About the Artist:
Tori Wrånes is a vocalist and artist, and has a trans medial artistic practise, which unfolds as performance, sculptures, videos or installations. Her use of sounds, musical instruments, costumes, props, architecture and sculptures deforms her appearance and creates new rituals and dreamlike constellations. Choreography with sound might be a good way to describe her work, be it solo or with multiple performers, like operah-singers on bikes, musicians in a chairlift, or a singing rock. Lately, Wrånes has been occupied with developing her own Troll-technique; an improvised, non-verbal, language based on rhythm and temperament.

Her recent soloshows are HANDMADE ACOUSTICS at Ujazdowski Castle for Contemporary Art in Warszawa, Hot Pocket at Museum of Contemporary Art, Oslo; Ældgammel Baby / Ancient Baby, Kunsthal Charlottenborg Denmark; FLUTE WARRIORS, w/Red Comunitaria Trans, Bogotà, Colombia; DRASTIC PANTS, Carl Freedman Gallery London. Bigger performances has been STONE and SINGER commissioned by the 19Th Biennale of Sydney (2014); YES NIX, commissioned by PERFORMA 13 New York; Colombo Art Biennale, Sri Lanka; Dhaka Art Seminars, Dhaka Bangladesh; CCA Lagos, Nigeria; The Eccentrics, Sculpture Center, New York. Recently she developed a new score for Dakar Biennale Senegal in collaboration with Ayodeji Adewale Yaro and a commissioned soundpice for operafestival PROTOTYPE in Nyc. Wrånes is represented by Carl Freedman Gallery, London.

Critics/Testimonials:

“Norwegian singer-performer Tori Wrånes performs her latest piece of chacter-driven audiovisual kookiness under a massive swinging rock pendulum in the cavernous Turbine Shop, this was definitely the breathtaking highlight of the media preview earlier this week”.
-Time Out, Sydney March 14

The work of Tori Wrånes is mesmerising, dreamy, magic, beautiful, funny and strange at the same time.
-Art Viewer, Tennis Cat, 1646 Den Haag, Netherland

It’s difficult to point to anything in it that would not function just as well were it called a concert, play, or even music video. That isn’t to say the work shouldn’t be enjoyed as such: the high production values, musicianship, and staging made for a haunting series of moments. Wrånes constructs, if just for a few moments, a fantastical setting. The simplicity and confidence of the scores, and the lack of references to anything outside the set itself, make it universally accessible.
- by Ryan Wong on November 25, 2013 for Hyperallergic (about YES NIX, commission work for Performa 13).

“The outstanding piece at Cockatoo Island on Sydney Harbour is the Norwegian Tori Wrånes‘ Singer and Stone. The combination of brass music, song, a giant stone pendulum and the artist dressed as a troll is both compelling and unnerving. The work is by itself enough to justify the ferry ride from Circular Quay”.
-Joanna Mendelssohn, for The Conversation, Academic rigour, journalistic flair.

“Jag lyckades få biljetter till norska Tori Wrånes föreställning Yes Nix. Det blev en halvtimma av förförisk sång, spöklik akrobatik, analogt surroundsound från cyklar som cirkulerade kring publiken och en blockflöjtskonsert av en grupp skakiga, krumma pensionärer. Yes Nix placerade publiken i en visuell och ljudmässig bubbla som kunde ha fått pågått minst dubbelt så länge till och det kändes som en perfekt summering av hur performancekonst kan vara när den ger som mest”.
-25 November, 2013 av backstagenewyork .

Jonny Halberg om Tori Wrånes bidrag under Møllebyen litteraturfestival i 2011:
«Hva skal en si om Rambi? Alt som kan sies, for så vidt. Noe under femti mennesker beveger seg fra festivallokalet og videre opp i Møllebyen. Ved parkeringshuset øverst i Møllebyen fører Martin Sørhaug oss til høyre. Femti mennesker går inn i parkeringshuset, og ned. Inne i en lang og kald og mørk betonggang blir bedt om å stoppe. Det gjør vi. Et gult lys innerst inne i gangen blir tent. Det kommer fra venstre side. Trekkspilltoner høres. Ut av en dør kommer et fabelvesen. Det går bøyd, med klesfiller i lag over kroppen. Ansiktet er det umulig å se, bare masse svart hår. Ut fra skikkelsen stikker det noe som ser ut som to meterlange pinner. Skikkelsen vagger rundt, spiller på trekkspillet og begynner å synge. Det går en grøsning nedetter ryggen min. Jeg står ved siden av Marit Guldbrandsen. I det tårene står ut i øynene mine ser jeg at Marits tårer allerede har begynt å trille. Skikkelsen går opp og ned og synger som i en opera. Og tårene triller, triller.

På vei ut tørker Marit og jeg oss på kinnene.
- Det var helt fantastisk, sier jeg.
- Jeg har aldri hørt eller sett maken, sier Marit.
- Det var så rørende som noe kan bli, sier jeg.
- Umulig å forsvare seg mot. Fantastisk, sier Marit.
- Jeg har ikke ord, sier jeg.
- Nei, det finnes ikke ord, sier Marit.
- Nei, virkelig ikke, sier jeg.»
– Publisert på Den norske Forfatterforeningens nettside 30 nov 2011.

