For seven days I livestreamed sound from my home into the closed exhibition space at Spedition, audible only from the inside for the potential listeners. I read from the issue “Sound | In Empty Rooms” of the magazine FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur. It was streamed at night during the curfew hours in place at that time in Bremen.
The recording serves as a documentation from a live performance and should not be considered a sound piece by itself.
daily live audio stream (excerpt)
Grounded tells the story of a fighter pilot whose unexpected pregnancy ends her career in the sky.
On returning from maternity leave, she’s reassigned to operate military drones from a windowless trailer outside Las Vegas, she hunts terrorists by day and returns to her family each night. As the pressure to track a high-profile target mounts, the boundaries begin to blur between the desert in which she lives and the one she patrols half a world away, as the pilot’s state of mind unravels.
Foley stories: Viccxplicit Vafabulations is a series approaching storytelling in a reversed order.
Almost always, the story and the language come first and then the soundtrack follows as the secondary element, based on and in support of the narrative. In a similar manner to cloud watching and interpreting the shapes and forms, the sound for each episode is pre-produced and then translated into language based story, performed live on air.
In collaboration with Vafa Aminikia. I designed the soundscape that Vafa translated into a written story. The recording is from a live performance of Episode 1 broadcasted on Radio Angrezi and should not be considered a sound piece by itself.
A score with two variants written for a former piano, to be played by a group of people. The piece is a play on and with words that emphasises power dynamics through dynamics in music notation. Variant 1 is dictated by a hierarchical top-down leadership structure, while Variant 2 is performed in a self-organised manner.
The recording of Variant 1 presented here serves as a documentation from a live performance and should not be considered a sound piece by itself.
Performed by Laura Bleck, Arash Qilich, Suyeon Kim, Behshad Tajammol, Julija Paškevičiūtė and myself.
The European Council had a meeting focusing on migration, security and defense policies on 28th June 2018 where they more or less decided to close the borders. The sound collage is a work that stems from my reaction to hearing Orbán Viktor, the prime minister of Hungary, on a Swedish news broadcast during a break in the meeting uttering the words “by the request of the people, no more migrants more in, and those who are here should be sent back”. Compassion seems to be a dying trade in Europe, and the rise of nationalism and right-wing politics is happening not only here but on a global scale.
This sound collage contains clips from the Swedish news broadcast Aktuellt, South African comedian Trevor Noah, Alternative für Deutschland party leader Alice Weidel and American rapper Childish Gambino overlaying the protest song “Hopelesness” by British-American musician Anohni.
The first sound collage in this diptych acquired a different meaning after the covid-19 pandemic, and I felt a continuation was appropriate to address this. The second piece is also underscored by the track “Hopelessness” by Anohni, a song which (unfortunately) seems to be ever relevant.
This work deals with heartbreak, a reoccurring subject that has inspired countless accounts of art, literature and music in the past, in the present and presumably will continue to do so in the future. Three stories were written, one in past tense, one in present tense and one in future tense, and subsequently spoken by three different people. Finally, the three voices were intertwined, suggesting heartbreak is a perpetually relevant human affair.
The piece was developed in the context of a duo exhibition I did in collaboration with Henrik Nygren. The theme of the exhibition could be crudely summarised as “machine meets human”. While reflecting upon this confrontation and what defines their differences, I ended up homing in on emotions, emotions being one distinguishingly human trait in this comparison.
The piece was shown in a three channel installation.