ARON AGÉLII

A horizontally split room with a light proofed second floor. A head sized hole, sound, wind, vapor and smell. The generative surround soundscape is constantly changing.

A dark passage in the gallery space. Two ultrasound speakers are playing separate audio tracks. One speaker is looping recordings of rainstorms, the other speaker layers dance music in various tempos. The tracks fall in and out of sync, going from a rain-like state to gradual unison. The ultrasound speakers enable a directional type of listening, only in the very middle of the passage the two tracks mix.

Music for imagined video games. Soil for the flower, pillow for the head, a direction to travel in. Sitting in the background, with lots of headroom giving space to foreground elements and events.

An analog audio installation, repeating every 7 minutes. The plastic "lung", connected to a system of tubes and flutes, fills with air. The flutes are tuned to create the "beat frequency" phenomenon which we perceive as a pulsating variation in volume. The pitch and "beating" tempo changes over time as the pressure builds and declines.

In collaboration with artist Alex Valijani. An interactive and ever changing 3D world, presented directly in the web browser. Continous updates are communicated to the audiance through "patch notes".

The player spawns into the landscape with a randomised set of conditions, this becomes your unique point of view.

A sculptural object, a node in a network, a rebooting device. Every direction in the room has its own transducer audio source, vibrating low frequency soundscapes through the surfaces. The sounds are recorded from within walls in an apartment complex. The materials serve a direct acoustical purpose while simultaneously building the narrative of something hidden, something in-between.

More info in the BFA catalogue: https://kkh.se/static/files/documents/kungl__konsthogskolan-avgangskatalog-inlaga-bfa-cropped-lr.pdf#page=20

Ongoing work. Twelve meeters of steel tubing, cut and folded in on itself.

Pressed Scilla Siberica. Presented directly in the flower press between some blotting paper, old news papers and pieces of pine. The heading reads "Natalia is fighting her chronic fatigue".

Also, centerfold image for zine "Never Ending": https://kkh.se/en/public-program/exhibitions/never-ending/

Splinter is one work of many in a group show we put up in Systembolagets old locale at Vasagatan.

Participating artists:
Aron Agélii
Astrid Braide Eriksson
Niklas Breimert
Ylva Kublik Borg
Max Landegren
Ossian Söderqvist

Exhibition text: (Swedish)

Ljuset är en förutsättning för en effektiv arbetsmiljö. På lagret ligger ett modulbelysningssystem staplat på hög. En integrerad lösning som kan anpassas efter behov. Delarna lösgörs i övergångsfasen mellan verksamheter som när en app på telefonen raderas och alla ikoner skakar. Belysningsmodulerna har riktats om och kastar ett jämnt ljus över delar från en avbruten produktion. Delarna av trä bär potentialen att bli en möbel. Fönstret mot Vasagatan blockeras av tillfälliga väggar i masonit och skymmer utsikten in.


Vad gör du?
Jag gör ett fönster
Bra idé

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Ongoing experiments with insulation material and wall framing standards.

Exhibition text: (Swedish)

Dess yttre gräns rör sig någonstans i utkanten av det fysiska. Ljudets vibrationer och ljusets värme känns. Mönstret i bilden är verkligt, det existerar inte bara i tanken. Visst är väl tankar också verkliga, fast inte på samma sätt. Zoomar man in eller ut tillräckligt mycket så ser allt i princip likadant ut, då spelar ingenting någon roll längre.

Det är inte själva mellanrummen och övergångarna, men det bor där inuti. Det måste vara där, för att allt ska fungera. I och för sig så fungerar det inte alltid, men det försöker. Det är en nödvändighet lika mycket som en konsekvens. Det är funktion, möten och strukturer. Spelplanens regler. Sten, sax, påse. Trappa, tunnel, bro. Likheter och skillnader väger lika tungt i ett mönster.

Det föds ur det matematiskt perfekta, det som vi aldrig kommer kunna göra rättvisa. Det väver samman, håller isär, bär upp och trycker ner. Det är passiv-aktivt. Vi ser det inte, för det mesta. Limmet som sammanfogar delarna söker ingen uppmärksamhet. Vecken i pappret ger pappret sin form.

Read more at https://kkh.se/sv/publikt-program/utstallningar/aron-agelii/

Ongoing work, experimenting with handles in ash, beech wedges and plugs, ZIPPER-like constructions in pine.

Two fan-driven sounding pipes, integreated into the existing hand rail. Taking advantage of the acoustic phenomenon "acoustic beat" or "svävning" in swedish. Installed in the entrance staircase of Konstakademien.

Video documentation link: https://youtu.be/ooyyj5FTM-E

Read more about the show: https://kkh.se/sv/publikt-program/utstallningar/avgangsutstallning-master-of-fine-arts/

A "swarm" of sounding fan-driven PVC pipes. Taking advantage of the acoustic phenomenon "acoustic beat" or "svävning" in swedish. Placed at the bottom of the staircase in Nikehallen, Konstakademien. The air pressure produced by the fans is increased and lowered over time.

Video documentation link: https://youtu.be/ooyyj5FTM-E

Read more about the show: https://kkh.se/sv/publikt-program/utstallningar/avgangsutstallning-master-of-fine-arts/

A tiny exhibition in one of the forest pavilions at Konstnärshemmet Brucebo, showcasing a selection of experimental works made during my residency at Konstnärshemmet Brucebo. With limited tools and locally sourced materials, I attempt to translate and adapt my artistic practise to the new working conditions at Gotland. Inspired by the strong winds and unique vegetation, I put together an installation of sculptural constructions and an ever changing ensamble of juniper pipe instruments.

Video documentation link: https://youtu.be/fVJKiFj7lYQ

https://www.brucebo.se/

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I was invited to show sculptural works from my master degree show alongside some new works in wood. The big space at Arnstedt has a unique concrete floor with subtle natural imperfections. It made sense to give my "ZIPPER"-sculptures lots of space here, with their sharp points in different materials interacting with the matte floor, furthering their contrast while almost completely removing the shadows they usually cast on the ground. The room acts as a sound piece in itself, with its long reverberations making peoples voices blend together in a soft and stretched manner. The bigger sculptures—which are made out of long, cut up steel tubes, a plank of wood and a roll of cable protection plastic—fold up and into themselves, closes their open ends into sharp points. These shapes elude the soft reverberations, absorbing nothing. In this installation setting, I am struck by the way a thin closed shape not only becomes "anti" its environment, but also literally stops interacting with it acoustically, contrasting the open ended wind instruments I am exploring in many of my sound works.

More info and images here: https://www.galleriarnstedt.se/aron-agelii-9sept