DADA MANIFESTO – Cecilie Bjørgås Jordheim


“Dada Manifesto” is nine sound works based on dada manifestos from 1916 to 1921, played by a music box.. The manifesto, the text, on one or several A4-pages, is cut into one long strip to fit a music box and then spliced with tape. Some manifestos has been scanned from top to bottom (vertically) and others from left to right (horizontally). The letters D and A in the text are then punctuated, so the absence of D and A; DADA, is what you hear being played.

The first dada manifesto by Hugo Ball (1916) encourages poets to stop writing with words, but rather write the word itself, and Ball states that: “I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it”. In this way this collection of Dada Manifestos acts in accordance with Ball’s manifesto, using the word construct as the direct source.

Cecilie Bjørgås Jordheim (b.1981 in Bergen, Norway) is a visual artist, conceptual poet and composer currently working with the translation between visual and auditive systems, concrete poetry and the concept of isomorphia. Jordheim holds an MA in fine art from Oslo National Academy of Arts (2011). Previous shows, screenings and publications include Hayward publishing and Whitechapel Gallery (London, UK), Kunstmuseet Nord-Trøndelag (Namsos, Norway), Signal (Malmö, Sweden), para·text (London, UK), Matrix Magazine (Montreal, Canada), Alpineum Produzentengalerie (Luzern, Switzerland), Bury Art Museum (Bury, UK) and UBUweb. Jordheim lives and works in Oslo, Norway.


SOUND OF A CAGE – Nina Elisabeth Børke


The artwork identity is the triennial programme set as a series of hand drawn text; plain black marker pen on A4 paper. The text drawings have been combined to form a composition, then deconstructed and reassembled into new compositions. The composing, deconstruction and recomposing has been repeated several times to obtain a dynamic expression in which the musicality of the visuals is given priority over the informative structure of the text.

Nina Elisabeth Børke (b Norway 1977) is a an award winning graphic designer and illustrator, based in England and Norway, working under the studio name Werksemd. She studied Visual Communication at KHiB, with a MA focused on the interplay between technology and creativity within musical and visual developments in the 20th century, involving musique concrete, decontextualization and sampling across both fields. Her work ranges from the commercial to independent artwork, with a special affinity for music graphics. –When working with music, I like to try to identify and extract an essential principle inherent in the music itself and find ways to apply it as a methodology visually. I guess transcribing, translating or creating analogies are ways to describe it.