristic of the video, and the successive processes that create, perceive, and interpret them. Four time-decoding categories were identified and suggested as main interpretation tools: Representation, Documentation, Presentation, and Quotation – four conceptual pretexts to read and use the real fact made different by the artist's intention and by the use of a variety of technical aids. 

TIME CODE has set itself out to be a new way of drawing the public towards enjoying videos. The series of open meetings attended by the artists and the curators was highly successful in terms of number of participants, whose attendance was consistent. The two videos presented at each event remained on display until the following conference in unusual, interstitial spaces inside MAMbo to create dialogue with the architectural structure of the museum. 

Time Code: Knut Asdam, Riccardo Benassi, Pavel Braila, Loulou Cherinet, Pierre Coulibeuf, Simonetta Fadda, Shona Illingworth, Tellervo Kalleinen and Oliver Kochta Kalleinen, Almagul Menlibayeva, Ottonella Mocellin and Nicola Pellegrini, Moser & Schwinger, Roberta Piccioni, Sara Rossi, Martin Sastre, Kjersti Sundland, Alejandro Vidal, November 15th, 2007–June 12th, 2008, Curated by Fabiola Naldi and Alessandra Pioselli.


Live video performance

In the live video performances by the artist duo Undersentralen, collaboration with artist and musician Anne Bang-Steinsvik, we are using real time video processing software. The video streams are controlled independently from two separate control computers, enabling the operators to playback, and manipulate the video material on multiple screens, synchronized, or independently of each other. Each performance is changing in duration, narrative and sound.
In the live video performances, we are using the video material as an "instrument" for improvisation. By taking the sampled images out from its original context, and dwelling on a different timespans, direction, and loop sequences, the performative gestures extracted from the films, are being explored through a fragmented visual language, tracing the sonic imprints and glitches in the image material. The moving images are being processed and reconfigured. Tracing a sensory remembrance of cultural and social narratives, through iconic images belonging to our collective and cultural imaginary.



Live video performance.
Performances: On the egde of Wrong. Kristiandsand, 2013. Rom8, Bergen Academy of Art and Design, 2014. Sound of Mu, Oslo 2014.

In this performance I used electric light as a metaphor in relation to conditions for the very fundamental processes that are occurring in the body even before the act of looking. The eye as purely as organs of vision, on the basic and fundamental level, they detect light and convert it into electro-chemical impulses. In this bodily process of seeing we also have "inner visual phantoms defined as entoptical phenomenon. When our eyes looks into a dark space, a glow will sometimes appear on the retina, revealing the retinal blood veins in the eye. This creates an image like branches of a tree.

Audio and video was recorded when musician and composer Mari Kvien Brunvoll where performing live vocal sampling in a forest. The sound frequencies in Maris's voice where triggering three different fixtures outside, lighting up a large copper beech tree. Then video footage where recorded onto 3 small cameras, attached in the branches of the tree. These where small fisheye lens cameras, not very light sensitive and recorded quite a grainy and abstract image of the tree branches moving, and the rain that hit the camera lens. The films where then synced with Maris vocal session and used as samples in a live video performance projected on three large screens. The samples where used making short repetitions and looped.



Rom8 2014.Three channel live video performance.
Duration: 90 minutes.

SYNSMASKINEN is a new performance-group established by the Danish artist Frans Jacobi, professor of performance and time-based art at Bergen Academy of Art and Design. The first performance by Synmaskinen was a cover-version of the play TONIGHT:-), originally done in 1994 by the Norwegian theatre-group BAKTRUPPEN. TONIGHT:-) was described as a 'hyper textual lecture on industry, technology, time and memory on 350m2 synthetic carpets'. TONIGHT:-) was a collective machine including various text-passages, a lecture, live internet commentary feed, sound and movement made in collaboration with Frans Jabobi`s artistic research project Synsmaskinen.

Undersentralen made a 40 x 2 minutes video collage, commenting on the gestures and performances in the room. The live video had two main commenting lines; improvised video for the lecture by Gerhald Rauning titled "A thousand Machines", and Terje Dragseths reading from Bella Blue. I have included documentation from the first session in relation to Raunings lecture. The title to our contribution where "Lesson from dogs" a quote from Jaque Tati the film director of Jour de fête from 1949. In a interview Tati explains how he found his alter ego in the film, looking at the movements of stray dogs.
Looking at Jour de fête, we where inspired by the comic choreography, and how the people in the film seamed to a struggle towards some kind of operative behaviour. The people became secondary to the objects they where trying to control; building, hammering, shouting, and moving, dancing, arguing, drinking, cycling. The particular quality of the soundscape, with gestures, and hardly any dialog gave us the possibility to use the material in order to enhance the gestures, and to resample the comic struggles trying to "function" in a kind of synchronized relation with the machines. Undersentralen became part of the same struggle, between chaos and balance, noise and non-sense, trying to gain a kind of compositional structure in the sound and video live. In addition to the live video, Kjell Olav Jørgensen, a drummer,where playing. Commenting the soundscape in the room.

Participants in TONIGHT:-): Kerstin Juhlin, Gerald Raunig, Terje Dragseth, Cornelia Sollfrank, Amber Ablett, Jone Slettebak, Jacobi/Steinsland/Fivelstad and Cecilia Gelin.


Monstrous Little Women

Three channel live video performance
Duration: 30 minutes.

In this video performance, Undersentralen used footage from several horror films, looking into the representation of women in relation to paranormal phenomenons. By creating an archive of various film clips, the videos where sorted by the common classifications within the horror genre. The haunted house, the domestic scenes in classical women`s domain, like the kitchen, the furniture, the possessed teenager, the mother alone with the children. By paranormal activities visible through technology and woman acting as mediums of haunted and evil powers.
The clips where resampled and improvised live. Soundtrack from Maya Ratkje and Hild Sofie Tafjord`s album "Syklubb fra Hælvete" was part of the performance. Monstrous Little women was performed at various festival`s and exhibition places between 2005 and 2010.