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 studerede 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 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

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 formet 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 befinder sig ligeligt i Ljubljana og Amsterdam.

Hendes praksis er tværdisciplinær, 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 udfordrer omfanget 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 focuses 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

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 Fog et fysisk indre og ydre gennem udformninger af rum der på et symbolsk plan udforsker 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 works with gender-political themes, musicology, and sensuality, while the formal studies of sculptures, ceramic formats, and glazes are inspired by everything from Japanese and Indian play techniques, Venus from Willendorf, sci-fi to classical archeology.

His sculptures examine a physic core and shell through transforming space that on a symbolic level dwells on 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 fokus på stemmen, der skal 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 et-kanals videoprojektion og en fire-kanals lydopsætning, hvor publikum kan træde ind. Forskellige stemmer bevæger sig mellem højttalerne. De synger og taler en blanding af sætninger, lyde og vers som danner en musikalsk komposition.

Installationen fungerer som en kropslig oplevelse med flere forskydninger i stemmernes retning, som om seeren står midt i et kor eller midt i en 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.

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 safely 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.

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.

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.

TRii/TRjj er en kollektiv udgivelsesplatform for reduktiv musik, der primært cirkler omkring elektroniske og akustiske slaginstrumenter. De seneste fokuserer på organiske-metalliske kompositioner og tørre mikro-melodier.

Aktive medlemmer inkluderer Max (Diverse, Drum-programmering), Alepher (Singer), Leonie Nagel (Fløjte), Francis Ponge (Diverse), Thies Hilsberg (Flute), Tulipaner (Fm Synthesis, Percussion). Inaktive medlemmer inkluderer: Woerter unter Woerter (percussion, tromme programmering), Wanda Holt (percussion).

Under aliasset E.O.M., hvilket er en forkortelse for Economy of Meaning, finder man kunstner Kristoffer Kjærskov. Han arbejder inden for en blanding af feltoptagelser, båndmusik, synths og elektroakustik som middel til at krydse lydmiljøer af en tentativ og suggererende karakter.

TRii/TRjj is a collective publishing platform for reductive music that circles mainly around electronic and acoustic percussive instruments. Recent focuses are on organic-metallic compositions and arid micro-melodies.

Active Members include Max (Diverse, Drum programming), Alepher (Singer), Leonie Nagel (Flute), Francis Ponge (Diverse), Thies Hilsberg (Flute), Tulips (Fm Synthesis, Percussion). Inactive members include: Woerter unter Woerter (Percussion, Drum programming), Wanda Holt (Percussion).

Under the moniker E.O.M. short for Economy of Meaning is artist Kristoffer Kjærskov. He works within a mix of field recordings, tape music, synths and electro-acoustics as means to traverse sonic environments of a tentative and suggestive nature.

Den danske cellist Josefine Opsahl forener sine klassiske rødder med en befriende åbenhed og nysgerrighed over både sit instrument, lyd, genrer og brugen af ​​elektronik, der ræsonneres i hendes egne kompositioner såvel som i hendes to banebrydende ensembler, We like We og KOTTOS.

Opshals værker afspejler hendes egen kunstneriske søgen efter forståelse af kunstens rolle i vores samfund og spændingen mellem tradition og fornyelse, ekspertise og intuition. Som et spejl på dette bygger hendes elektroakustiske værker videre og kombinerer en klassisk musikalsk tradition og lydæstetik med moderne medier og metoder at udtrykke sig gennem.

Hun vil premiere sit stykke ‘I Walk I Bleed’ i 10 celli til og fremføre stykket ‘The Holy Presence of Joan d’Arc’ af den afdøde amerikanske komponist Julius Eastman.

Danish cellist Josefine Opsahl unites her classical musical roots with a liberating openness to her instrument, sounds, genre and the use of electronics which shows in her own compositions as well as in her two groundbreaking ensembles, We like We and KOTTOS.

