Carl Michael von Hausswolff
|Carl Michael von Hausswolff|
Carl Michael von Hausswolff
Carl Michael von Hausswolff (born 1956) is a composer, visual artist, and curator based in Stockholm, Sweden. His main tools are recording devices (camera, tape deck, radar, sonar) used in an ongoing investigation of electricity, frequency, architectural space and paranormal electronic interference. Major exhibitions include Manifesta (1996), documenta X (1997), the Johannesburg Biennial (1997), Sound Art - Sound as Media at ICC in Tokyo (2000), the Venice Biennale (2001, 2003 and 2005) and Portikus, Frankfurt (2004). Hausswolff received a Prix Ars Electronica award for Digital Musics in 2002.
Von Hausswolff was born in Linköping. He is an expert in the work of Friedrich Jürgenson, electronic voice phenomena (EVP) a researcher who claimed to have detected voices of the dead hidden in radio static. Hausswolff's own sound works are pure, intuitive studies of electricity, frequency and tone. Collaborators include Erik Pauser, with whom he worked as Phauss (1981-1993), Leif Elggren and John Duncan (artist). He also collaborates with EVP researcher Michael Esposito, film maker Thomas Nordanstad and with Graham Lewis (Wire) and Jean-Louis Huhta in the band OSCID.
Hausswolff is co-monarch (with Elggren) of the conceptual art project The Kingdoms of Elgaland-Vargaland (KREV), all areas of no-man's land, territories between national boundaries on both land and sea, digital and mental spaces. This nation has its own national anthem, flag, coat of arms, currency, citizens and ministers.
Recent audio works include "800 000 Seconds In Harar" (Touch), "Matter Transfer" (iDeal), "The Wonderful World of Male Intuition" (Oral), "There Are No Crows Flying around the Hancock Building" (Lampo), "Rats", "Maggots" and "Bugs" (all three on Laton), "Three Overpopulated Cities ..." (Sub Rosa), "A Lecture on Disturbances in Architecture" (Firework Editions), and "Ström" and "Leech" (both on Raster-Noton).
Other visual works include "Red Pool" (Cities on the Move, Bangkok, 1999), "Red Night" (SITE Santa Fe, 1999), "Red Code" (CCA Kitakyushu, 2001), "Red Empty" (Lampo/WhiteWalls, Chicago, 2003), and "Red Mersey" (Liverpool Biennial, 2004).
He is also the curator and producer of the sound-installation "freq out" shown at Moderna Museet (Stockholm), Henie-Onstad Center (Oslo), Sonambiente (Berlin) and other places.
Around the year 1986, he formed the Swedish independent label Radium 226.05 and in 1990 he formed the label Anckarström.
In 2012, he was heavily criticized for allegedly using ashes of Holocaust victims from the Majdanek concentration camp in a painting. As of 12 December 2012[update], the Martin Bryder Gallery in Lund had pulled the painting from exhibition. In 2017 his electro-acoustic composition Still Life - Requiem was released on LP. The music uses only sounds from the above mentioned ashes.
Carl Michael is the father of musician/composer Anna von Hausswolff.
- "Swedish artist uses 'ashes from Holocaust victims'". BBC News. Retrieved 18 Dec 2012.
- "Swedish gallery pulls painting made of Holocaust victims' ashes". JTA. Retrieved 18 Dec 2012.
- Official website
- INTERRUPTIONS #14. Mattergy — podcast curated by Carl Michael von Hausswolff
- "CM von Hausswolff interviewed by Thomas B.W. Bailey" (PDF). in Micro Bionic: Radical Electronic Music and Sound Art in The 21st Century (2nd edition)
- "At Venice Biennale, Artists Plant Flag for Their State (of Mind)". New York Times. 9 June 2007.
- "Swedish artist uses 'ashes from Holocaust victims'". BBC News. 6 December 2012.