Silence: unfolding in space (Chernobyl, 20 years)
Jacob Kirkegaard

After the nuclear accident on April 26th, 1986, time did not just keep on "passing" in Chernobyl as it had done before. The individual lifetimes of many people had been suddenly extinguished, as the nature around the destroyed reactor would now radiate for several hundreds of thousands years into the future.
When I entered the zone, my mission was to get hold of a fragment of this enormous amount of radiating time to come. I decided that the best way to capture time would be to listen to its passage. So I put my microphone into four abandoned rooms and I waited. From a technical point of view, this method refers back to Alvin Lucier's work "I am sitting in a room" [1970]. He recorded his voice in a space and repeatedly played this recording back into that same space. In my work, however, no voice is being projected back into the rooms; only the sound of the rooms themselves. During the recordings, I left the rooms. I was curious to hear what might arise from the empty spaces themselves.

Jacob Kirkegaard (Denmark/Germany). Born in Denmark in 1975. Lives in Germany. Investigates sonic membranes and discrete interference occurring in different environments. Graduated from the Academy of Media Arts in Cologne Germany, Kirkegaard has lectured on archaeological and spatial aspects of sound at the Academy of Architecture in Copenhagen. His works include live performances, film music, installations and compositions - 'Soaked', a collaboration with Philip Jeck (Touch, 2002), '01.02' (Bottrop-boy) and 'Eldfjall' (Touch, 2005). In his latest work for Touch, '4 Rooms' (2006), Kirkegaard explores the sonic legacy of Chernobyl. Jacob Kirkegaard has been presented at The Museum of Contemporary Art in Denmark, KIASMA art museum in Finland, K├Âlnischer Kunstverein, Gallery Rachel Haferkamp and at the Transmediale in Germany. He is also a member of freq_out.

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