Honoré Bøe, Tore
Presenting sound collage where the focus is set on amplifying sounds that would otherwise pass unnoticed, and extensive use of room frequencies adding a certain resonnance that barely needs to be processed. Verving on the edge of feedback, his musical beauty is based in risk and chance. He might jump from extremely low soundscapes to potent sound collage in a glitch, or he might not.
http://kunst.no/alias/origami/tore/
The fingerspitzengefühl becomes the main instrument as the
'microphysical' side of his performances is what makes them rather
unique. The positioning of sounds in a room. Often starting out with
pure stereo recordings as a background he helps his objects of choice to
tell their own stories.
The musical lingo is definitely varied, yet there is a distinct dialect
present throughout his work. Most often found objects and dysfunctional
devices create weird 'conversational' crackles, biips und kraaks.
Memorabilia and trash is redefined into instruments (f.i. the self-made
acoustic 'laptops' and later the Kurtstruments). Endless recordings are
used as a palette for dynamic and contrastful brushstrokes. As Bøe has a
background in various styles of music and as his inspiration is diverse
to say the least, he is aiming at bringing music back to sound
experimentation.
His usually temporary instrumental set-ups have included eggshell, hair,
silver cutlery, 250V, rice, a bad knee, miked vinyls, a sahara
sandstorm, stones, fire, paper, a passport, clocks, a hair dryer and a
range of other broken electrical devices. His recorded tracks are all
subtitled [opus for this + dat], a significant signature that reveals
his tight connection to the long tradition of collage, dada, merz,
fluxus, mail art, neoism, art naïve - yet the music is there for its own
aesthetic value. A more visual side of his collage work is slowly emerging.
It has been on Bøe's agenda for years to seek out new spaces to fill,
gaining contacts that come in the manifestation of friends. The
emotional atmosphere of the room is crucial to the outcome of each
concert. The venue might be a prestigous gallery, or a lower east side
squat. The attitude and input remains the same, although the output
might differ in context and complexity. Bøe has played a long list of
more or less known cities throughout Europe and the US, and his LIVE!
[to perform] tour continues.
Through his work as coordinator for and performer in the Origami
Republika network, his list of releases, participations, touring,
appearances and collaborations is seemingly endless, of which the most
known cameos might be KA, Origami Arktika, Tacet NCV, The Nordic Miracle
and Origami Replika (92-98). Still doing concerts, releases and
activities within the Origami Republika framework, Bøe added working
under his full name in 1999, letting colleague and friend Lasse Marhaug
pretend to be him (even overfor the organizers) at Les Observatoir festival.
