#172 Godfrey Reggio

Godfrey Reggio (b. 1940, USA)
Koyaanisqatsi, 1982

Perspectives. Visuals and soundtrack. Duration.


#171 Philip Glass

Philip Glass (b. 1937, USA)
Satyagraha, 1980

Here performed by Folkoperan in Stockholm

I like the repetitive sound.
Singing in Sanskrit or merging opera with circus is also pretty cool, but that’s kinda beyond the point here.


#169 Stefan Peterson

Stefan Peterson (Sweden)
Dancing with myself, 2016

He wants to convince his wife that he’s not just a boring office guy, so he goes dancing naked in the woods taking pictures of himself.

Such a lovely non sequitur and a very productive way to enact something with very economic means, also exploring body movement, odd locations, sound and its absence, still and moving image – a lot of components that I am also trying to combine.


#167 Antony Hamilton

Antony Hamilton (Australia)
Token Armies, 2019

Chunky Moves, Melbourne

Dance expanded.
Humans. Horse. Dog. Flowers. Props. Sounds. Lights. Ponchos. Audience.

Inspiring overriding of disciplinary boundaries.
Inspiring expansion of “what a dance (performance) could be”.
Inspiring volume of the space where there is no optimal vantage point from where you could see it all all the time – which ties into my current project on perspective.


#163 Nick Cave

Nick Cave (b. 1959, USA)
Soundsuit, 2012

I’ve been looking for more interesting ways to present my sound pieces, the last one ending up in crochet. That kind of makes connection to Cave’s soundsuits – body-related objects referencing sound.


#160 Cildo Meireles

Babel 2001 Cildo Meireles born 1948 Purchased jointly by Tate, London (with the assistance of the Latin American Acquisitions Committee) and the D.Daskalopoulos Collection, 2013, as a promised gift to Tate

Cildo Meireles (b. 1948, Brasil)
Babel, 2001

Sound sculpture is very cool. Conceptual sound sculpture is even cooler.


#147 Robert Morris

Robert Morris (b. 1931, USA – d. 2018)
Box with the Sound of its Own Making, 1961


Why do I find self-referential objects exciting?
I don’t know. Maybe it’s this illusion of particular completeness and autonomy? Or strengthened emphasis on the object rather than its maker or conditions of its creation (although some might choose to trace the reference in opposite direction and think of all that it took to be made). Or some kind of anchorage to reality? …whatever that is, I keep painting a self-referential painting without a clear reason, too. Maybe I am doing it in order to find out why I am doing it.


#145 Michael Asher

[The image is intentionally left out]

Michael Asher (b. 1943, USA – d. 2012)
Untitled, 1969


This refers to the piece in ‘Spaces’ exhibition at MoMA where Asher installed a tone generator in a gallery wall that cancelled out other sounds at the centre of the room.

I like two aspects of the work – it being a sound piece and yet presenting something to be perceived as removal or absence rather addition (even if it clearly took an addition to make it happen).

I am considering some works that have to do with removal / disguise / replacement, so this seems highly relevant and inspirational.


#132 Mark I. Chester

Mark I. Chester (USA)

…a performance where a pianist ends up tied up to his instrument.

Mark identifies as radical underground photo-artist and I am quite interested in exploring that space as well.


#122 Marepe


Marepe (b. 1970, Brasil)
Cabeça Acústica

Sculpture – wearable – acoustic device – communication interface – connection between bodies – …