END OF YEAR

REPORT

2009

INDEX

4 BOREALIS 2009 - GEORGE AND THE LION

7 AUDIENCE NUMBER AND TICKETS SALES

7 BOREALIS’ PROGRAMMING STRATEGY

10 A SELECTION OF BOREALIS PROJECTS

22 OTHER BOREALIS COMMISSIONS

24 OTHER BOREALIS COLLABORATIONS

27 PRESS 2009

28 COLLABORATING ORGANISATIONS

28 BOREALIS MEMBER ORGANISATIONS

29 ECONOMY

29 ORGANISATION

29 THE BOARD 2008–2009

29 ARTISTIC COUNCIL

30 ADMINISTRATION

30 ACCOUNTING AND AUDITING

30 FESTIVAL CREW

30 VISUAL PROFILE

30 MARKETING

30 ARENAS

BOREALIS BAUD I ÅR PÅ EI SAMLING MERKVERDIGE FORTELJINGAR. BERETNINGANE

FRÅ EIT STORT MANGFALD AV STEMMER ER VIDUNDERLEG FRI FRÅ BEGRENSINGA AV DET

ETABLERTE.IDA HABBESTAD, BALLADE

3

BOREAL IS 2009 GEORGE AND THE L ION

George rides out one day and discovers a virgin in distress. It turns out she is the king’s daughter, presented in sacrifi ce to an evil dra-gon. George kills the dragon, marries the princess and later beco-mes a saint. His bravery is acknowledged by many countries, who adopt him as their patron, England among them. The story of Ge-orge and the Dragon becomes part of English folklore and George himself an icon of English bravery and strength.

But George goes way back to pre-Christian times, appearing in dif-ferent guises as Perseus to the Greeks or Thor to the Nordic tribes. He then pops up as a Roman soldier, protecting Christians from per-secution, and is used by the vicious Christian crusaders during the Middle Ages as a symbol of romance and chivalry. But separating man from myth, George was in fact born in third century Palestine to a noble, Christian family: An Arab who later comes to represent the core of English values. Such is the beauty of storytelling and retelling, adapting, appropriating and transforming.

What then of the lion? Is it the one that appears on the Norwegian coat of arms, the one that looks as though it would rather dance than do battle with George? It could be. But then again, George and the Lion is a story that has never been told. It is a story about stories. The ones we tell about our national heroes, which form our sense of national identity and ultimately inform our own personal histories. And then we make music. It emerges from all the stories we tell about our public and private selves, telling us everything and nothing about who we are. So what musical story does George and the Lion hope to tell?

When Michael Finnissy makes reference to the music of Grieg in his piano piece Folklore (Mark Knoop, Thursday, 1300) a story im-mediately appears in the gaps between the old and the new. And in this story both Finnissy and Grieg shed light on one another, giving us insights we could never experience from their music in isolation. So too with the music of both Debussy and Handel in Après-Midi Dada (BIT20, Wednesday, 1930) and Molly-House (Saturday 1745): past and very public icons recast by Finnissy through a new and highly personal narrative. In which case, George and the Lion is a story of memory too. When Geir Jenssen (Biosphere) uses sampled sounds from the North of Norway his music becomes a way of re-membering the world around him, but his music tells the story of a dramatically different relationship to that world from Finnissy’s. So what can we expect from Jenssen’s new orchestral work, based on the symphonies of Shostakovich?

Needless to say, if you look for the story of George and the Lion in pretty-much any event taking place at Borealis you will fi nd it. I hope it will be a useful and creative paradigm for hearing things with fresh ears and casting them in a new light. From the sexual nar-rative of the tango to the patriotic declaration of a military march, you will fi nd many opportunities to explore old stories and of cour-se to create new ones of your own.

Alwynne Pritchard

BOREAL IS 2009 GEORG OG LØVEN

En dag rir Georg ut og oppdager en jomfru i nød. Det viser seg at hun er kongens datter, ofret til en ond drage. Georg dreper dragen, gifter seg med prinsessen og blir senere en helgen. Hans heltemot anerkjennes i mange land ved at han utpekes til skytshelgen, blant annet i er England. Historien om Georg og dragen blir en del av en-gelsk folklore, og Georg blir et symbol på engelsk mot og styrke.

Men historien om Georg har sine røtter i førkristen tid. Han dukker opp som Persevs for Grekerne, eller Tor for de norrøne folk. Siden dukker han opp som en romersk soldat som beskytter kristne fra forfølgelse, og blir brukt av hensynsløse korsfarere som symbol på romantikk og ridderlighet. Men om vi skiller mannen fra myten så var Georg faktisk født på 300-tallet i Palestina, i en fornem kristen familie: En araber som kommer til å representere kjernen av engel-ske verdier. Heri ligger skjønnheten ved historiefortelling og gjen-fortelling, tilpassing, appropriasjon og forvandling.

Men hva med løven? Er det den som fi gurerer på det norske våpen-skjoldet, den som ser ut som om den heller vil danse enn kjempe med Georg? Kanskje, men historien om Georg og løven har aldri blitt fortalt. Det er en historie om historier, de vi forteller om våre nasjonalhelter, de som former vår identitet og til sist danner grunn-laget for våre egne personlige historier. Og så skaper vi musikk. Den strømmer ut fra alle historiene vi forteller om våre offentlige og private selv, den forteller oss alt og ingenting om hvem vi er. Så hvilken musikalsk fortelling ønsker Georg og løven å fortelle? Når Michael Finnissy refererer til Griegs musikk i pianostykket Fol-klore (Mark Knoop, torsdag, 1300) dukker umiddelbart en historie opp i mellomrommet mellom den gamle og den nye. I denne his-torien kaster både Finnissy og Grieg lys på hverandre, slik at de gir oss innsikter vi aldri kunne nådd om vi erfarte musikken deres isolert. Slik er det også med Debussys og Händels musikk i Après-Midi Dada (BIT20 Ensemble, onsdag, 1930) og Molly-House (lørdag 1745): forgangne og svært offentlige ikoner omstøpes av Finnissy gjennom et nytt og høyst personlig narrativ. I så fall er Georg og løven en historie om hukommelse også. Når Geir Jenssen bruker samplede lyder fra Nord-Norge blir musikken en måte å huske omverdenen på, men hans musikk forteller om radikalt anderledes forhold til denne verdenen enn Finnissy. Så hva kan vi vente oss av Jenssens nye orkesterverk basert på Sjostakovitsj’ symfonier? Hvis du ser etter fortellingen om Georg og løven, så vil du fi nne den i så å si hvert arrangement på Borealis. Jeg håper at det vil være et nyttig og kreativt grunnlag for å høre ting med nye ører, og å sette ting i et nytt lys. Fra tangoens seksuelle narrativ til militærmarsjens patriotiske utgytelser, vil du få god mulighet til å utforske gamle fortellinger og å skape dine egne under årets festival.

