Simona Barbera | Ronny Faber Dahl      
LYNX (Oslo), 2015
The pavilion at “Utsikten”
Frognerparken, Kirkeveien, Oslo



If i just laid down




Built of sculptural elements and surrounding sonic frequencies, the installation aims at resonating the open spatial configuration of LYNX.

Through appropriation, sampling and repetition, the work is a sensitive account of vulnerability, territorial presence, teen tension, in an actual condition of subaltern defense. Sparse non-audible low frequencies surround the entire sound piece, with reference to the terrestrial natural resonance lost in the extensive accumulation of electromagnetic fields of our sonic environment.

A series of lo-fi sonic findings, spoken words distributed online by savvy communities are added to the track and reconstructed in a set of frequencies, merged and condensed, disclosing a further bodily involvement and amplification of background noise, body movements, broken acapella voices, breathings, reversed samples.

The sound piece contains a series of recording from south Italian youth and a vocal contribution of Ramona Africa, a recent personal encounter. The sculptural folded pieces are made out of waterproof Lycra, as sweatshirts and shorts, hinting at the industrial free time activities.





sound work

fragment # 1

fragment # 2

fragment # 3

fragment # 4

fragment # 5


If I just laid down: 1h altered lo-fi audio piece, stereo diffusion, zoom recorder, mixing board
Installation: sweatshirts, shorts
Voices: Napoli, Zona Orientale, teenagers, Ramona Africa
Altered sonic findings (distributed online): Napoli Zona Orientale neighborhood // Dourlife # me nd jus at Palermo pizzeria 2013 //  female acapella voice // Luh Vee FT 2014

Da Ramona Africa a John Africa





If I just laid down, LYNX, 2015, photo by Simona Barbera_04



If I just laid down, LYNX, 2015, photo by Simona Barbera_05



If I just laid down, LYNX, 2015, photo by Simona Barbera_03



IMG_3928 (1)



If I just laid down, LYNX, 2015, photo by Simona Barbera_02















Review by Tommy Olsson published in Klassekampen, September 2015.

Review by Mariann Enge in Kunstkritikk, 2015