Opshal’s works reflect her own artistic search towards understanding the role of art in our society and the tension between tradition and renewal, expertise and intuition. As a mirror of this her electroacoustic works build on and combine a classical musical tradition and sound aesthetic with modern mediums of expression.

She will be premiering her piece ‘I Walk I Bleed’ for 10 celli for and performing the piece ‘The Holy Presence of Joan d’Arc’ by the late American composer Julius Eastman.

Hari Shankar Kishore arbejder i et blandingsfelt af musik, visuel kunst og performance. Han har siden 2008 drevet pladestudiet Kommunal Dubplate Service, der ligger i kulturhuset Støberiet på Nørrebro.

Kishore har DJ’et og skabt musik, siden han var teenager. Under kunstnernavnene Kid Kishore, Albertslund Terrorkorps sammen med kunstner Halfdan Pisket, Faderhuset (kollektivt projekt), DJ Hvad og HVAD har han siden 2000’erne været en unik skikkelse på den Københavnske undergrundsscene.

Kishore grundlagde kollektivet og pladeselskabet Syg Nok, der blandt andet involverede kunstnere og musikere som Halfdan Pisket, Lisbent, Teppop, Otpie, Why Be, Goodiepal og Kidd. HVADs musikalske udtryk fusionerer dyster elektronisk musik (techno, mash-up, gabba, ambient og dronemusik) med inspiration og instrumenter fra klassisk nordindisk musik.

Hari Kishores Et Hauntologisk Lydværk komponeres med udgangspunkt i lydende fra Helsingørs gamle skibsværft. Hallerne har en lang og varieret historik, og har gennem hele sin eksistens spillet en central rolle for byens identitet. Med udgangspunkt i det filosofiske begreb Hauntologi undersøger HVAD, det lydunivers der udspiller sig i hallernes rum, når lysets slukkes og de daglige aktiviteter holder hen. Træværket der giver sig i spændet mellem varme og kulde, fuglelivet på bygningens tag, hallernes rumklang med mere. Værket komponeres i hallerne i starten af august og fremføres live d. 15 august kl. 24-01 om natten, og vil efterfølgende indgå som lydinstallation i den resterende udstillingsperiode.

Hari Shankar Kishore works in a mixed field of music, visual arts and performance. Since 2008, he has run the record studio Kommunal Dubplate Service, which is located in the culture house Støberiet in Nørrebro.

Kishore has been DJing and creating music since he was a teenager. Under the artist names Kid Kishore, Albertslund Terrorkorps together with artist Halfdan Pisket, Faderhuset (collective project), DJ Hvad and HVAD, he has been a unique figure on the Copenhagen underground scene since the 2000s.

Kishore founded the collective and the record company Syg Nok, which included artists and musicians such as Halfdan Pisket, Lisbent, Teppop, Otpie, Why Be, Goodiepal and Kidd. HVAD’s musical expression fuses gloomy electronic music (techno, mash-up, gabba, ambient and drone music) with inspiration and instruments from classical North Indian music.

Hari Kishore’s site-specific sound piece A Hauntological Soundwork is composed based on sounds from Elsinore’s old shipyard.The shipyard has a long and varied history, and throughout its existence it has remained a significant mark for the city’s identity. Based on the philosophical concept of Hauntology, HVAD examines the sound universe that unfolds within the space of the shipyard when the lights are turned off and the daily activities has ended when the woodwork gives in the span between heat and cold, when the bird life on the rooftop takes over the building, the reverberation of the halls, etc. The work will be composed in the buildings during the beginning of August and will be premiered live on August 15 at 24-01. After this the piece will be available as sound installation in the exhibition.

Puyain Sanati er producer, komponist og lydkunstner som agilt bevæger sig mellem forskellige genrer, fra industriel techno til elektroakustisk abstrakt musik.

Hans baggrund i techno har lært ham at arbejde med hypnotiske loops, som han nu viderefører i hans samarbejde med instrumentalister og ensembles.

