In Dyptichs, artist Jesper Norda explores the boundary between sound and silence. Barely perceptible changes create concentrated experiences of presence and memory.

Jesper has spent two decades developing a richly varied art practice based on sound and time. In this installation, he presents two works that change over time: Matters #2 (Onde a Nono) and 118 Stones (Periodic Sequence/Landslide) (Pietre a Russolo). 

In Matters #2, the visitor enters a darkened room where projections slowly shift between black and white. Two tones are juxtaposed. Light and darkness move in waves, inspired by the Italian composer Luigi Nono (1920–1990) and his work Fragmente – Stille, an Diotima. Norda does not create music; he creates conditions for listening. 

“Although my work is conceptual, its expression often leans in a different way. I strive for ambiguity: I like that moment when the intellectual filter collapses and you feel it in your body.” 

118 Stones is tied to the number of elements in the periodic system. The audio is a recording of rocks being dropped on a rock face. On one side of the wall, the rocks are shown in order, on the other they are random. The subtitle Pietre a Russolo ties the work to futurism’s fascination with noise, but here it has an ecological dimension. 

Jesper Norda is a Swedish artist who works in Gothenburg with acoustic art, video and time-based installations. His works revolve around the boundary between noise and silence, creating intense experiences of presence or memory through discreet changes in sound and storytelling. 

For more than two decades, he has been showing his art in exhibitions, public commissions and performance art in Sweden and internationally. His works are represented in collections at venues like the Gothenburg Museum of Art, the Art Museum of Skövde and the Kalmar Art Museum.