Black Metal Square #1-3, 2017, Three black metal plates (100 x 100 x 0,06 cm; 75 x 75 x 0,05 cm; 50 x 50 x 0,04 cm), sensors, contact speakers, transformers and metal wire  

Black Metal Square #1-3 (1), Black Metal Square #1-3 was created for Jacob Kirkegaard's solo exhibition 'alt & intet' at ARoS. The exhibition consists of five different sound installations by the artist.  

Black Metal Square #1-3 (2), 2017, The installation takes inspiration from Kazimir Malevich's famous painting 'Black Square' from 1915 and his quote 'It is from zero, in zero, that the true movement of being begins'.  

Black Metal Square #1-3 (3), 2017, The installation consists of three freely hanging metal plates creating vibrations. The vibrations are amplified and played back into themselves, evoking their resonant frequencies.  

AION (1), 2011, Installation. 50-minute composition from field recordings & video footage, looped. Premiered at Museum of Contemporary Art, Roskilde, Denmark Released on CD, 4 Rooms by Touch, 2006, and on DVD by Fonik Works. AION was also part of Soundings - MoMA's first exhibition for sound art. To hear more, please visit: http://fonik.dk/works/aion.html  

AION (2), was recorded and filmed in October 2005 in four abandoned spaces inside the exclusion zone around the former nuclear power plant in Chernobyl, Ukraine. The layered sound recording of each space reveal its resonant frequencies and is accompanied by projections of layered video of the same space  

AION (3), AION (Ancient Greek αιων = “infinity”, “eternity”, a time span beyond human understanding) is a portrait of four abandoned spaces inside the so-called “Zone of Alienation” in Chernobyl, Ukraine; a dripping swimming pool, a ruined concert hall, a mould-infested gymnasium and an old village church. During the days and weeks following the accident at the Chernobyl nuclear power plant on April 26th, 1986, the local population were evacuated by Soviet military, and they had to leave behind all their belongings. The former homes, meeting places and recreation centres were declared contaminated territory – in fact, they will remain uninhabitable for thousands of years  

AION (4), Two decades after the disaster, Jacob Kirkegaard visited the exclusion area with his recording equipment. His approach was inspired by Alvin Lucier's work “I am sitting in a room” [1970]. While sitting in a room, Lucier recorded his own voice reciting a text which he then played back in the room. He repeated this process over and over again until the different layers of his voice began to merge into a constant drone. Kirkegaard didn’t record his own voice but the voice of the room itself. He put up a microphone and a speaker, started the recording and left. After ten minutes, he returned, stopped the recording and played it back into the same space. With each new layer, the subtle sounds of the room were enlarged and deepened until they finally turned into one humming sound with many overtones.  

ISFALD (1), Courtesy LOUISIANA - Museum of Modern Art and part of the exhibition ARCTIC, © 2013  

ISFALD (2), 14 speakers, 4 subwoofers, 2 transducers, textile, light  

ISFALD (3), The ice sounds used in this work were recorded with underwater microphones at the Ilulissat icefjord and with vibration sensors at the melting glaciers of Kangerlussuaq, Greenland, June 2013  

ISFALD (4), To hear more please visit: http://fonik.dk/works/isfald.html  

ISFALD (5)  

STIGMA (1), 2014, 33 minute installation / video work from field recording & video footage, looped, To hear more please visit: http://fonik.dk/works/stigma.html  

STIGMA (2), As a sequel to AION, Kirkegaard's new sound and video installation STIGMA created especially for Mori Museum (MAM Project) in Tokyo, works with the natural landscape of Fukushima  

STIGMA (3), Inspired by hanging scroll landscape painting Kirkegaard fills a five meter vertical screen with idyllic nature scenes. By recording and layering their ambient sound, the resonances of these outside spaces are revealed. STIGMA challenges the perception of a nature we usually embrace  

STIGMA (4), Commissioned by at Mori Art Museum, Tokyo, 2014. Created by Jacob Kirkegaard, Fukushima & New York, 2014.  

EARSIDE OUT, 2015, Composition from audio recordings of tones generated by the human ear. 12 speakers, steel wire, and speaker cable. 35 minutes. , Earside Out portrays spontaneous otoacoustic emissions – mysterious and complex tonal clusters, here recorded in the ears of 30 arbitrary people. The tones from each individual ear are spread across 12 speakers attached to thin steel wires and suspended between the floor and the ceiling, forming a three-dimensional spiral. Installation shots from Kirkegaard's exhibition 'all & nothing' at ARoS, 2017  

EARSIDE OUT (1), 2015, The installation resembles the cochlea of the inner ear from where the tones originally derive. With Earside Out, Kirkegaard demonstrates how the human ear not only receives ambient sound, but actually produces sound.