Værkerne bevæger sig et sted mellem rå elektronisk musik og improviserende jazz. Hans værker beskæftiger sig primært med emnerne tid og rum, hvilket især afspejler sig i hans fysiske lydinstallationer. Puyain skaber imellem det industrielle og organiske et akustisk og digitalt lydbillede som formår at rumme kontrasterne. Hans kompositioner stræber efter at integrere fejl, uenigheder og sammenstød, givet at disse uanset hvad, i sidste ende spiller sammen. 

Han vil til denne koncert demonstrere sit seneste projekt med to musikere, Uldis Vitols på kontrabass og Lorenzo Colocci på fløjte og flaubosax.

Puyain Sanati is a producer, composer and sound artist who agilely moves between different genres, from industrial techno to electroacoustic abstract music.

His background in techno has taught him to work with hypnotic loops, which he now uses in his collaborations with instrumentalists and ensembles.

His works move somewhere between raw electronic music and improvisational jazz. His works deal primarily with the topics of time and space, which is especially reflected in his physical sound installations. Between industrial and organic, Puyain creates an acoustic and digital sound image that manages to accommodate the contrasts. His compositions strive to integrate errors, disagreements and clashes, given that these, no matter what, ultimately play together.

For this concert he will demonstrate his latest project with two musicians, Uldis Vitols on double bass and Lorenzo Colocci on flute and flaubosax.

Rosaceae arbejder i et spændingsfelt mellem video, performance og lyd. I juni 2020 udgav sit debutalbum Efia på Golden Pudel Clubs eget label Pudel Produkte.

»Efia« blev oprindeligt produceret til 2019-udgaven af ​​Hamborgs Noisexistance-festival og er inspirerede af kulturteoretikeren Mark Fishers analyse af, hvad han beskrev som Hauntologi – et udtryk der oprindeligt blev formuleret af den algerisk-franske filosof Jacques Derrida i begyndelsen af ​​1990’erne: Der er ingen tid her, ikke mere.

Rosaceaes arbejde bevæger sig mellem det ambiente med momentvis af harsh-noise og collager af lyd-artefakter, med tilbagevende referencer til de kurdiske modstandskæmpers sange, folkefortællinger, fundne optagelser og skaber derigennem en futuristisk vision om oprør og modstand gennem lyd.

Rosaceae akkompagneres denne gang af Hamburg-baserede performancekunstner Jesseline Preach, der slører linjerne mellem kulturelle og regionale traditioner, der fremtryller  fortidens spøgelser, som hjemsøger den tidløse nutid, der forsøger at undertrykke de grusomheder der finder sted for dens fødder. Performances er en kold sonisk udforskning og en levende politisk erklæring drevet af brændende, varm energi.

Rosaceae’s work fuses video, performance and sound. In June 2020 the Hamburg based artist released their debut album Efia on Golden Pudel Clubs own label Pudel Produkte. 

»Efia« was originally conceived as a commissioned work for the 2019 edition of Hamburg’s Noisexistance festival and was inspirred by the work of cultural theorist Mark Fisher and his analysis of what he describes as »hauntology,« a term originally coined by the Algerian-French philosopher Jacques Derrida in the early 1990s: »There is no time here, not anymore.«. 

Seizing on recorded work as well as samples, Rosaceae’s work extends between ambient, occasional harsh noise and collages of sound artifacts, often returning to Kurdish resistance fighter’s songs, folktales, found footage and thereby creating a futuristic vision of resilience through sound. 

For this performance Rosaceae works with Hamburg-based performance artist Jesseline Preach blurring the lines between cultural and regional traditions, but also conjuring up the ghosts of a past, ghosts that are more than ready to haunt the timeless present trying so hard to repress the atrocities happening at its fringes. A chilling sonic exploration and a vibrant political statement fuelled by burning hot energy.

