BACK TO WORK / CITIES AND MEMORY (Copenhagen, Denmark – London, UK, 2017)

A sound collage dealing with mysticism, utopian desire, and resistance, both for and against change. It includes manipulated samples of composer and Christian mystic Hildegard of Bingen’s (1098-1179) choral piece Canticles of Ecstasy, fragments of an original field recording in London at the G20 rallies, and a sample and slightly pitched detail of a voice of dissent, ironically protesting against protest. Back To Work is about raising one’s voice, about the utopian mindset that often runs parallel to activism as its mystical counterpart, it is about a gathering of voices as a sonic ritual and the joy, melancholy, and weirdness of it all.

It was created as part of the call for field-recording re-apropriation and reconfiguration Protest & Politics, a global sound map of protest that is part of Cities and Memory, a collaborative “global field recording & sound art work that presents both the present reality of a place, but also its imagined, alternative counterpart – remixing the world, one sound at at time”.

Back To Work, among others, was programmed and broadcasted for the first time on August 7th 2017 by London-based Resonance FM.

 

CHRONOS FOR KAIROS (Copenhagen, Denmark, 2017)

Preparatory resonant sketch for The Here And Now – the continuation of a poetic self to be manifested collectively as teaching staff of the upcoming immersive performative project Sisters Academy – Boarding School at Den Frie Udstillingsbygning (København, DK) in the fall of 2017.

:: :: ::

40 beats per minute is a common enough heart rate when asleep. A little low but still normal, especially for a trained though exhausted body. The living heart is in constant motion, not exactly translating and rotating like a planet does, but close enough. This measure can be measured as a rhythmic repetition in sequential time. 

The ancient Greeks had two names for time. Chronos refers to measurable time, from past to future, the numbering of the days, a line, a sequence. Kairos refers to the instant, the moment of opportunity where action ignites consequence and change happens. If that moment is seized. If not, it belongs to chronos, the cannibal. 

Kairos also refers to the moment in archery when the tension of the bow achieves the maximum and the arrow is released. Or in weaving, when the wooden shuttle passes between the threads tied taut in the loom.

The Here And Now is of kairos but entangled in chronos. Aren’t we all?

WHITE CIRRUS – TUNGEDREVET #1 (Copenhagen, Denmark, 2017)

Titled in a oblique reference to a “genus of atmospheric cloud generally characterized by thin, wispy strands, giving the type its name from the Latin word cirrus, meaning a ringlet or curling lock of hair” (quote retrieved from the never unreliable Wiki), this piece is the first of a collection of compositions built upon live voice processing and manipulation. It might also seek inspiration from a meteor fragment framed on the wall – a white cirrus navigator of sorts, cutting a cooling burning trail across the sky under which we happen to live through our days.
Few things expose one more intensely to scrutiny and self-awareness than opening one’s mouth. Speaking in public, speaking to oneself, doubting one’s sanity or singing in the shower, our voice (if we have it) is the truest multi-tool. In the worlds of sound, voice is a borderless kingdom of vast property – it is also the only instrument that can die. White Cirrus is part of Tungedrevet (“Tongue-driven”) a series of compositions where the mouth pushes the sound waves into an processing array, sometimes loosing its recognizability altogether. Onto the listener, the one who lingers on the other side, it emerges as a metamorphic presence. Hopefully.

(photo credit: Eduardo Abrantes)

HORN ERU BEYGJUR / CORNERS ARE CURVES (that is why we walk into them) (Ísafjörður, Iceland, 2017)

My month-long residency at ArtsIceland in Ísafjörður, during February 2017, manifested as a series of inspiring sonic encounters. Between the surrounding landscape – both monumental and fluid – and its people, I was allowed to weave my own life rhythms, being guided, welcomed, playfully challenged, and above all, engaged and engaging with full curiosity.

HORN ERU BEYGJUR / CORNERS ARE CURVES is a surround installation/sound composition that knits together some of these sonic encounters. It is composed of manipulated field recordings taken in different environments in Ísafjörður, both private and public spaces, including that strangely simultaneously public and intensely private space, the acoustic of the fjord landscape itself.

The sound collecting and composition process was guided by the awareness of the site-specific acoustic properties of the area, together with intense dialogue and shared experiences with some of the local inhabitants. It was presented as a live mixed quadraphonic (4 channel surround) sound installation at Edinborgarhúsið Cultural Centre, followed by a group walk and an improvised choral encounter at Gallery Outvert.

