Type: Installation

Danske Laurits Esben Jongejan arbejder med installationskunst, elektronisk kompositionsmusik, videokunst og klubmusik. Hans værk A Shrine of Sacred Fear er baseret på inspiration fra japanske Shinto Shrines, hvor spirituelle krafter huses i disse fysiske objekter. På samme måde lader Jongejan sin dybeste frygt og angst fanges i installationens kerne. Hans værk søger at identificere og reagere på den moderne verdens brug af det spirituelle.

Type: Installation

The Danish multi-artist Laurits Esben Jongejan works with installation art, electronic composition, video art, and club-music. His piece A Shrine of Sacred Fear is based on inspiration from the Japanese Shinto Shrines, that safe keeps spiritual powers within these physical objects. In this installation, Jongejan places his deepest fears at the core of the piece and seeks to identify and react to the modern world’s use of mysticism.

Type: Installation

Morblod er en København-baseret duo, der består af Ida Lunden og Carina Lin Sixten, der bruger kunst som redskab til at udfolde forbundethed. Inspireret af kunsthåndværk, hjemlighed og hydrofeminisme, med rødder i visuel og materiel historiefortælling, navigerer Morblod iblandt kropsliggjort og arvelig hukommelse som kamppladser. Deres installation Mouth of Dancing Breath er en undersøgelse af horisonter og blinde vinkler, med en tilhørende lydside producerede af Josephine Phillip og Hannah Schneider. Værket består af et overdimensioneret billedtæppe og to tons havsalt formede i skinnende, kropslige skulpturer.

Type: Installation

Morblod is a Copenhagen-based duo, consisting of Ida Lunden and Carina Lin Sixten, who uses art as a means to unfold interconnectedness. Inspired by crafts, domesticity and hydro-feminism, rooted in visual and material collective storytelling, the work of Morblod navigates corporeal and ancestral memory as sites of struggles. Their installation Mouth of Dancing Breath is an over-dimensional piece wrapping the space in a cloth of images with additional sculptures made out of two tons of sea salt formed in imitated body sculptures.

Type: Installation

Slovenske Špela Petrič er mediekunstner og tidligere videnskabelig forsker, der i øjeblikket har befinder sig ligelidt i Ljubljana og Amsterdam. Hendes praksis er en multi-art, hvor hun bestræber sig på at sammensætte naturvidenskaben, wet medier og performancekunst. Hun skaber kunstneriske eksperimenter, med forunderlige relationer for at afsløre de ontologiske og epistemologiske grundlag for vores (bio)-teknologiske samfund og udfordre omfanget af af fremtidens muligheder. Meget af hendes seneste arbejde har fokus på plantelivet. Med sit værk Institute for Inconspicuous Languages: Reading Lips, bruger hun både naturlig- og kunstig intelligens, ved at undersøge plantens psyke gennem omhyggeligt at læse dens læber – de tusinder af mikroskopiske, ‘små munde’’ (stomata), hvor hver enkelt plante trækker vejret gennem.

Type: Installation

Špela Petrič is a Slovenian new media artist and former scientific researcher currently based between Ljubljana and Amsterdam. Her practice is a multi-species endeavor, a composite of the natural sciences, wet media, and performance. She envisions artistic experiments that enact strange relationalities to reveal the ontological and epistemological underpinnings of our (bio)technological societies and challenge the scope of the adjacent possible. Much of her recent work focus on plant life. With her investigating piece Institute for Inconspicuous Languages: Reading Lips she uses natural and artificial intelligence, peer into the plant’s psyche by carefully reading its lips – the thousands of microscopic, ‘tiny mouths’ (stomata) through which the inch plant breathes, speckled underneath each leaf.

Type: Installation + Performance

Født og opvokset i Yokohama, Japan, flyttede Tomoko Sauvage til Paris i 2003 efter at have studeret jazz piano i New York. Med inspiration fra Alice Coltrane og Terry Riley, blev Sauvage interesseret i Indisk musik og studeret hindustani musiks improvisation. Senere blev hun fascineret af Jalatharangam – et instrument fra den traditionelle musik fra Carnatic-området i Indien med vandfyldte porcelænsskåle, som Sauvage lod sig bjergtage af. Inden længe havde Sauvage fordybet sig i vandet ved brug af undervandsmikrofoner og hun skabte sit eget elektro-akkustiske instrument. Til sin installation In Curve Water forstærker hun lyden af vanddråber fra en enorm isblok hængende ned fra loftet. Installationens lydbillede defineres af mængden af vand og skifter således harmoni og melodi gradvist som isblokken fordamper. 

