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Ann Rosén and the Barrier Orchestra: DRAWING MUSIC

Ann Rosén and the Barrier Orchestra

DRAWING MUSIC

Concert-installation and concerts
November 14-16, 2019

Thursday 14:
Opening at 17-20, installation with short performances.

Friday 15:
Installation open at 17-19:00. Concert I (with the whole group) at 19:00.

Saturday 16:
Installation open at 15:00-16:00. Concert II (with the whole group) at 16:00.



The Drawing Music installation is a process that will take place under three days at Akusmata Gallery and at the end of second and third day there will be a concert.

With pen and paper Ann Rosén creates a very personal electro-acoustic music and when she plays together with musicians from the Barrier Orchestra exciting, explorative and musical soundscapes emerges.

Drawing Music is a development of the Graphite Barrier instrument and musical performance project. The instrument consists of graphite pens, paper, arduino card, and a software synth. Various points on the paper are connected to the synth. By drawing different coupling paths between these points and varying the thickness of the paths you control the synth. Further control is achieved by using the patchbay where you can directly patch different parts of the drawing to the synth. The drawings also serve as a score that the musicians relate to.

The music and the environment relate to each other through the meeting with the audience in the same way as the musicians relate to the drawings and vice versa.

On this occasion the Barrier Orchestra consists of Petri Kuljuntausta electric guitar (FI), Mikko Raasakka clarinet (FI), Sten-Olof Hellström electronics (SWE) and Ann Rosén live electronics and live score.

Drawing Music project and the Barrier Orchestra are different modules in the umbrella project the Great Barrier Orchestra, a trans-disciplinary project in sound art, art music, and performance.

http://annrosen.se/
http://kuljuntausta.com/
http://www.raasakka.net/
http://www.stenolofhellstrom.se/
http://storabarriarorkestern.se/


 

EEGsynth & Body Music demonstration by Oneplusoneisthree +guests

EEGsynth & Body Music demonstration
by Oneplusoneisthree (1+1=3) and guests

*   *   *
Sat 28.9.2019 at 20:00 – 22:00


Oneplusoneisthree (1+1=3) is an artistic platform / community / ecosystem for research and performance. The collective includes musicians, neuroscientists and visual artists. We stage performances where we use real time EEG signals. We use the signals to control sounds, lights and images. Since 2014 we have performed in Sweden, Greece, France, Brazil, the UK and the US. To find out more, you find the 1+1=3 / EEGsynth CV here: http://www.visionforum.eu/113-cv/

What is the EEGsynth?
The EEGsynth is both a device and a collaborative interdisciplinary research project. As a device, it interfaces with the brain and body for artistic and scientific exploration, research and expression, allowing anyone to use their own brain and body activity to flexibly and powerfully control performative equipment in real-time. In short, it transforms electrophysiological signals (EEG, EMG and ECG) into analogue and digital control signals by means of sophisticated neuroscience signal analysis and custom-made hardware. As a project, it brings together musicians, artists, neuroscientists and developers to work together on technology for specific artistic performances.

Why the EEGsynth?
Progress in understanding the human brain is increasingly determining how we perceive ourselves and others. At the same time, new technologies are expanding the possible interactions between technology and the human brain. Brain-computer interfaces have recently become affordable for a wider public, allowing new artistic research into the human condition and new ways of artistic expression. However, to be able to exploit their full potential and to ensure the development of a lasting involvement of the art world in this contemporary dialogue, artists and neuroscientists have to co-create.

The current core group of the project is: Jean-Louis Huhta, Per Huttner, Robert Oostenveld, Samon Takahashi and Stephen Whitmarsh. Collaborative Partners include Selen Atasaoy, Carima Neusser, Marcos Lutyens and Hernan Anllo.

1+1=3 is supported by the Nordic Culture Fund, the Swedish Arts Grants Committe and Kulturbryggan; the EEGsynth is supported by Innovativ kultur, Stockholm County Council, the City of Stockholm and the Swedish Arts Council.

The 1+1=3 website
http://www.oneplusoneisthree.org

The EEGsynth website
http://www.eegsynth.org


As an additional performance Petri Kuljuntausta (brain interface) and Eleni Tsitsirikou (arm interface) performed as the soloists of the 1+1=3 group.

