Evelin Lindberg / No Title (No Filter) I-IIB

No Title (No Filter) I-IIB

  I Nude (Comping)

  IIA Collage (Sampling)

  IIB Not A Lot, Just Forever (Cover)

No Title (No Filter) is a series of pieces for a vocalist, electronics and video, exploring the rendering and commodification of the voice and body in popular media, as well as the distortions of self-expectation arising from both non-realtime editing and instant, automated processing (“filtering”) of performance and image.

The pieces’ music video is featured as a holographic haunting of the live performance, and acts as a definitive reference which the performer must reenact and be held in comparison to, despite their bodily limitations and the inhumanly enhanced nature of their digitally produced likeness. 

The work reflects on how the body is portrayed in pop and other industries and how the representation of the body and persona is produced and moulded digitally as part of an image-production - the kitsch and the vain, the ubiquitous and predatory imagery of commercials and music videos, as well as common “beautifying” treatments being taken beyond the confines of fidelity (and indeed, conventional notions of beauty) and used as musical syntax, texture, articulation, and radical transformation.

The work has been performed on several occasions, including UNM 2023, and presented as a physical installation at Pride art: Wunderkammer in Oslo. It was first shown to a closed audience in Stuttgart, spring 2021, and premiered to the public in autumn 2021 in Sentralen, Oslo, and the video and stage adaptation was thoroughly revised in 2023. Here it is presented as a standalone music video which is the conceptual backbone of all the manifestations of the work.

Evelin Lindberg is a sound and media artist based in Oslo. With a keen interest in the intersections of digital cultures and art, Lindberg explores technology as a lens shaping our perceived reality. 

A central aim in Lindberg’s work is to unveil processes that are typically hidden or implicit and render them in a tangible way. Works such as Scribbles (2018) and conveyor#1 (2024) revolve around the process of authoring, producing and interpreting a (musical) work, while works such as No Title (No Filter) I-IIB, ALIASING and M-105 challenge the interfaces between audience, composer and performer through production, deconstruction and remodelling of acoustic and digital instruments and distribution formats. 

Evelin has a bachelor’s degree from the Norwegian Academy of Music and Staatliche Hochschule für Musik und Darstellende Kunst Stuttgart. Their works have been performed and displayed at festivals and events such as Ultima, Darmstädter Ferienkurse, BROWSER SOUND and IRCAM forum. 

evelinfelix.link

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