Alwynne pritchard

4

27. FEBRUAR FREDAGARTIST INFO TID STEDSTEPHEN PRINA UTSTILLINGSÅPNING KL 2000 BG KUNSTHALL NO. 5

24.–28. MARSARTIST INFO TID STEDINTERINTERINTER INTERVENTIONS 1000-2400 ALL VENUES + PUBLIC SITES

24. MARS TIRSDAGARTIST INFO TID STADMICHAEL FINNISSY SEMINAR 1000 GRIEGAKADEMIETDEREK JARMAN, JUBLIEE KINO BOREALIS 1300 LANDMARKANJA BREIEN, 17, MAI - EN FILM OM RITUALER KINO BOREALIS 1500 LANDMARKWIM T. SCHIPPERS, GOING TO THE DOGS KINO BOREALIS 1520 LANDMARKTOMAS ESPEDAL BIBLIOLUDIUM 1700 BERGEN OFFENTLIGE BIBLIOTEKBERGEN ELEKTRONISKE TRAVPARK: FMKV, KROHNENGEN BRASS BAND, BOREALIS FESTIVAL 1845 BERGEN TRAVPARKERLEND AAGAARD-NILSEN, EPSEN SOMMER EIDE, JOHN HEGRE, LAUNCH KONSERTERAMUND SJØLI SVEEN, POW ENSEMBLE, INTERINTERINTER

25. MARS ONSDAG INTERINTERINTER FLASH PERFORMANCE OG SPILL MED 1200/1300 STUDENTSENTERET OG JUSSBYGGET PREMIER KANTINENHENRIC HOLMBERG, DOM SPELAR FEL KINO BOREALIS, HØRESPILL 1300 LANDMARKHENRIC HOLMBERG, EN KVARTETT SOM INGEN BEHÖVER KINO BOREALIS 1400 LANDMARKGLENN GOULD, THE IDEA OF NORTH KINO BOREALIS, HØRESPILL 1445 LANDMARKPHILIP TAGNEY, DISREHEARSPECTAKTAK UTSTILLING (OPNING 1) 1600 LYDGALLERIET 25-28.03, 14.00-19.00; 29.03-08.04, 12.00-16.00LEMUR WORKSHOP OG KONSERT 1700 GRIEGAKADEMIETODD WILHELM SURÉN BIBLIOLUDIUM 1700 BERGEN OFFENTLIGE BIBLIOTEKBIT20-ENSEMBLE BARN KONSERT 1830 LOGENBIT20-ENSEMBLE KONSERT 1930 LOGENMATT WOLF, WILD COMBINATION: ET PORTRETT AV ARTHUR RUSSELL BERGEN FILM KLUBB 2100 MAGNUS BARFOT KINOPASCAL BALTAZAR OG BJØRNAR HABBESTAD KONSERT 2100 LOGENPOW TAP HOP KONSERT 2200 LOGEN

26. MARS TORSDAGMARK KNOOP SEMINAR 1000 GRIEGAKADEMIETLENE GRENAGER OG HÅKON STENE FLASH PERFORMANCE OG SPILL MED 1200/1300 STUDENTSENTERET OG JUSSBYGGET PREMIER KANTINENMARK KNOOP OG MICHAEL FINNISSY KONSERT 1300 JANNICKE LÅKER, JANNICKE LÅKER KINO BOREALIS 1300 LANDMARKFRANZ SCHNYDER, REINHARD MANZ, DRAMA (VINKO GLOBOKAR) KINO BOREALIS 1400 LANDMARKPER TELJER, FESTEN OG SOUTH OF HEAVEN KINO BOREALIS 1500 LANDMARKPHILIP TAGNEY UTSTILLING (OPNING 2) 1600 LYDGALLERIETMETTE KARLSVIK BIBLIOLUDIUM 1700 BERGEN OFFENTLIGE BIBLIOTEKROBERT VAN HEUMEN SEMINAR 1700 LANDMARKBERGEN FILHARMONISKE ORKESTER KONSERT 1930 GRIEGHALLENPETER GEYER, JESUS KRISTUS FRELSEREN BERGEN FILM KLUBB 2100 MAGNUS BARFOT KINOSHOES OF YOUR CHOICE FORESTILLING MED MAT 2130 LANDMARKPARKINSON SAUNDERS KONSERT 2400 LANDMARK

27. FEBRUAR FREDAGRICARDO ODRIOZOLA SOUND PAINTNG WORKSHOP 1000 BERGEN OFFENTLIGE BIBLIOTEKADAM DE LA COUR OG PARKINSON SAUNDERS FLASH PERFORMANCE OG SPILL MED 1200/1300 STUDENTSENTERET OG JUSSBYGGET PREMIER KANTINENSOUND PAINTING KONSERT 1230 BERGEN OFFENTLIGE BIBLIOTEKAGNIESZKA PIOTROWSKA, MARRIED TO THE EIFFEL TOWER KINO BOREALIS 1300 LANDMARKMICHAEL FINNISSY MASTERCLASS 1400 GRIEGAKADEMIETSOFIA SHAFQUAT, MYSTERIES - DEMOLITIONS KINO BOREALIS 1415 LANDMARKPHILIP TAGNEY UTSTILLING (OPNING 3) 1600 LYDGALLERIETERLEND O. NØDTVED BIBLIOLUDIUM 1600 BERGEN OFFENTLIGE BIBLIOTEKJOHN FERGUSON SEMINAR 1615 LANDMARKKENT KIEFER, RUINS OF THE THIRD REICH KINO 1730 LANDMARKORGELSTILLAS, ASAMISIMASA, MEM1, WHISTLE PIG SALOON, FORESTILLING 1900 LOGENK M KARLSEN, THOMAS TALLISFAUST KONSERT 2400 LOGEN

28. MARS LØRDAGUNGDOMMENS MEDIASTASJON UTSILLINGSOPNING 1200 BERGEN OFFENTLIGE BIBLIOTEKTANGARDE KONSERT OG DANS 1300 USF VERFTET SARDINENCESILIE HOLCK BIBLIOLUDIUM OG ENGLISH TEA PARTY 1500 BERGEN KUNSTMUSEUM DOMED GALLERYMICHAEL FINNISSY OG ALWYNNE PRITCHARD PRE-CONSERT TALK 1530 BERGEN KUNSTMUSEUM DOMED GALLERYPOLYGON KONSERT 1600 BERGEN KUNSTMUSEUM DOMED GALLERYREYNALDO YOUNG, MEGAFON OG BYMISJON, MOLLY-HOUSE KONSERT 1745 BERGEN DOMKIRKEBERGEN DOMKANTORI KONSERT 1800 BERGEN DOMKIRKEPHILIP TAGNEY UTSTILLING (OPNING 4) 2100 LANDMARKMOHA! & HAYOSH/VAHTRA KONSERT 2130 LANDMARKINTERINTERINTER FORESTILLING MED LIVE BOKBINDING 2230 LANDMARKMIDNIGHT KARAOKE MUSIKK 2400 LANDMARKARTHUR RUSSELL DISCO TIME MUSIKK 0100 LANDMARKDJ SKATEBÅRD DJ 0130 LANDMARK

TABELL FOR BOREALIS 2009FESTIVALKONTOR PÅ LANDMARKTIRSDAG - LØRDAG 1200 – 1700TILGJENGELIG INFORMASJON, SPØRSMÅL BESVART, GOD MAT OG DRIKKE TIL SALGS.