Tomoko Sauvage vil under udstillingsperioden lave en performance i forbindelse med installationen den 08. august kl.14:00–20:00. Performancen er inkluderet i prisen ved køb af entré til udstillingen.

Type: Installation + Performance

Born in Yokohama, Japan, Tomoko Sauvage moved to Paris in 2003 after studying jazz piano in New York. Through listening to Alice Coltrane and Terry Riley, she became interested in Indian music and studied improvisation of Hindustani music and later she got fascinated by Jalatharangam – the traditional Carnatic music instrument with water-filled porcelain bowls and was fascinated by the simplicity of its device and sonority. Soon her desire to immerse herself in the water engendered the idea of using an underwater microphone and led to the birth of the electro-aquatic instrument. For her installation In Curved Water, she amplifies the sound of water drops from huge hanging crystal ice blocks. As the tonality is defined by the quantity of water in the bowls, the melodies and harmonies gradually shift with the notes ascending drop by drop and descending by evaporation.

Sauvage will also perform a concert during the exhibition on August 08 at 14:00–20:00 the performance is included in the entrance fee for the exhibition.

Type: Installation

Danske Nour Fog beskæftiger sig med kønspolitiske tematikker, musikvidenskab og sanselighed, mens de formmæssige undersøgelser af skulpturen, keramiske formler og glasurer er inspireret af alt fra japanske og indiske lakteknikker, Venus fra Willendorf, sci-fi til klassisk arkæologi. I sine skulpturer undersøger kunstneren et fysisk indre og ydre gennem udformninger og rum og, på et symbolsk plan, temaer som psykologi, krop og seksualitet.

Med sit monumentale værk Siren indtager Fog rummet med en massiv kropslig fylde.   Skulpturen er inspireret af alarmsireners tragtformede åbning og fungerer således som en forstærker, der jævnligt igangsætter en sirenesang af menneskekor. Værket er både lokkende og faretruende som mytologiens kvindelige sirener, der kaldte skibbrudne sømænd til sig for dernæst at fortære dem. Skulpturen viser Fogs undersøgelser af musikalske grundprincipper som eksempelvis instrumenters akustikrum, og hvordan udformningen af keramiske hulrum og åbninger har betydning for lydbølgers bevægelse.

Type: Installation

Danish Nour Fog describes himself with gender-political themes, musicology, and sensuality, while the formal studies of sculptures, ceramic formulas, and glazes are inspired by everything from Japanese and Indian play techniques, Venus from Willendorf, sci-fi to classical archeology. In his sculptures examine the artist and physical interior and exterior through designs and spaces and on a symbolic level, a theme such as psychology, body, and sexuality. With his monumental work Siren, Fog occupies space with a massive bodily fullness. Sculptures are inspired by the funnel-shaped opening of alarm sirens and thus work as an amplifier that regularly initiates and siren songs by human choirs. The work is both enticing and dangerous as the female sirens of mythology, who called shipwrecked sailors to themselves and then devoured them. Sculptures show nebulae that examine basic musical principles such as examples of instruments, acoustic spaces, and how the design of ceramic cavities and openings affect the motion of sound waves.

Type: Installation

ALVA II er en lyd- og videoinstallation af kunstnerduoen Xenia Xamanek og Sophia Ioannou Gjerding. Med en vægt på stemmen, der forstås som en protese adskilt fra kroppen, arbejder ALVA II med temaer som det paranormale, ud over at arbejde med ideen om stemmen som et spøgelse og reproduktioner som fantomer. Videoinstallationen består af en en-kanals videoprojektion og en fire-kanals lydopsætning, hvor seeren kan komme ind. Forskellige stemmer bevæger sig mellem højttalerne. De synger og taler en blanding af sætninger, lyde og vers som en musikalsk komposition. Installationen fungerer som en kropslig oplevelse med flere forskydninger i retning af stemmene, som om seeren står midt i et kor eller spøgelsescirkel.

Type: Installation

ALVA II is an audio and video installation by artist duo Xenia Xamanek and Sophia Ioannou Gjerding. With an emphasis on the voice understood as a prosthesis separated from the body, ALVA II works with themes like the paranormal, in addition to working with the idea of the voice as a ghost, and reproductions as phantoms. The video installation consists of a one-channel video projection and a four-channel audio setup for the viewer to enter. Different voices travel between the speakers. They sing and speak a mixture of phrases, sounds and verses as a musical composition. The installation works as a bodily experience itself, with several shifts in direction of the voices, as if the viewer is standing in the middle of a choir or circle of ghosts.