Komponist Maria W Horn kommer fra det nordlige Sverige, og har siden 2011 haft sin base i Stockholm. Maria W Horn arbejder med manipulation af tid og rum gennem soniske ekstremer – hvor hun bevæger sig mellem minimalistiske strukturer og gennemborende power-electronics ved brug af både digital og analog synthesizere samt akustiske instrumenter og audiovisuelle komponenter.

Hendes arbejde undersøger aspekter af menneskelig opfattelse – hvordan audiovisualitet og overbelastning/tab af perceptuel stimuli kan gå sammen for at transcendere hverdagen og fremkalde alternative mentale tilstande. Hun er en del af Sthlm Drone Society – en forening, der arbejder for at fremme langsom og gradvist udviklende klangmusik, og driver pladeselskabet XKatedral. I samarbejde med Mats Erlandsson vil hun performe på orglet i Helsingør Domkirke.

Maria W Horn is a composer hailing from the north of Sweden, based in Stockholm since 2011. Maria W Horn is interested in the manipulation of time and space through sonic extremes – oscillating between minimalist structures and piercing power electronics utilizing both digital and analog synthesis as well as acoustic instruments and audiovisual components.

Her work examines aspects of human perception – how audiovisuality and overload/loss of perceptual stimuli can conspire to transcend everyday life and invoke alternate mental states. She is a part of Sthlm Drone Society – an association working to promote slow and gradually evolving timbral music, and co-operates the label XKatedral. She will be doing a pipe organ performance in duo with Mats Erlandsson at the Dome of Elsinore.

Union for Open Vocalism er en vokalforening, en studiegruppe og et performance-ensemble med skiftende medlemmer. Gennem performance og musikalsk komposition behandler gruppen vokale temaer og udfører således det, gruppen beskriver som open vocalism: det der sker når stemmen vokaliserer om stemmen.

Gruppen vil denne gang bestå af Anten Kampe, Francesca Buratelli, Arthur Carlander, Joalane Mohapeloa, Villads Klint, Clarissa Connelly og Sufie Elmgreen. 

Union for Open Vocalism vil give en pop-up performance i udstillingen på dagen og en performance samme aften. Billetten til udstillingen vil give adgang til dagens performance.

Union for Open Vocalism is a vocal association, a study group and a performance ensemble with changing members. Through performance and musical composition, the group processes vocal themes and thus performs what the group describes as open vocalism: When the voice vocalizes about the voice.

The group will this time consists of Anten Kampe, Francesca Buratelli, Arthur Carlander, Joalane Mohapeloa, Villads Klint, Clarissa Connelly and Sufie Elmgreen.

The group will be doing a pop-up performance during the day at the exhibition and a performance in the evening the same day. The pop-up performance is included in the ticket for the exhibition.

Hari Shankar Kishore arbejder i et blandingsfelt af musik, visuel kunst og performance. Han har siden 2008 drevet pladestudiet Kommunal Dubplate Service, der ligger i kulturhuset Støberiet på Nørrebro.

Kishore har DJ’et og skabt musik, siden han var teenager. Under kunstnernavnene Kid Kishore, Albertslund Terrorkorps sammen med kunstner Halfdan Pisket, Faderhuset (kollektivt projekt), DJ Hvad og HVAD har han siden 2000’erne været en unik skikkelse på den Københavnske undergrundsscene.

Kishore grundlagde kollektivet og pladeselskabet Syg Nok, der blandt andet involverede kunstnere og musikere som Halfdan Pisket, Lisbent, Teppop, Otpie, Why Be, Goodiepal og Kidd. HVADs musikalske udtryk fusionerer dyster elektronisk musik (techno, mash-up, gabba, ambient og dronemusik) med inspiration og instrumenter fra klassisk nordindisk musik.