FESTIVAL OFFICE AT LANDMARKTUESDAY - SATURDAY 1200 -1700INFORMATION AVAILABLE, QUESTIONS ANSWERED, GOOD FOOD AND BEVERAGES FOR PURCHASE.

5

I N T E R I N T E R I N T E R I N A C T I O N

A U D I E N C E , I N T E R I N T E R I N T E R

6

BOREAL IS ’ PROGRAMMING STRATEGY

The Borealis programming strategy for 2009 has continued to im-plement the diversity for which the festival has become known. With the festival theme ‘George and the Lion’ creating paradigms for connecting superfi cially different musical events, it has been possible to create single programs which aim to place radically di-verse musics alongside one another in an illuminating way. Friday night’s concert at Logen was an example of this policy working at its best:

“Fredagens konsertkveld I Logen vil for meg bli stående som ek-sempel på de beste kvalitetene med Borealis, kvaliteter som befes-ter festivalen som en viktig arena, bade lokalt, nasjonalt og utenfor landets grenser. Hovedingrediensene er høy kvalitet, humørfylt eksperimentvilje, en ikkeekskluderende tilnærming til begrepet ‘ny musikk’, en creative bruk av konsortlokalitet, samt musikk og perfor-mance I skjønn forening.”- GEIR REGE, BERGENS TIDENDE, MARCH 2009

The aim of Borealis is to create a festival in which topics relating to music (other arts and beyond) can be widely explored in an envi-ronment which is stimulating and unpredictable for both audience and artists. Central to this is the aim to create a strong sense of community - an place in which local and international artists, peo-ple from in and around Bergen and from the rest of Norway come together to listen to music, share ideas, develop projects and make new friends.

In order to ensure the ongoing strength of the festival, good au-dience attendance across all events has also been of major con-cern in 2009. Avoiding the ‘headliner’ attraction of one or two big names, the challenge this year had been to introduce new artists to new audiences across the board. This strategy met with some success and is something we intend to develop further in 2010.

Most importantly however, it is Borealis’ aim to bring people to-gether to celebrate experimental music as a highly signifi cant so-cial, intellectual and creative force. To take it beyond its marginal status to being one of the most exciting and creative ways for hu-man beings to experience music and art in their lives. It is this idea that has driven Borealis Festival programming in 2009 and will continue to do so in future.

AUDIENCE NUMBERS AND T ICKET SALES

One of the main aims for 2009 was to generate good audience numbers across all events, be they large or small. Having the little cinema at Landmark fi lled to capacity was therefore as important a goal as generating a big audience at Logen. The program was also put together in such a way that people who might normally form discreet audience groups were brought together. This was done by creating events that featured a number of interwoven concerts that combined electronic, acoustic, composed and improvised music.

With this in mind, it is good to note that the audience numbers for 2009 do show increased stability across all events, although there has been a slight decline in the overall fi gures. The reason for this, however, is that the 2009 festival featured fewer events. in total. The increase in numbers at the ‘niche’ events such as the Biblio-ludium series, Kino Borealis, seminars and master classes was the result of targeting new audience groups.

2007 116242008 112222009 10169

In 2007 the festival lasted for 8 days, while the 2008 festival featu-red artists like Mike Patton/Stian Carstensen and Boris who gene-rated a good income.The ticket income for 2009 is lower that earlier. The reason for this is that we did not feature “headliner” artists and that a major event like the opening at Bergen Travpark was free. Ticket income from several of our collaboration events also goes to our collaborating organisations such as the Bergen Filharmoniske Orkester, Bergen Kunsthall and Avgarde.

2007 133 294,-2008 195 350,-2009 62 206,-

“I MYLDERET AV INNTRYKK, OG MELLOM MANGE RAUDE TRÅDAR, OPPLEVER EG AT DERFINST EI FELLES FESTIVALYTRING. DET ER EI YTRING

OM Å RIVA NED SKILJE ?MELLOM KATEGORIAR OG SJANGRAR. SAMTIDSMUSIKK, KUNSTMUSIKK,

ELEKTRONIKA, NOISE, STØY, PERFORMANCE, IMPROVISASJON, JAZZ KAN HER HEILT ENKELT KALLAST NY MUSIKK.”

IDA HABBESTAD, BALLADE

7

8

S H O E S O F Y O U R C H O I C E

9

B E R G E N O F F E N T L I G E B I B L I O T E K

ÅSANE TRAVPARKEN

Borealis 2009 opened with an event at Bergen Travpark. Attended by around 500 people, this opening concert had a truly celebratory feel, with music from sources as diverse as Forsvarets musikkorps Vestlandet (FMKV), Krohnengen Brass Band, electronic artists John Hegre and Espen Sommer Eide. The culmination of work under-taken by Espen Sommer Eide with children from Haukås skole, the event included sounds recorded at the racetrack by the children during the course of 2008, as well as a performance from one the children on the night itself.