Taina Riikonen: The Anatomy of Desire

TAINA RIIKONEN
THE ANATOMY OF DESIRE

* * *
Opening hours:

FRI 20.9 klo 17-20 (opening party)

SUN 22.9 klo 16-18
TUE 24.9 klo 17-19
WED 25.9 klo 17-19
THU 26.9 klo 17-19
FRI 27.9 klo 17-19


”The Anatomy of Desire” is a sound research / installation / work on fetishism. The work consists of a one single extremely stretched recording of latex. The process of stretching the sound has changed the squeaky sound of latex into a smooth hissing, almost like a sound of a distant wind.

Fetishist is a person who enjoys a slow and explorative contact to materials, objects and things. S/he gets excited of touching and palpating the seams and differences of things, on being at the borderlines of diverse entities. For fetishist, the aim is not to achieve a goal as getting into somewhere, as crossing the line, but more as sensing the borderline over and over again. Touching the borderline acts as an extreme stretched instant between the letters in a word ”maybe.” The core of fetishism is the unsolved and unsettled ambivalence of sensing the materials and their invitation to exploration.

The idea of unsolved includes the element of the excitement of the absolute first appearance. In fetishist context, the materials, objects, and things can be approached over and over again in a way that obliges their past, their present, and their future. The things are emerged as instant and naked sings. If this absolute first appearance is stretched, as the sound file could be stretched, e.g. from a second to an hour, the fetishist exposes her/himself to an extreme prolonged anticipation and sensing the material.

I have been doing ten years now sonic material that I call “sound art.” I began by recording urban soundscapes, and since those days, I’ve been moving towards listening and recording more detailed and microscopic sounds. All the time I have been flickering between recording the landscapes and recording the detailed and intimate sounds.

The enigma within intertwined sensing and listening to materials and sounds has always been haunting me. About ten years ago I made recordings in which I touched different materials, such as velvet, silk, plastic, leather and latex. The sense of the materials and the heard sound of them seemed to overlap into each other when listening through microphones and headphones. This perception was crucial for my understanding of the acoustic epistemology, of the multi-material essence of sounds and listening, and also of touch.

In this sound work I have stretched the sound of latex. The act of stretching refers to fetishist desire for awaiting, the endlessly prolonged enjoyment of touching the borderlines instead of achieving something. Also, for a masked / unmasked referring to my upcoming 50 years birthday, I stretched the sound as 50 times slower. So, in the opening of the sound installation on Fri 20th September, there will also be a bit partying in the name of my birthday.


TAINA RIIKONEN is a Helsinki-based sound artist, PhD and adjunct professor of sound studies (in University of Turku). In her sound works she explores urban environments, sexuality, body sounds, machine noises, and silence in different deserted spaces. In her academic research Riikonen investigates acoustic ecological aspects of listening, body sounds through sensory ethnography, embodiment in sound recording, and the aural-tactile epistemologies of environmental sounds. Riikonen has worked in the University of Helsinki and in the University of Arts. Currently she works as a “bold maker”, a post doc researcher funded by Kone Foundation in the University of Tampere. Her research project investigates the diverse registers of silences in Finnish villages.

Helsingin reitit – The Routes of Helsinki 2010-2020

Helsingin reitit – The Routes of Helsinki 2010-2020

Open: 6.-19.9.2019 Tue-Thu & Sat-Sun 14-18 (Mon & Fri closed)
Opening: Thursday, 5.9.2019 at 17.00 – 20.00.

*   *   *
Opening LIVE EVENT on Thursday, 5.9.2019, at 18.00

illmari (spoken word)

Mikko H. Haapoja (jouhikko, soundscapes)

Elina Aho-Brennan (live painting)


How does the city sound and how does it feel to just listen the city? The Routes of Helsinki leads one to a sonic journey from the rapids of Vanhakaupunki to bright summer nights in downtown and to listen the sounds recorded inside the Hanasaari B coal power plant.

The Routes of Helsinki (Helsingin reitit) is a soundscape project created by media & sound artist Mikko H. Haapoja and it consists of various audio-visual and sound art works. The project has focused on the changing soundscapes of Helsinki since 2010, on boundaries between nature and the city. In addition to the sound art compositions and media art installations, The Routes of Helsinki offers ’Sound Landscapes’ performances with live painting, music and urban poetry.