“… a whole mythical world was created in that parking structure that was completely unexpected, yet totally at home in those environs. The gestures were as light as air, but the makeshift noice opera as a whole took root deep in the body and lit up the mind’s eye as far as it could see”.
-Carol Cheh, Another Richerous travel, performance in the LA Art Scene.
(SPIN ECHO, Walt Disney Consert Hall/REDCAT parkingstructure 2012)

“...It was so spot on. It was one of the most compelling performances I’ve seen in a long time”.
-Lesley Flanigan, The Indian Handbook 2011
(Oo, Museum of Contemporary Art, Roskilde, Denmark)

“……….it was a small slice of vertiginous theatre and easily the most memorable spectacle of the day”.
-Anne Hilde Neset, On site, sept 2009,
(To be heard is to be seen", Henie Onstad Kunstsenter).

“I don’t want to get into details too much, because as a performer Tori Wrånes is in a league of her own, her performance is delivered extremely professionally, without being bored, it maintains a sense of excitement, and it is fascinating and remains a haunting experience for its...hm..let´s call it otherworldliness for a lack of words.”
-Andreas Schlaegel,
(Pattedyret, Survival of the Fittest), The Stenersen Museum, MA degree show 2009)

“……………….Når Tori Wrånes, som fra tidligere er kjent for sin nærmest overjordiske vokal, har performance, skaper det derimot straks en stor opplevelse. Wrånes behersker de tonale bevegelsene og hun lar dem bevre på et punkt mellom besnærende vakkert, tiltrekkende og samtidig helt uhyggelig foruroligende og umennesklig. ……………
………………….Totalt utgjorde Wrånes’ «Pattedyr» et nokså groteskt bilde på den hungrende, evig tørste kjærligheten. Dermed stiller hun seg for meg helt klart først i rekken av de eksistensielle kunstnerne på årets utstilling”.
-Christer Dynna, Kunstkritikk.no, 01.06.09 ,
(Pattedyret, Survival of the Fittest, Stenersen museet, avgangsutstillingen 2009).

“Den stille magien som oppsto ga en opplevelse av å være tilstede på noe unikt.”
-Dagbladet, Kari J. Brandtzæg 26 april 2009,
(Zombie Atlantic, (Et ansikt som graves ned i ett dødt dyr) REKORD).

About the Artist:
Tori Wrånes is a vocalist and artist, and has a trans medial artistic practise, which unfolds as performance, sculptures, videos or installations. Her use of sounds, musical instruments, costumes, props, architecture and sculptures deforms her appearance and creates new rituals and dreamlike constellations. Choreography with sound might be a good way to describe her work, be it solo or with multiple performers, like operah-singers on bikes, musicians in a chairlift, or a singing rock. Lately, Wrånes has been occupied with developing her own Troll-technique; an improvised, non-verbal, language based on rhythm and temperament.

Her recent soloshows are HANDMADE ACOUSTICS at Ujazdowski Castle for Contemporary Art in Warszawa, Hot Pocket at Museum of Contemporary Art, Oslo; Ældgammel Baby / Ancient Baby, Kunsthal Charlottenborg Denmark; FLUTE WARRIORS, w/Red Comunitaria Trans, Bogotà, Colombia; DRASTIC PANTS, Carl Freedman Gallery London. Bigger performances has been STONE and SINGER commissioned by the 19Th Biennale of Sydney (2014); YES NIX, commissioned by PERFORMA 13 New York; Colombo Art Biennale, Sri Lanka; Dhaka Art Seminars, Dhaka Bangladesh; CCA Lagos, Nigeria; The Eccentrics, Sculpture Center, New York. Recently she developed a new score for Dakar Biennale Senegal in collaboration with Ayodeji Adewale Yaro and a commissioned soundpice for operafestival PROTOTYPE in Nyc. Wrånes is represented by Carl Freedman Gallery, London.

Critics/Testimonials:

“Norwegian singer-performer Tori Wrånes performs her latest piece of chacter-driven audiovisual kookiness under a massive swinging rock pendulum in the cavernous Turbine Shop, this was definitely the breathtaking highlight of the media preview earlier this week”.
-Time Out, Sydney March 14

The work of Tori Wrånes is mesmerising, dreamy, magic, beautiful, funny and strange at the same time.
-Art Viewer, Tennis Cat, 1646 Den Haag, Netherland

It’s difficult to point to anything in it that would not function just as well were it called a concert, play, or even music video. That isn’t to say the work shouldn’t be enjoyed as such: the high production values, musicianship, and staging made for a haunting series of moments. Wrånes constructs, if just for a few moments, a fantastical setting. The simplicity and confidence of the scores, and the lack of references to anything outside the set itself, make it universally accessible.
- by Ryan Wong on November 25, 2013 for Hyperallergic (about YES NIX, commission work for Performa 13).