COLLABORATING ORGANISATIONSBERGEN TRAVPARKFMKVKROHNENGEN BRASS BANDNORSK KULTURRÅDÅSANE KULTURKONTO

A SELECT ION OFBOREAL IS PROJECTS

B E R G E N T R AV PA R K

10

K R O H N E N G E N B R A S S B A N D

A M U N D S J Ø L I E S V E E N

S P E C I A L LY- M A D E B O R E A L I S H O R S E B L A N K E T F O R T H E W I N N E R

11

F M K V

12

Y N G V E S E T E R Å S W I T H A S A M I S I M A S A , P E R F O R M I N G M I C H A E L F I N N I S S Y ’ S L’ H E R B E

MICHAEL F INNISSY

BERGEN ER EN BY SOM TREKKER SEG MANGE GALE MENNESKER. BOREALIS-PROFILENE ALWYNNE PRITCHARD OG MICHAEL FINNISSY SER SEG SELV SOM EKSEMPLER PÅ DET.OLAV GORSETH, BERGENS TIDENDE, MARCH 2009

Michael Finnissy was Composer in Residence at Borealis in 2009, with a number of projects taking place around him and his work. These included: 1. A concert given by the young Oslo-based ensemble asamisimasa of semi-staged, ensemble and vocal works.2. A piano duet concert given by London-based Australian Mark Knoop and Michael Finnissy himself.3. A concert of Tango transcriptions and works written for and performed by children.4. A masterclass and open discussion with Michael Finnissy. 5. An reading by Hesilie Holck of a text based on Finnissy’s work followed by an open discussion between the composer and festival director Alwynne Pritchard and a performance given by the POLYGON ensemble, all taking place as part of the English Tea Party event.6. The performance of Finnissy’s work L’Après-Midi Dada by the BIT20 Ensemble with live visuals made and performed by Tor kristian Liseth.7. The performance of Finnissy’s work Molly-House in collaboration

with Bymisjon and Megafon magazine.8. The commissioning of a new piece for organ, his Fourth Organ Symphony, which was premiered at the Bergen Cathedral by Nora Mulder. 9. An email exchange between the artistic director of the asamisimasa ensemble Anders Førisdal and the composer, printed in the festival program.

JEG ER IKKE REDD FOR SINNE HOS PUBLIKUM. TVERT IMOT VISER DET AT DE ER ENGASJERTE OG REAGERER. EN KONSERT ER EN INTERAKSJON, EN SOCIAL PROSESS, DER BADE LYTTER OG UTØVER DELTAR.MICHAEL FINNISSY INTERVIEWED BY OLAV GORSETH IN BERGENS TIDENDE, MARCH 2009

COLLABORATING ORGANISATIONS FRITT ORDNORSK KULTURRÅD

C E S I L I E H O L C K

E N G L I S H T E A PA R T Y - M I C H A E L F I N N I S S Y TA L K S A B O U T H I S M U S I C W I T H A LW Y N N E P R I T C H A R D

E N G L I S H T E A PA R T Y - C U C U M B E R S A N D W I C H E S

M I C H A E L F I N N I S S Y ’ S M O L LY- H O U S E AT B E R G E N C AT H E D R A L

13

B J Ø R N A R H A B B E S TA D

M A Z E N K I W A N A N D M A R I A F I L A L I

TA N G A R D E

J O H N F E R G U S O N

14

TANGARDE

Organised in conjunction with Tango Abrazo, this event featured tango-inspired pieces Ruth Bakke, Glenn-Erik Haugland, Ricardo Odriozola, Jostein Stalheim, Knut Vaage and Michael Finnissy alongside traditional tango music, with professional, amateur and beginner dancers all taking part.

COLLABORATING ORGANISATIONSAVGARDE

BALTAZAR/HABBESTAD, MEM1 AND WHISTLE P IG SALOON

These three performances were all produced in collaboration with BEK. The Baltazar/ Habbestad project also initiates a collaboration between Borealis, BEK and the GMEA electronic music centre in Albi, France. Although this collaboration is currently at a very early stage, we hope it can in the future act as a forum for developing and presenting ideas in Norway, France and elsewhere.

As well performances at Logen theatre, both Robert van Heumen and John Ferguson (Whistle Pig Saloon) gave talks about their work at Landmark.

COLLABORATING ORGANISATIONSBEKTHE ROYAL NETHERLANDS EMBASSYUSF VERFTET

M E M 1

PA S C A L B A LTA Z A R

15

THE BERGEN PHILHARMONIC ORCHESTRA

This concert featured a new Borealis commission from Geir Jenssen (Biosphere) - which sparked much debate in Ballade and other media - alongside works by Kjell Mørk Karlsen and Nils Henrik Asheim (also a world premiere).

COLLABORATING ORGANISATIONSBERGEN PHILHARMONIC ORCHESTRAKOMPONISTENES VEDERLAGSFONDNORSK KULTURRÅD

BIBL IOLUDIUM

This series of readings took place during the week at Bergen Offentlige Bibliotek and on Saturday at Hotel Terminus. With writers Tomas Espedal, Odd Wilhelm Surén, Mette Karlsvik, Erland O. Nødtved and Ceselie Holck reading their own texts relating to works performed at the festival, these events provided a useful means of promoting evening concerts, as well as creating discussion around the music performed and the texts written.

COLLABORATING ORGANISATIONSBERGEN OFFENTLIGE BIBLIOTEKFRITT ORD

G E I R J E N S S E N W I T H C O N D U C T O R P E T E R S Z I LVAY

16

P E T E R K AT E S , P E R C U S S I O N W I T H B F O

T O M A S E S P E D A L M E T T E K A R L S V I K

E R L A N D O . N Ø D T V E D

17

BIT20

Borealis’ collaboration with BIT20 this year included a project with children in celebration of both the ensemble’s 20th anniversary and Kjetil Hvoslef’s 70th birthday.

This was followed by a concert in which world premiere performances of works by Christian Jaksø, Herman Vogt and Torstein Aagaard-Nilsen’s Borealis commission The Season of Blue Nights were featured alongside Michael Finnissy’s L’Après-Midi Dada, with visuals created specifi cally for the piece by VJ Apelonius/Tor Kristian Liseth.

COLLABORATING ORGANISATIONS:BIT20 ENSEMBLENORSK KULTURRÅD

DAILY ‘FLASH’ PERFORMANCES AT STUDENTSENTERET AND KANTINEN PÅ JUSSBYGGET

DUTCH ARTISTS AT BOREALIS 2009

In commemoration of Michel Waisvisz, forrner director of the STEIM electronic music institute in Amsterdam, who died last year, Borealis this year featured a number of Dutch events and artists. Beginning with a screening of Wim T. Schippers’ play Going to the Dogs, the Dutch representation continued throughout the week with two performances by the POW Ensemble and one by Robert van Heumen (Whistle Pig Saloon), who also gave a talk at Landmark.

COLLABORATING ORGANISATIONSTHE ROYAL NETHERLANDS EMBASSY

18

L E N E G R E N A G E R

A U D I E N C E G A M E S O V E R L U N C H

M AT T H E W S H L O M O W I T Z

K J E T I L H V O S L E F

19

M A R K K N O O P A N D A D A M D E L A C O U R

P O W ! TA P ! H O P !

