Multidisciplinary artist Niels Lyhne Løkkegaard considers his work to be a basic research in realities and is interested in how bubble-like systems unfold themselves as human conditions.
The meetings between the individual body and these different bubble-like systems are a key driver in Løkkegaards praxis and he's interested in how to escape these bubbles, and if not escape them, then how they can be warped, wrestled and renegotiated.
Løkkegaard often works with music instruments not only as sources of sound but also as cultural markers embedded within different systems and hierarchies. This being a driver in Løkkegaards work has led into compositions of music that can be performed by musicians as well as non-musicians - all revolving around the focus on how to create a safe enviroment for performing music, and dissolve shame or trauma connected with a particular music instrument and the act of performing music in general.
“I try to reinvent the instrument from a constructive zero even though that might be a utopian quest filled with paradoxes, impossibilities and ramifications” (NLL)
Working with physical sound
Since 2012 Niels Lyhne Løkkegaard has experimented with creating music that lets the instruments transcend their inherent sonic norms and reappear in another form. In the work series SOUND X SOUND (2013-2017) he explores this by way of multiplication which resulted in a series of works multiplying one instrument a number of times: One piece is written for 9 pianos, another for 18 clarinets, 10 hi-hats and so on.
In recent years Løkkegaard explores multiplication of sound even further in pieces such as Triangular Mass for multiple triangles (2017), Birdsongs - for multiple parabolic microphones (2019), SONAR (2018) - for multiple vibraslaps, Harmonia-for multiple harmonicas (2018), Quartet pour Sigurd Raschér - for 4 alto saxophones (2019).
The multiplication brings out new timbral phenomena, interference of sound waves and vibrations, and brings out what Niels Lyhne Løkkegaard calls the sound’s potential of transformation. He describes this as the quality in a musical piece, when you no longer hear recognizable instruments, but instead the individual sound, as well as the individual musician, is dissolved into the collective sound.
A sonic as well as human synthesis.
He explains the concept of this sound as follows:
“Imagine you enter a room with vibrant acoustics, such as a cafe full of people having conversations, and when you’re close to those conversations you hear the language and understand the words. If you step away from the tables, however, and stand in the doorway, you begin to loose the ability to distinguish the words from one another. Now instead of hearing the individual conversations, melts all the conversations together, and transform into a one new sound. A sound of people without words and language. Just as when you hear a group of geese squawk, or the wind in tree tops, a kind of nature given sound of people. Once the language is dissolved and the words stop making sense, what is left, is the sound."
Working with imaginary sound
Løkkegaard also creates sound audible only for the inner ear of the listener, where written stories about sound manifest themselves as imaginary pieces of music or as soundless Potentials which evokes inner soundscapes within the listeners mind; a utopic space -a space of potentiality.
Løkkegaards Symphony No. 1 and Anthology of Sound both inhabit multiple states at the same time - being in constant fluctuation between alphabet, word, language and meaning - & between book, score, written text and imaginary music. The ancient cycle of sounds transforming into words transforming back into sounds is summed up by Marshall McLuhan who said that “Man was given an eye for an ear”, and Løkkegaard is hoping to give back an ear for an eye.
Niels Lyhne Løkkegaards interest in how stories about sound can be accepted as being sound detached from any physical manifestation and how the narrative meta-sphere can be a space for artistic action in what could be described as curatorial times, has also lead Niels Lyhne Løkkegaard into creating Curatorium, a curatorial non- event that celebrates sound on an annual basis. Curatorium is a story about a sound-art festival that never takes place - a festival in between realities. Niels Lyhne Løkkegaard raises the question: When does something actually exist?
Løkkegaards work with imaginary sound led to:
Music for the inner - an exploration of sonic potentiality - an artistic research project (conducted from 2017-2019 at RMC).
The work of NLL has been presented at a variety of different venues and museums such as MoMA (NY - as a part of the René Magritte exhibition The Mystery of the Ordinary, 2013), Imaginary West Indies (Overgaden Copenhagen, 2017), ISCM (Vancouver, 2017), Radiophrenia (Glasgow’s Centre for Contemporary Arts, 2017), CPH:DOX (Copenhagen, 2017), Roskilde Festival (2017), Harpa (Reykjavik, 2017), G((o))ng Tomorrow Festival (Copenhagen 2016, 2018), Nordic Music Days (Norway, 2019), Akusmata (SF, 2020) and his works has been released on labels such as Topos (DK), Archive Officielle (CA) and Important Records (US). NLL is associate professor at RMC in Copenhagen, and has given lectures at the California Institute of the Arts (CalArts), Simon Fraser University (Vancouver), The Royal Danish Academy of Music, Artistic Research Forum (N), Goldsmiths University of London a.o.p. NLL has been awarded with several prizes a.o. from the Danish Art Foundation and the Sonning Foundation.
Niels Lyhne Løkkegaard was educated from the RMC in Copenhagen and the School of Architecture at The Royal Danish Academy of Art.
Press photos: Here
Jacob Kirkegaard, Malte Iverson, Carolina Bittencourt, Per Lyhne Løkkegaard, Karolina Zapolska, Mike Højgaard, Thomas Dyrholm.