Norbergfestival is site-specific. What does it mean?
It means that meticulous care is placed into programming the festival, driven and inspired by the very potential these abandoned spaces hold, as appropriated into performance venues. In essence, so many acts presented here are experimental—outcome unknown and much affected by your engagement. But every stage makes indeed a specific platform, a firm and conditioning foundation for what shoots off in the space, when activated by artist and audience.
In dead center stands Mimerlaven tall; once the Bergslagen region’s largest iron ore extraction and enrichment facility until operations ceased in 1981. In awe of its spectacular aesthetic capacities, it remains the attraction and motivation for a near two-decade non-profit festival organisation, in search of sublime experiences in sound and milieu. Insert some ten thousand watts of concert hall-grade loudspeakers, engaged by a selection of composers and artists foremost involved with timbre over rhythm, and the stuff and repute of Norbergfestival is made: exploratory, droning resonance; immersive and revered.
To these particular qualities, we add the dynamic head-on force of stage Kraftwerk with a selection of bold, frontal works for sound and light; the infective immediacy of tent and former camp stage 303—these days supplying the very pulse of the festival; and finally the focused intimacy of black box Krossverket, a room for free-form and direct engagement of performer and audience. Minimal intervention, maximal amplification! Forget genres, forget art forms. Instead kindly place care in these three:
Undo and allow yourself, with one query in mind: is it striking?
Norbergfestival 2018 hosts some seventy artists young and older, gender-diverse and of near twenty nationalities. Whilst dynamic in form and genre, we find mutuality in contemporary expression, together potentially making for something entirely new. Hopefully it is felt, between and amidst.