Back to Stockholm, co-founder of The Surrealist Group in Stockholm.
Première as an improvisor (finally leaving jazz-rock behind) and surrealist musician with a solo improvisation (voice, piano, acting/movement, costume, manifesto) at Poeternas Estrad, Kafé 44, Stockholm.
Concert with Hal Rammel, Gina Litherland and Russell Thorne, the Emergency theatre (Occult Bookstore), Chicago. Hal Rammel becomes my source of inspiration when I later begin to play the saw and invent instruments.
Sessions with Davey Williams and LaDonna Smith, pioneers in american free improvisation, Birmingham, Al.
Visit to australian surrealists with Bruno Jacobs. Purchases and starts to play the didjeridoo.
Gives the musical activity around the surrealist group in Stockholm the name Den Rena Psykiska Automatismens Ensemble (Ensemble of Pure Psychic Automatism).
Våta spetsar, concert organized by The Surrealist Group in Stockholm at Café 44, with Carl-Michael Strömberg (later Edenborg), Christian Werner, Pär Juhlin and Stefan Lakatos.
Initiates the Surrealist Intercontinental Music Project, a simultanous improvisation that is later mixed together with Thomas Magee (Los Angeles), Hal Rammel, Karl Rammel and Gina Litherland (Chicago), Davey Williams, LaDonna Smith a.o. (Alabama), Johannes Bergmark, Christian Werner and Carl-Michael Strömberg (later Edenborg) (Fasching, Stockholm) and Michael Vandelaar (Australia).
Makes musical “exquisite corpses” using an interplay of images and music, with collaborators around the The Surrealist Group in Stockholm.
Four hands' piano interludes with Carl-Michael Edenborg at Agneta Klingspor's poetry evening at Kafé 44.
Private student to sculptor Evert Lindfors.
A visit to the Czech and Slovak Surrealist Group in Prague, followed by a visit to italy results in the long poem Över opal bågar häröver, printed on Surrealisförlaget, Stockholm, 1991.
Start the research and writing for the work “Surrealismen och Musiken” (Surrealism and Music) which is a comprehensive history and reconstruction of surrealism's so far scattered or missing musical history and theory.
Research for Hal Rammel's “Singing Saw Gazette” leads me to starting to play the saw myself.
Concert of “BRAC trio” with Hal Rammel and Gene Coleman, Southend Musicworks, Chicago.
Recording of “BRAC trio” at Experimental Sound Studio, Chicago, later released on the cd magazine The Aerial.
The trio also participates in writer/musician John Corbett's radio collage Radio Dada.
Recording of the duo cassette Where Saws Sing and Fiddles Bloom with Hal Rammel at Experimental Sound Studio.
Concert with Hal Rammel at The Space (?) in Madison, Wi.
Cellos and Verbs, outdoors concert at Five Points with a.o. LaDonna Smith, Craig Hultgren, Trish McCarl, Glenn Engstrand and Dorah Rosen, Birmingham, Al.
Concert at Fylkingen, Stockholm with Dror Feiler, Mats Lindström and Sören Runolf. (Probably one in the Trash Music series, #1339, 1379 or 1393 in the Fylkingen book catalog.)
Solo piano cassette Sistrum recorded at Fylkingen.
Workshops with John Tchikai, and with David Moss.
Introducing Jon Rose to sweden through a proposal to Fylkingen, where he later performs.
I discover butoh (the first performance I see is Sankai Juku at Dansens Hus) and contact the only swedish proponent of it at the time, Susanna Åkerlund (later known as SU-EN), become her first serious student and collaborator as a musician and dancer until 1994. In the beginning, a.o. things street performance, tv-program by Utbildningsradion and performance (with Christian Werner and Daniel Scott) at Tre Backar, Stockholm. Writes Butoh - Revolt of the Flesh in Japan and a Surrealist Way to Move for Mannen På Gatan – Surrealism 1991.
Participates with didjeridoo and saw in the performance/installation Arlanda->Kaknäs by Clara von Rettig at Multiplex, Fylkingen (#1402 or 1407 and in the Fylkingen book catalog) with upside down neon lights and a tape composition by her.
Release of the distant cassette collaboration “The Great Invisible Duo” with Los Angeles-based surrealist musician Thomas Magee.