“The outstanding piece at Cockatoo Island on Sydney Harbour is the Norwegian Tori Wrånes‘ Singer and Stone. The combination of brass music, song, a giant stone pendulum and the artist dressed as a troll is both compelling and unnerving. The work is by itself enough to justify the ferry ride from Circular Quay”.
-Joanna Mendelssohn, for The Conversation, Academic rigour, journalistic flair.

“Jag lyckades få biljetter till norska Tori Wrånes föreställning Yes Nix. Det blev en halvtimma av förförisk sång, spöklik akrobatik, analogt surroundsound från cyklar som cirkulerade kring publiken och en blockflöjtskonsert av en grupp skakiga, krumma pensionärer. Yes Nix placerade publiken i en visuell och ljudmässig bubbla som kunde ha fått pågått minst dubbelt så länge till och det kändes som en perfekt summering av hur performancekonst kan vara när den ger som mest”.
-25 November, 2013 av backstagenewyork .

Jonny Halberg om Tori Wrånes bidrag under Møllebyen litteraturfestival i 2011:
«Hva skal en si om Rambi? Alt som kan sies, for så vidt. Noe under femti mennesker beveger seg fra festivallokalet og videre opp i Møllebyen. Ved parkeringshuset øverst i Møllebyen fører Martin Sørhaug oss til høyre. Femti mennesker går inn i parkeringshuset, og ned. Inne i en lang og kald og mørk betonggang blir bedt om å stoppe. Det gjør vi. Et gult lys innerst inne i gangen blir tent. Det kommer fra venstre side. Trekkspilltoner høres. Ut av en dør kommer et fabelvesen. Det går bøyd, med klesfiller i lag over kroppen. Ansiktet er det umulig å se, bare masse svart hår. Ut fra skikkelsen stikker det noe som ser ut som to meterlange pinner. Skikkelsen vagger rundt, spiller på trekkspillet og begynner å synge. Det går en grøsning nedetter ryggen min. Jeg står ved siden av Marit Guldbrandsen. I det tårene står ut i øynene mine ser jeg at Marits tårer allerede har begynt å trille. Skikkelsen går opp og ned og synger som i en opera. Og tårene triller, triller.

På vei ut tørker Marit og jeg oss på kinnene.
- Det var helt fantastisk, sier jeg.
- Jeg har aldri hørt eller sett maken, sier Marit.
- Det var så rørende som noe kan bli, sier jeg.
- Umulig å forsvare seg mot. Fantastisk, sier Marit.
- Jeg har ikke ord, sier jeg.
- Nei, det finnes ikke ord, sier Marit.
- Nei, virkelig ikke, sier jeg.»
– Publisert på Den norske Forfatterforeningens nettside 30 nov 2011.

“… a whole mythical world was created in that parking structure that was completely unexpected, yet totally at home in those environs. The gestures were as light as air, but the makeshift noice opera as a whole took root deep in the body and lit up the mind’s eye as far as it could see”.
-Carol Cheh, Another Richerous travel, performance in the LA Art Scene.
(SPIN ECHO, Walt Disney Consert Hall/REDCAT parkingstructure 2012)

“...It was so spot on. It was one of the most compelling performances I’ve seen in a long time”.
-Lesley Flanigan, The Indian Handbook 2011
(Oo, Museum of Contemporary Art, Roskilde, Denmark)

“……….it was a small slice of vertiginous theatre and easily the most memorable spectacle of the day”.
-Anne Hilde Neset, On site, sept 2009,
(To be heard is to be seen", Henie Onstad Kunstsenter).

“I don’t want to get into details too much, because as a performer Tori Wrånes is in a league of her own, her performance is delivered extremely professionally, without being bored, it maintains a sense of excitement, and it is fascinating and remains a haunting experience for its...hm..let´s call it otherworldliness for a lack of words.”
-Andreas Schlaegel,
(Pattedyret, Survival of the Fittest), The Stenersen Museum, MA degree show 2009)

“……………….Når Tori Wrånes, som fra tidligere er kjent for sin nærmest overjordiske vokal, har performance, skaper det derimot straks en stor opplevelse. Wrånes behersker de tonale bevegelsene og hun lar dem bevre på et punkt mellom besnærende vakkert, tiltrekkende og samtidig helt uhyggelig foruroligende og umennesklig. ……………
………………….Totalt utgjorde Wrånes’ «Pattedyr» et nokså groteskt bilde på den hungrende, evig tørste kjærligheten. Dermed stiller hun seg for meg helt klart først i rekken av de eksistensielle kunstnerne på årets utstilling”.
-Christer Dynna, Kunstkritikk.no, 01.06.09 ,
(Pattedyret, Survival of the Fittest, Stenersen museet, avgangsutstillingen 2009).

“Den stille magien som oppsto ga en opplevelse av å være tilstede på noe unikt.”
-Dagbladet, Kari J. Brandtzæg 26 april 2009,
(Zombie Atlantic, (Et ansikt som graves ned i ett dødt dyr) REKORD).