FA U S T

FA U S T W I T H Y O U N G C E L L I S T

FA U S T FA U S T

FA U S T

20

FAUST

COLLABORATING ORGANISATIONSAKTIV STUDENTERS FORENING

GRIEG ACADEMY

Borealis’ partnership with the Grieg Academy this year led to a number of important events taking place at the institution. These included:1. Talk by Michael Finnissy about his work.2. Seminar given by pianist Mark Knoop about Michael Finnissy’s piano piece Folklore.3. Piano recital given by Mark Knoop and Michael Finnissy.4. Lecture-recital given by the improvisation quintet Lemur.5. Composition master class given by Michael Finnissy.

The students at the Grieg Academy also organised their own SPRINGBOARD BOREALIS concert which took place at the Leprosy Museum on Sunday the 22nd of March.

COLLABORATING ORGANISATIONSGRIEG ACADEMYFRITT ORDNORSK KULTURRÅD

KJELL MØRK KARLSEN

One of this year’s featured Norwegian composers was Kjell Mørk Karlsen, whose seventy-minute Lukaspasjonen was performed at Bergen Cathedral with the Bergen Domkantori, narrated by Nils Ole Oftebro. Other works featured were his Symfoni nr. 3 - Isslottet - which was performed by the Bergen Filharmoniske Orkester and his solo piano piece Les Anges de Chagall.

COLLABORATING ORGANISATIONSNORSK KULTURRÅD

M I C H A E L F I N N I S S Y A N D M A R K K N O O P H I L D S O F I E TA F J O R D A N D M I C H A E L D U R C H - L E M U R

21

S P R I N G B O A R D B O R E A L I S M A G N A R M A N G E R S N E S B E R G E N D O M K A N T O R I

OTHER BOREAL IS COMMISS IONS

The Norwegian composers Ruth Bakke and Sven Lyder Kahrs were both commissioned to write new works for Borealis in 2009. Ruth Bakke’s organ work Dies Irae was performed by Norwa Mulder ar Bergen Cathedral on the 28th of March. Sven Lyder Kahrs piece was premiered by the POLYGON ensemble as part of the English Tea Party event at Hotel Terminus.

COLLABORATING ORGANISATIONSNORSK KULTURRÅD

SHOES OF YOUR CHOICECombining Fluxus performance pieces with short, often humorous contemporary pieces, this event at Landmark had a slapstick, musical-hall feel which made for a fun event. Clever, beautiful and though-provoking nonetheless.

COLLABORATING ORGANISATIONSNY MUSIKK

ORGELST ILLAS

Curated by Bergen-based organist Sigbjørd Aleland, this event formed the musical backbone and the most visually striking feature of Friday night’s concert at Logen. The culmination of a project intitated by Borealis in 2008 this performance included a rendition of A Whiter Shade of Pale, an improvisation by local musicians and a transcription of Thomas Tallis’ forty-part motet Spem in Alium for sixteeb harmoniums.

“Thomas Tallis’ ‘Spem in Alium’ fromført på 16 pumpeorgler, var et imponerende skue hvor ikke minst utøvernes fotarbeid skape en kollektiv dans av ruggende kropper.” - Geir Rege, Bergens Tidende, March 2009

COLLABORATING ORGANISATIONSNORSK KULTURRÅD

J A M E S S A U N D E R S - S H O E S O F Y O U R C H O I C E D I S R E H E A R S P E K TA K TA K

22

R I C A R D O O D R I O Z O L A S O U N D PA I N T I N G

SOUND PAINTING WITH R ICARDO ODRIOZOLA

— I love you baaaaby, bryter det plutselig løs fra en kar som står foran dokumentarfi lmene.— B-b-b-b-b-b stammer en annen kar, som står like ved bokstaven N under «skjønnlitteratur».Inntil for få minutter siden var dette en normal fredag på biblioteket. Noen leser utenlandske aviser. Mange leser bøker. Alle bruker innestemmen, hvis de på død og liv må snakke. Men plutselig, akkurat klokken 12, begynner det å endre seg.Forklaringen på det merkelige opptrinnet står nemlig på en stol mellom hyllene He-Ka og Ka-Ma under «skjønnlitteratur». Ricard Odriozola dirigerer det tilsynelatende spontane ensemblet med et svært komplekst sett av arm- og håndbevegelser. Et spesielt tegnspråk de færreste av musikantene forsto bare to timer tidligere på dagen.LARS HOLGER URSIN, BERGENS TIDENDE - 28.03.2009

COLLABORATING ORGANISATIONSBERGEN OFFENTLIGE BIBLIOTEKNORSK KULTURRÅD

O R G E L S T I L L A S

PHIL IP TAGNEY, D ISREHEARSPEKTAKTAK

Using sound recorded at off-stage events during the festival - rehearsals, meetings etc - this sound installation was updated daily at the Lydgalleri, with new material edited into the piece as the festival progressed. Also forming the basis of a youth project for UNG09 and a special out-door sound-projection to celebrate the beginning of Earth Hour, this project provided the basis for a number events throughout the week.

COLLABORATING ORGANISATIONSBERGEN KOMMUNE UNG09BERGEN KOMMUNE EARTH HOURLYDGALLERIET

A D A M D E L A C O U R A N D M A R K K N O O P - S H O E S O F Y O U R C H O I C E

P H I L I P TA G N E Y

23

M O H A ! - F I R E & I G N O R A N C E

OTHER BOREAL IS COLLABORATIONS

EARTH HOUR

The beginning of the hour was celebrated by Borealis with a specially-made version of Philip Tagney’s Disrhearspektaktak which was projected from Landmark out into the city. At the close of Earth Hour, the Fire&Ignorance sound a light performance marked the re-illuination of the city with a concert in the Kunsthall.

COLLABORATING ORGANISATIONSBERGEN KOMMUNE EARTH HOURBERGEN KUNSTHALL

UNG09

Borealis Festival’s collaboration with Bergen Kommune’s UNG09 took several forms. As well as working in conjunction with Philip Tagney’s Disrehearspektaktak, UNG09 took part in developing the Student Media Station at the library and with the projection of the Borealis Theme Tune, which was created by students at Haukås Skole and played continuously throughout the festival at various points throughout the city.

USF

Through their Artist in Residence scheme, Borealis this year was able to collaboratewith the USF in staging the Mem1 performance, as the duo had just complete a residency at Verftet, during which time they developed material for their performance at Borealis. Working closely with the USF to feature resident artists at the festival is something Borealis plans to continue in the future.

For the fi rst time this year, Borealis also had an intern who worked as a trainee for the festival throughout March, with accommodation provided by the USF.

A U D I E N C E - F I R E & I G N O R A N C E

24

ADDIT IONAL BOREAL IS -RELATED EVENTS

STEPHEN PRINA CONCERT AT LANDMARK

This took place in February and acted as a very good way to promote the festival well ahead of time. With Stephen Prina featured as the Borealis artist at the Kunsthall throughout the festival, this concert was an unusual opportunity to explore the collaboration between sound and visual art at Borealis.