Abdullah Miniawy er egyptisk kunstner, der hovedsageligt er kendt for sit arbejde som  forfatter, chanter og skuespiller. Hans seneste album Darraje er udarbejdet sammen med den tyske trio Carl-Gari og blev valgt af den prestigefyldte NPR som et af de bedste album i 2016. Under den egyptiske revolution i 2011 blev Miniawy’s tekster og lyrik brugt af oppositionen og skrevet på vægge i forskellige regioner også i den syriske flygningelejr Yarmouk.

HVAD og Abdullah Miniawy går sammen ved dette års CLICK og opfører en koncert.

Hari Shankar Kishore works in a mixed field of music, visual arts and performance. Since 2008, he has run the record studio Kommunal Dubplate Service, which is located in the culture house Støberiet in Nørrebro.

Kishore has been DJing and creating music since he was a teenager. Under the artist names Kid Kishore, Albertslund Terrorkorps together with artist Halfdan Pisket, Faderhuset (collective project), DJ Hvad and HVAD, he has been a unique figure on the Copenhagen underground scene since the 2000s.

Kishore founded the collective and the record company Syg Nok, which included artists and musicians such as Halfdan Pisket, Lisbent, Teppop, Otpie, Why Be, Goodiepal and Kidd. HVAD’s musical expression fuses gloomy electronic music (techno, mash-up, gabba, ambient and drone music) with inspiration and instruments from classical North Indian music.

Abdullah Miniawy is an Egyptian artist mainly known as a writer, chanter and an actor who performed around the world shoulder to shoulder with great names notably headed by Erik Truffaz. His album Darraje with the Münich-based trio Carl-Gari was selected by the prestigious NPR as one of best albums of 2016.

Miniawy’s lyrics were sprayed over different outskirts during the Egyptian revolution in 2011, as well as many different regions, included in the Yarmouk camp in Syria.

HVAD and Abdullah Mi
niawy will join forces at this year’s CLICK and perform a collaborative concert. 

oqbqbo er russiske Nastya Sipulinas, der via Tokyo nu er bosat i København. Sidste år udgav hun sin første solo-udgivelse Untitled på Posh Isolation. Albummet har adopteret lyden af hendes rejse og smelter drømmende synthflader, melankolske rytmer sammen med klare melodier og ordløse stemmer som illustration på nutidens mørke skønhed.

obqbqo is Russian born Nastya Sipulinas, who now via Tokyo is based in Copenhagen. oqbqbo debuted last year on Posh Isolation with the album Untitled, consisted of six songs of synthetic textures and mangled, wordless voices and paints a beautiful dark portrait of the present.

Bag aliaset Vanessa Amara er den danske duo bestående af Birk Gjerlufsen og Sebastián Santillana, der tilsammen skaber rene droner med en intim kerne af manipulation og feedback.

I 2013 udgav de deres første album ‘Both of Us’ på det Københavnske pladeselskab Posh Isolation, og har siden da fortsat med at udforske spektret mellem akustisk instrumentering og rå manipulerede båndsløjfer og feedback. Gennem en levende handling konstruerer de rum, hvor publikum kan dvæle i lyden af langsomt bevægende toner og frekvenser, der tilsammen skaber et inferno af harmonisk forvrængning. 

De vil transformerer kirkerummet i Helsingørs domkrike til en lydperformance der strækker sig over to timer. Ved at installere mikrofoner og højtalere omkring i kirkerummet vil et spolebånds-baseret feedback-system kombinere lyden fra orglets piber og rummets klang i en cyklus, der samler sig i et konstant stigende antal lag, og for hver gentagelse bliver forvrænget af båndmaterialet og kirkerummets egen lydmæssige indvirkning på sig selv.

Vanessa Amara is the alias for the Danish duo of Birk Gjerlufsen and Sebastián Santillana, together they create pure drones with a deeply intimate core of manipulation and loops of feedback.