The title refers to the geography of the fjords, its corners turning into curves, its play of seemingly both challenging and inviting navigation – hard on the body and freeing in the soul. It refers also to my own shared internal landscape as a human, how past and present struggles strengthen conviction, how life and wonder shun straight lines.

This residency was made possible by financial support from the following institutions:

KON_swed_arts_grants_committee_stor_150dpi.jpg
mobility_programme_horizontal-1 kopi

SOUNDING SHIFT (Copenhagen, Denmark – Christchurch, New Zealand, 2016)

Sounding Shift – The Transitional Core in Everyday Sound Objects is an exploration of how the audio format might be able to sustain and invoke transdisciplinarity. It occurs as a manifestation of the possibility of dialogue and mutual embodiment between Sound Art and Philosophy. It is both a soundscape composition and an audio-essay, sparked by the question: “What is the contemporary sound object?”. It was published within the context of the third issue of the Writing Around Sound journal, edited by Richard Keys and Jo Burzynska, and connected to the Auricle Sonic Arts Gallery, located in Christchurch, New Zealand. The text accompanying the sound piece can be read here.

TIL VANDKANTEN (Fanø, Denmark, 2016)

Til Vandkanten is a short audio-visual piece filmed at a beach stretch (Høne) in the south of the Fanø island, Denmark, in July 2016. From a fixed panoramic perspective, a group of performers/artists  – Maj Horn, Annette Skov, Carola Skov Hilby, Karla Skov Petersen, Malakias Liebmann, Stine Nielsen, and Simon Voigt – walks towards the edge of the water line to meet the horizon and then return. Their bodies, moving in a diagonal across the landscape, play with the notions of relatable scale, unreachable lines of reference, and embodiment of the landscape.

Til Vandkanten was both documentation and an artistic research experiment, produced in the context of Laboratorium for Vadehavets Ånd (Laboratorium for the Wadden Sea spirit), a project by Danish artist Maj Horn (DK), which consisted in a year of research about the spirit and atmosphere of the Wadden Sea, culminating in a research / exhibition platform at the ship Rebekka

It featured artistic contributions by artists Annette Skov (DK), Hartmut Stockter (DE/DK), Malakias Liebmann (DK), Peter Vadim (DK), Stine Nielsen (DK), philosopher Carsten Friberg (DK) and the musicians Simon Voigt (DE/DK), Stine Benjaminsen (DK) and Henriette Løvdal (DK).

OS TRÊS INIMIGOS DA ALMA (Viseu, Portugal – Stockholm, Sweden, 2016)

In one of the verses of a religious hymn from her childhood, Maria de Adelaide de Oliveira Rouxinol cautions against “the three enemies of the soul”, without explicitly naming them. According to christian tradition these would be the world, the flesh and the devil (mundus, caro, et diabolus).
If the soul is indeed intangible yet omnipresent, the same can be said of the listening experience. If there is a sonorous soul, what would its three enemies be? Distraction, unawareness, lack of empathy with the vibration of a place? I do not know.
Departing from the field-recording archive Viseu Rural 2.0Os Três Inimigos da Alma (The Three Enemies of the Soul)” is an exploration of the rhythmic dissonance implicit in fragments of the soundscape of the rural area of Viseu, Portugal. Attentive to where and when boredom gives way to beauty and vice-versa, this piece is composed in relation to distance and absence – my listening point – and the ways in which imagination tries to access a non-visited site.

(photo credit: Eduardo Abrantes)

THE HERE AND NOW AGAIN (Reykjavík, Iceland, 2016)

An immersive performance collaborative experiment, investigating strategies for sensuous embodiment in artistic and pedagogical processes. The Here And Now Again was the continuation of my poetic self manifestation, in a continued artistic research engagement with the Sisters Academy, this time an takeover intervention taking place at the Reykjavík School of Visual Arts, during a two week period in October 2016. Apart from co-authoring the transformation of the space, my participation consisted of a series of one-to-one performative encounters with students and staff, exploring improvised compositional techniques, rhythm pattern awareness, and shared sensorial expansion.

(photo credit: Eduardo Abrantes)

mobility_programme_horizontal-1 kopi