COLLABORATING ORGANISATIONSBERGEN KUNSTHALL

BOREALIS GRAFFIT I

C H R I S T E R S T E E N ’ S B O R E A L I S L O G O O N T H E G R A F F I T I V E G G E N AT S E N T R A L B A D E T

25

S T E P H E N P R I N A AT B E R G E N K U N S T H A L L

S T E P H E N P R I N A C O N C E R T AT L A N D M A R K

GOALS OUTL INED BY BERGEN KOMMUNE

The goals outlined by Bergen Kommune regarding both developing creative relationships with young people and working with international artists to place Borealis in the foreground of Nordic festivals, have both been seriously addressed in the 2009 program.

In our collaboration with UNG09 we not only nurtured a number of projects aimed specifi cally at young people, but in so doing encouraged them to work with professional artists featured in the program. For children aged between 10 and 12, we created the opportunity to record and edit sounds later to be used in live performance by professional musicians at the Bergen Travpark. This age group was also involved in making the festival theme tune which was publicly broadcast throughout the Borealis week. For older teenagers, the Student Media Station created the possibility for them to interview artists, write articles and reviews and make other documentation of Borealis 2009. And for young adults, Philip Tagney’s Disrehearspektatak provided the creative impetus for a project later featured at UNG09. Over and above these projects, Borealis also collaborated with BIT20 to create a piece made and performed by children based on Kjetil Hvoslef’s clarinet quintet.

All the projects listed above were central to the Borealis program this year, contributing as they did to the dynamic atmosphere of interaction and exchange between artists (from Norway and abroad) and audience of all ages. Indeed, the involvement of young people in the festival is not seen as something separate from - or additional to - Borealis’ goal to be a festival of international standing, but rather as central to that aim. By providing a resource for channelling the energy, enthusiasm, commitment and imagination of young people, Borealis aims to create an environment in which local youth, Norwegian musicians and artists from all over the globe can thrive, develop and exchange ideas.

ACKNOWLEDGING BERGEN KOMMUNE SPONSORSHIP

In acknowledgement of the sponsorship we receive from Bergen Kommune, we are careful to display the kommune logo on all posters and other publicity material. Here is some examples of Borealis publicity material for the 2009 festival.

26

PRESS 2009

ÅSANE T IDENDE NETTSAK, 20.MARS:

HTTP://WWW.BT.NO/LOKALLOKAL/ASANE/ASANETIDENDE/ARTI-CLE814276.ECE

OPPSLAG OM TRAVPARKEN, 24.MARS OPPSLAG FRA TRAVPARKEN M/ ANMELDELSE OG

FAUST-ANBEFALNING, 27.MARS

BA OPPSLAG OM TRAVPARKEN, 24.MARS SAK OM GRAFFITI, 27.MARS DEN E’ GO!-SPALTEN MED ALWYNNE, 27.MARS

BT OPPSLAG OM TRAVPARKEN, 5.FEBRUAR OPPSLAG FRA TRAVPARKEN, 25.MARS SAK OM HVOSLEF-PROSJEKTET, 26.MARS

OPPSLAG OM ORGELTÅRNET M/ANMELDELSER AV BFO OG FINNISSY, 27.MARS

OPPSLAG OM SOUNDPAINTING, 28.MARS STORT INTERVJU MED ALWYNNE OG FINNISSY M/ANMELDELSE

AV ORGELSTILLAS-KVELDEN I LOGEN, 29.MARS

NRK INNSLAG OM TRAVPARKEN, KULTURNYTT & NRK HORDALAND,

5.FEBRUAR INNSLAG OM BIT 20S HVOSLEF-PROSJEKT, KULTURNYTT & NRK

HORDALAND, 24.MARS, KLOKKA 16.03. INNSLAG OM TAGNEY & ORGELSTILLAS, KULTURNYTT & NRK

HORDALAND, 27.MARS, KLOKKA 16.03 NETTSAK OM ORGELSTILLAS: HTTP://WWW.NRK.NO/NYHETER/

DISTRIKT/HORDALAND/1.6544471 INNSLAG OM TRAVPARKEN, P2S MUSIKKREDAKSJON, 24.MARS,

KLOKKA 15.30 NETTSAK:HTTP://WWW.NRK.NO/KANAL/_

NRKKLASSISK/1.6539640 INTERVJU MED KNUT VAAGE OG BRIT JOHNSRUD, NRK HORDALANDS FORMIDDAGSSENDING, 24.MARS, 11.00-13.00 TV-SENDING DIREKTE FRA BERGEN TRAVPARK NRK

VESTLANDSREVYEN, 24.MARS, KLOKKA 18.50 OPPTAK OG INTERVJUER I FORBINDELSE MED BIT 20 OG BFO,

P2 MUSIKK I BRENNPUNKTET DEBATT OG OPPTAK AV BIOPSHERE/BFO, 18.APRIL & 21.APRIL:

HTTP://WWW.NRK.NO/KANAL/NRK_KLASSISK/1.6576365 ANMELDELSE AV BIOPSHERE:

HTTP://WWW.NRK.NO/KANAL/NRK_KLASSISK/1.6579062STUDVEST:

SAK OM SPRINGBOARD BOREALIS & SAMARBEID MED GRIEGAKADEMIET:HTTP://STUDVEST.NO/KULTUR.PHP?ART_ID=10587 & HTTP://STUDVEST.NO/KULTUR.PHP?ART_ID=10589

ANMELDELSE AV FAUST:HTTP://STUDVEST.NO/KULTUR.PHP?ART_ID=10658

STUDENTRADIOEN:ALWYNNE I PROGRAMMET SKUMMA KULTUR, MANDAG 23. MARS

FAUST OG EIRIK KYDLAND PÅ RADIOKAFÉ PÅ LANDMARK, FREDAG 27. MARS

BALLADE INTERVJU MED MAGNAR MANGERSNES:

HTTP://WWW.BALLADE.NO/NMI.NSF/DOC/ART2009032714003444232547

INTERVJU MED GEIR JENSSEN:HTTP://BALLADE.NO/NMI.NSF/DOC/ART2009032413075239487754

INTERVJU MED MICHAEL FINNISSY:HTTP://WWW.BALLADE.NO/NMI.NSF/DOC/ART2009032515315067344014

INTERVJU MED EINAR ØKLAND: HTTP://WWW.BALLADE.NO/NMI.NSF/DOC/ART20090326161844

19537651 BIOSPHERE-DEBATTEN PÅ BALLADE, FRA 01.APRIL HTTP://

WWW.BALLADE.NO/NMI.NSF/DOC/ART2009040113325927368276TIL 27.APRIL:

HTTP://WWW.BALLADE.NO/NMI.NSF/DOC/ART2009042711492830691691

UPOP: HOVEDSAK HELE UKA, SIDEN VAR ROSA FOR ANLEDNINGEN, INTERVJUER MED ALWYNNE OG ESPEN:

HTTP://WWW.UPOP.NO/2009/01/651 & HTTP://WWW.UPOP.NO/2009/03/MINI-INTERVJU-ESPEN-SOMMER-EIDE

DIVERSE TRAVPARK-OPPSLAG I NATIONEN SAK OM FILMPROGRAMMET I ADRESSA:

HTTP://WWW.ADRESSA.NO/KULTUR/FILM/ARTICLE1298377.ECE KUNSTKRITIKK OM STEPHEN PRINA OG INTERINTERINTER:

HTTP://KUNSTKRITIKK.NO/ARTICLE/62826HTTP://KUNSTKRITIKK.NO/ARTICLE/63987

NETTAVISEN OM TRAVPARKEN:HTTP://WWW.NETTAVISEN.NO/INNENRIKS/IBERGEN/ARTI-CLE2527327.ECE

BERGEN STUDENT-TV OM TRAVPARKEN:HTTP://BSTV.NO/KULTUR/2009/02/07/BOREALIS

27

NORSK KULTURRÅD NY MUSIKK BERGENVISJON VESTÅSANE KULTURKONTOR

BOREALIS MEMBER ORGANISATIONS

AVGARDEBEKBERGEN FILHARMONISKE ORKESTERBERGEN KAMMERMUSIKKFORENINGBERGEN KUNSTHALLBIT20 ENSEMBLEDEN NASJONALE SCENEDEN NYE OPERAFORSVARETS MUSIKKORPS VESTLANDETGREIGAKADEMIETKOR VESTLYDGALLERIETNY MUSIKK BERGENPILOTAUSF VERFTET

COLLABORATING ORGANISATIONS

AKTIVE STUDENTERS FORENINGAVGARDEBERGEN FILHARMONISKE ORKESTERBERGEN KUNSTHALLBERGEN OFFENTLIGE BIBLIOTEKBERGEN RIKSMÅLSFORENINGBERGEN TRAVPARKBEKBIT 20 ENSEMBLE DEN KONGELIGE NEDERLANNDSKE AMBASSADEDEN NORSKE AMBASSADE I LONDONDEN NORSKE AMBASSADE I STOCKHOLMFMKV FRITT ORDGATEAVISEN MEGAFONGRIEGAKADEMIETHORDALAND FYLKESKOMMUNEKIRKENS BYMISJONKOMPONISTENES VEDERLAGSFONDLINDEMANNS LEGATLYDGALLERIETNORSK KOMPONISTFORENING

I N T E R I N T E R I N T E R P R I N T E R P R I N T E R P R I N T E R - B O O K C O M P L E T E !

28

ECONOMY

THE FUNDING FROM NORSK KULTURRÅD INCREASED FROM 850 000 KR IN 2008 TO 900 000 KR IN 2009.BERGEN KOMMUNE DID NOT INCREASE THEIR FUNDING AS WAS PROPOSED IN THE BERGEN KOMMUNE ART PLAN “ KUNSTBYEN BERGEN 2007-2017”. INSTEAD, THE BOREALIS FUNDING FROM BERGEN KOMMUNE REMAINED THE SAME AS IN 2008 AT 800 000 KR.

THE FUNDING FROM OTHER PUBLIC AND PRIVATE FOUNDATIONS INCREASED SOMEWHAT

BOREALIS CHANGED ACCOUNTANT TO VASSDAL & ERIKSEN AS AND AUTIOR TO HELGE FROSTA AS.

ORGANISATION

BOREALIS CONSIST OF 1,5 PERMANENT EMPLOYEES. IN ADDITION TO THESE THERE WHERE 19 PEOPLE EMPLOYED IMMEDIATELY BE-FORE AND DURING THE FESTIVAL.AROUND 30 VOLUNTEERS ALSO FORMED AN IMPORTANT PART OF THE FESTIVAL TEAM DURING THE FESTIVAL PERIOD ITSELF.

BOREALIS 2009 WAS PRODUCED WITH NO ORGANISATIONAL OR LOGISTICAL PROBLEMS. ALL EVENTS WERE REALISED AS PLAN-NED.

ALL EMPLOYEES AND VOLUNTEERS SHOWED GREAT ENTHUSIASM AND COMMITMENT BOTH BEFORE AND DURING THE FESTIVAL.

THE NEW ARTISTIC DIRECTOR, ALWYNNE PRITCHARD , TOOK OVER FOR NICHOLAS MØLLERHAUG ON SEPTEMBER 1ST. 2008. THE 2009 PROGRAM WAS THEREFORE A COMBINATION OF BOTH ARTISTIC VISIONS.

THE BOARD 2008- 2009

MONICA SALTHELLA, CHAIRMANHILD BORCHREVINK, VICE CHAIRMANAASHILD GRANA, BOARD MEMBERSTEINAR SEKKINGSTAD, BOARD MEMBERRAGNA SOFIE GRUNG MOE, BOARD MEMBERROR SLETTELAND, VICE MEMEBERHANS KNUT SVEEN, VICE MEMEBERSUSANNE CHRISTENSEN, VICE MEMEBER

ARTISTS IC COUNCIL

MATTHEW SHLOMOWITZ (FROM SEPTEMBER 1ST. 2008)ØYVIND TORVUND (TO SEPTEMBER 1ST. 2008)

29

PA R K I N S O N S A U N D E R S

PA R K I N S O N S A U N D E R S

ADMINISTRATION

ALWYNNE PRITCHARD, FESTIVAL DIRECTORIVAR CHELSOM VOGT, ADMINISTRATIVE COORDINATOR

ACCOUNTING AND AUDIT ING

Vassdal og Eriksen AS, accountantHelge Frosta AS, auditor

FEST IVAL CREW

MARTIN FLACK, TECHNICAL DIRECTORSTEVE SHAW, LOGISTICSEIRIK KYDLAND, PRESS CONTACTMAGNUS VOLL MATHIASEN (GRANDPEOPLE), DESIGNERANDERS OHNSTAD, VOLUNTEER COORDINATORMEGHAN BEATON, FESTIVAL OFFICE AND TRANSPORTMATTIAS THRONSEN, TECHNICAL PRODUCERSIGVE SÆLENSMINDE, TECHNICAL PRODUCERKRISTOFFER JUL-LARSEN, PRODUCERGUNHILD TINMANNSVIK, PRODUCERTHOMAS BREDEFUR, PRODUCERTHOROLF THUESTAD, SOUND ENGINEEREIRIK JØRSTAD, SOUND ENGINEER