They released their debut album ‘Both of Us’ on the Copenhagen-based imprint, Posh Isolation in 2013, and have since continued to explore the vast spectrum between acoustic instrumentation and raw manipulated tape loops and feedback. In live performances Vanessa Amara establishes a space where the audience may dwell in auralites of slow-moving tones and frequencies, bringing an attention or conscious appreciation to vibration perceived as sound and with its harmonic dissonance. 

They will perform a long-duration site-specific piece for the Dome in Elsinore. Positioning several microphones and speakers within the church’s body, the organs resonance together with the rooms own sound, is cycled by a reel-to-reel tape based feedback system. The system generates layers of the room, each reiteration resounds the material of the tape and the timbre of the church affected back onto itself.

Bjørn Nørgaard og Ursula Reuter Christiansen opfører sammen med Mai Dengsø Hansen og Thorbjørn Reuter Christiansen værket ‘Freedom is Social’ af Henning Christiansen.

Denne performance inkluderer talk, koncert og hylder en af Danmarks største fluxus-kunstnere.

Henning Christiansen var en komponist, musiker, politisk aktivist, far og kunstner. Han lavede et stort antal forestillinger gennem fem årtier og efterlod en labyrint af optagelser, hvoraf kun en håndfuld så lyset på frigivelse i hans levetid. Christiansen døde den 10. december 2008 og efterlod et arkiv og en arv, der ville tage år at bestille, kvantificere, undersøge og placere i det 20. århundredes fold, hvor han arbejdede, mens han paradoksalt opererede langt fra.

Bjørn Nørgaard and Ursula Reuter Christiansen will perform together with Mai Dengsø Hansen and Thorbjørn Reuter Christiansen the piece Freedom is Social by Henning Christiansen.

This performance includes talk, concert, and celebrates one of Denmark’s greatest fluxus artists.   

Henning Christiansen was a composer, musician, political activist, father, and artist — he created an enormous body of work, one of the largest I have encountered. He made a large number of performances over five decades and left behind a labyrinth of recordings, of which only a handful saw the light of release during his lifetime. Christiansen passed away on the 10th of December, 2008, leaving an archive and legacy that would take years to order, quantify, research, and place into the 20th-century fold into which he worked whilst paradoxically operating at a distant from.

Svenske Sofia Jernberg er sanger og komponist, født i Etiopien og opvokset i Sverige, Etiopien og Vietnam. En af Jernbergs største interesser som sanger er at udvikle stemmens instrumentelle muligheder. Hendes sangteknik eksperimenterer og skubber til de vestlige  konventioner omkring lyden af vokal. Hun har arbejdet intensivt med sang med tone-deling, pitchless sang og forvrænget sang. Hendes færdigheder er blevet anvendt til en lang række musikalske projekter.

Mette Rasmussen er en dansk saxofonist med base i Trondheim, Norge. Hun bevæger sig  inden for improviseret musik og lader sig inspirere af en bred vifte af teknikker og traditioner, der spænder over free-jazz til teksturel lyd. Rasmussen arbejder på at udforske den naturlige råhed i sit instrument – eksperimenterer med hvad saxofonen er i stand til at præsenterer i sin lyd og i sit udtryk, med og uden forberedelser.

Sofia Jernberg is a Swedish singer and composer, born in Ethiopia, and raised in Sweden, Ethiopia and Vietnam. One of Jernberg’s deepest interests as a singer is to develop the “instrumental” possibilities of the voice. Her singing vocabulary includes an array of techniques that push beyond the conventions of Western vocal sound. She has dug deep into split tone singing, pitchless singing and distorted singing and her skills have been applied to a wide array of musical projects.

Mette Rasmussen is a Danish saxophone player based in Trondheim, Norway. She works in the field of improvised music, drawing from a wide range of influences, spanning free jazz to textural soundwork. Rasmussen works on exploring the natural rawness of her instrument – experimenting on what the saxophone is capable of in sound and expression, with and without preparations.

Svenske Sofia Jernberg er sanger og komponist, født i Etiopien og opvokset i Sverige, Etiopien og Vietnam. En af Jernbergs største interesser som sanger er at udvikle stemmens instrumentelle muligheder. Hendes sangteknik eksperimenterer og skubber til de vestlige  konventioner omkring lyden af vokal. Hun har arbejdet intensivt med sang med tone-deling, pitchless sang og forvrænget sang. Hendes færdigheder er blevet anvendt til en lang række musikalske projekter.

3 by 3 Present: The Waves Whispered Ghosts

Spøgelseslyde. Spøgelsesøjne. Indre stadier, der fortaber sig selv ind i store, mørke oceaner, og blandes med perleformede skyer af vandrende vinde. Drømmelandskaber udspringer, bliver fragmenteret i luften som partikler. En sjæl, der rejser over oceanerne i søvnens longueur.

‘3’ er en konstellation bestående af kunstnerne Sall Lam Toro, Cistina Lavin og Alba Liv. De vil præsentere en performance, der slører grænserne mellem en musikkoncert og performancekunst. Værket består af en blanding af lyde og dans, der skifter og formerer meditative harmonier til uberegnelige energier.

‘3’ har beskæftiget sig med at kombinere multimediekunst; med hver enkelt kunstners bidrag i form af maleri, skulptur, performance og kombineres med videokunst, musik. Med henblik på at skabe mere intime interaktive oplevelser. ‘3’ er interesseret i at skabe intime rum, hvor det er muligt at udfolde et sammenfald af forskellige medier, som både kan harmonisere og kollidere.

3 by 3 Present: The Waves Whispered Ghosts

Ghostly sounds. Ghostly eyes. Inner states that abandon themselves into vast, dark oceans whipped into pearly garlands of foam by the chasing winds. Dreamscapes unfurl, getting fragmented into the air like particles, a soul travelling across the oceans in the langueur of sleep.

‘3’ is a constellation of the artists Sall Lam Toro, Cistina Lavin and Alba Liv. The show is a cross-type between a musical concert and performance art. The piece will unfold a blend of sounds and dance, that will switch and morphe meditative to erratic energies.

‘3’ has been interested in combining multi-media art; with each individual artist contributing, clashing and complimenting with paintings, sculpture, performance and video art, music and activating more intimate interactive experiences within exhibition spaces and concerts. ‘3’ are interested in creating intimate spaces where it is possible to unfold a concoction of assorted media, which can both harmonize and collide.

Magnus Pind er en kunstner og designer med base i NYC & København, han præsenterer premieren på sit seneste værk Gaussian Blur.

Endeløse strømme af billeder af ansigter dominerer sociale medier i form af selfies. Private tech- virksomheder høster deres brugeres data igennem selvsamme selfies. Staten og politiet indsamler billeder af ansigter i databaser for at holde styr på beboere i en by og et land.

Billedet af ansigtet er allestedsnærværende. Og i et samfund hvor fotomanipulation, overvågning og ansigtsgenkendelse er hverdagsfænomener, har billedet af ansigtet en uhyggelig magt til at dømme hvem der er inde og ude, smuk og uskøn, normal og unormal.   

Igennem musik, video, tekst og bevægelse undersøger forestillingen teknologierne bag billedet af ansigtet og spørger: hvordan er det nået hertil?

Magnus Pind is an artist and designer based in NYC & Copenhagen, he presents the premiere of his latest work Gaussian Blur.

Endless streams of images of faces dominate social media in the form of selfies. Private tech companies harvest their users’ data through those same selfies. The state and police collect images of faces in databases to keep track of residents in cities and countries.   

The image of the face is ubiquitous. In a society where image-manipulation, surveillance and facial recognition are everyday experiences, the image of the face has tremendous power.   

Through music, video, text and movement, the performance examines the technologies behind the image of the face, and asks: how did it come about?   

The performance is non-verbal and the Danish text on screen will be available in English.