HÅVARD PEDERSEN, SOUND ENGINEERMORTEN BREKKE STENSLAND, SOUND RECORDINGKRISTIAN KRÜGER, VIDEO RECORDINGEIRIK LANDE, PHOTOTHOR BRØDRESKIFT, PHOTOSVENN SIVERTSSEN, PHOTOGISLE NES, WEB

VISUAL PROFILE

THE VISUAL PROFILE FOR BOREALIS IS DESIGNED BY GRANDPEO-PLE WITH MAGNUS VOLL MATHIASSEN AS ART DIRECTOR AND IN 2008 IT WON GOLD AND SILVER AWARDS IN THE NATIONAL DE-SIGN COMPETITION, VISUELTKONKURRANSEN. THE 2009 DESIGN HAS CONTINUED TO BUILD-UPON A VISUAL PROFILE WHICH HAS BEEN DEVELOPED AND REFINED OVER THE PAST 3 YEARS, WITH THE BOREALIS FONT AND COLOUR-SCHEMES IN PARTICULAR BE-COMING AN INCREASINGLY RECOGNIZED AND ESTABLISHED PRO-FILE.

GRANDPEOPLE HAVE NOT ONLY FOCUSED ON STRENGTHENING AND HIGHLIGHTING THE FESTIVAL PROFILE, BUT ALSO WORKING CLOSELY WITH BOREALIS TO INTERPRET THE FESTIVAL THEMES. IN 2009, THE THEME OF “TRANSCRIPTION” WAS THE ONE FROM WHICH THE VISUAL PROFILE DREW ITS CORE IDEAS. THE REFE-RENCE ON THE FESTIVAL PROGRAM COVER TO BURBERRY’S WELL-KNOWN PATTERN ALSO ACKNOWLEDGES PIET MODRIAN’S WORK,

H E N R I K S VA N E V I K A N D V J A P E L O N I U S - A R T H U R R U S S E L D I S C O T I M E

30

P R I N T E R P R I N T E R P R I N T E R I N A C T I O N

AS WELL AS OTHER MEMBERS OF THE DE STILJ- MOVEMENT - ONE OF THE FIRST TO TRANSCRIBE MUSIC INTO PAINTING. WITH REFE-RENCE ALSO TO THIS PRACTICE THEN, THE ‘BURBERRY’ PATTERN ON THE FESTIVAL PROGRAM COVER IS PARTLY DECONSTRUCTED AND GIVEN A RHYTHMIC IRREGULARITY, AS IN DE STILJ’S PAIN-TINGS

MARKETING

THE MARKETING BUDGET REMAINED STABLE IN 2009. THE GRAP-HIC PROFILE WAS REPRODUCED IN THE PROGRAM BOOK, POS-TERS AND FLYERS THAT WERE DISTRIBUTED IN AND AROUND BER-GEN IN THE MONTHS BEFORE THE FESTIVAL.THE ADVERTISING CAMPAIGN IN BERGENS TIDENDE, THE WIRE, STUDVEST, MORGENBLADET, BALLADE.NO AND NATT OG DAG WENT ACCORDING TO PLAN, IN ACCORDANCE WITH OUR TARGE-TING OF A YOUNG AND INTERNATIONAL AUDIENCE, AS WELL AS THE LOCAL CONCERT CROWD.

ARENAS

BERGEN OFFENTLIGE BIBLIOTEKBERGEN TRAVPARKDOMKIRKENGRIEGAKADEMIETGRIEGHALLEN

31

HOTEL TERMINUSKANTINEN PÅ JUS-BYGGETLANDMARKLOGEN TEATERLYDGALLERIETSTUDENTSENTERETUSF

E IT UTVAL E IGENPROD

RADIOFYR PÅ BYENS TAK

MINIKONSERT HVER ETTERMIDDAG.»BERGENS TIDENDE, 26.2.

RADIOFYR PÅ BYENS TAK

Blant Borealis sine eigenproduksjonar iår vil me særleg trekke fram lydinstallasjonane.

OLLABORATING ORGANISATIONSBERGEN TRAVPARK

12

J O H N H E G R E O G A N D E R S H A N A

12

E IT UTVAL E IGENPROD

RADIOFYR PÅ BYENS TAK

MINIKONSERT HVER ETTERMIDDAG.»BERGENS TIDENDE, 26.2.

RADIOFYR PÅ BYENS TAK

Blant Borealis sine eigenproduksjonar iår vil me særleg trekke fram lydinstallasjonane.

OLLABORATING ORGANISATIONSBERGEN TRAVPARK

J O H N H E G R E O G A N D E R S H A N A

E IT UTVAL E IGENPROD

RADIOFYR PÅ BYENS TAK

MINIKONSERT HVER ETTERMIDDAG.»BERGENS TIDENDE, 26.2.

RADIOFYR PÅ BYENS TAK

Blant Borealis sine eigenproduksjonar iår vil me særleg trekke fram lydinstallasjonane.

OLLABORATING ORGANISATIONSBERGEN TRAVPARK

12

J O H N H E G R E O G A N D E R S H A N A

12

E IT UTVAL E IGENPROD

RADIOFYR PÅ BYENS TAK

MINIKONSERT HVER ETTERMIDDAG.»BERGENS TIDENDE, 26.2.

RADIOFYR PÅ BYENS TAK

Blant Borealis sine eigenproduksjonar iår vil me særleg trekke fram lydinstallasjonane.

OLLABORATING ORGANISATIONSBERGEN TRAVPARK

J O H N H E G R E O G A N D E R S H A N A

E IT UTVAL E IGENPROD

RADIOFYR PÅ BYENS TAK

MINIKONSERT HVER ETTERMIDDAG.»BERGENS TIDENDE, 26.2.

RADIOFYR PÅ BYENS TAK

Blant Borealis sine eigenproduksjonar iår vil me særleg trekke fram lydinstallasjonane.

OLLABORATING ORGANISATIONSBERGEN TRAVPARK

12

J O H N H E G R E O G A N D E R S H A N A

12

E IT UTVAL E IGENPROD

RADIOFYR PÅ BYENS TAK

MINIKONSERT HVER ETTERMIDDAG.»BERGENS TIDENDE, 26.2.

RADIOFYR PÅ BYENS TAK

Blant Borealis sine eigenproduksjonar iår vil me særleg trekke fram lydinstallasjonane.

OLLABORATING ORGANISATIONSBERGEN TRAVPARK

J O H N H E G R E O G A N D E R S H A N A