The Routes of Helsinki 2010-2020 exhibition offers inspiring urban exploring in the form of rare and familiar Helsinki sounds, and its first installation will happen in Sound Art Gallery Akusmata in September 2019.


Mikko H. Haapoja is a versatile media artist & music professional – a producer, composer, musician and sound engineer from Helsinki, Finland. Haapoja works fluently with various music genres from acoustic folk music to contemporary electronic music, from alternative rap to indie pop.

Since 2014, Haapoja’s media & sound art projects The Routes of Helsinki & Oases from HEL have been presented in many galleries in Helsinki and New York, in Helsinki City Museum and in public city space, including metro platforms of Helsinki Central Railway station. Meanwhile, Haapoja has also recorded and mixed various global music albums like Okra Playground’s ‘Turmio’ and Nathan Riki Thomson solo LP.

Budhaditya Chattopadhyay: Machine Poetry

Budhaditya Chattopadhyay (IND)

MACHINE POETRY

August 29 – September 2, 2019.
Exhibition opening: 29.8. at 14-20

Opening times:
29.8. 14 – 20
30.8. 14 – 17
31.8. – closed –
1.9. 14 – 19
2.9. 14 – 18


The currents of ultra-capitalism is manipulating our understanding of the social and environmental realities by proliferating numerous delusions like growth, urban expansion, development, consumption, difference and competition as natural. How can we deconstruct these naturalizations that are imposed on our perception? Can we consider poetry as the tool to subvert the intentionality of the contemporary machine society that is based on control, surveillance, fear psychosis, and driven by AI?
‘Machine Poetry’ is a sound installation that searches for poetic openings in the machine-induced sound-world and advocates for poetic contemplation involving pre-cognitive association, impromptu flashes and explosions of memory, sensitivity and perceptiveness of an altered and subjective reality as the crucial parameters for an augmented intelligence. As many scholars have argued, there is a stronger link between sound perception and the human faculties of imagination and contemplation, making any sonic experience more private, intimate, and subjective than other sense modalities. Using humanly spoken words within a site-responsive and generative sound environment at the methodological core of the work, the argument for a deep necessity of a poetic rupture in contemporary human condition is provided an entry-point, developed, and substantiated in this participatory and discursive installation.


Budhaditya Chattopadhyay (IND) is a media artist, composer and researcher, holding a PhD in artistic research and sound studies from ACPA, Leiden University, The Netherlands. He is currently a Mellon Postdoctoral Fellow at the Center for Arts and Humanities, American University of Beirut. Focusing on sound as primary medium, Chattopadhyay produces works for large-scale installation and live performance addressing contemporary issues of climate crisis, human intervention in the environment and ecology, migration, race and decolonization. Chattopadhyay’s works are published by Gruenrekorder (Germany) and Touch (UK). He has received numerous fellowships, residencies and international awards, and his works have been widely exhibited, performed or presented across the globe. His writings on various issues of sound studies regularly appear on peer-reviewed journals internationally. Prior to his PhD, Chattopadhyay has graduated from the national film school of India specializing in sound recording, and received a Master of Arts degree in new media/sound art from Aarhus University, Denmark. Website: http://budhaditya.org/


NOTE:
– On Wednesday 28th, Budhaditya Chattopadhyay will give a talk / lecture performance ‘Unperforming Sound: from the Margins of Artistic Research’ at CARPA6 conference in Kiasma museum.
– On Saturday 31st, he will give ‘Hyper-listening: praxis. Workshop on (urban) sound, listening and wellbeing’ in the ‘Music, Sound and Wellbeing. A Transdisciplinary Symposium’ at University of Eastern Finland, Joensuu.

LIVE: Project VO (JPN/FIN/GER) / Émilie Payeur (CAN) / Jukka Kääriäinen — Natalia Castrillón Duo

ÉMILIE PAYEUR (CAN) /

PROJECT VO (JPN/FI/GER) /

 JUKKA KÄÄRIÄINEN NATALIA CASTRILLON (COL) DUO

Wednesday, August 14, at 19:00

Doors: 18:30


ÉMILIE PAYEUR (CAN)
Émilie Payeur is a multidisciplinary artist from Montreal, Canada, mainly active in experimental music and visual arts. Her music, often described as minimalist and sometimes harsh, is mainly based on the no-input technique and on risk-taking. In her visual work, she is interested in the traces she perceives as remnants of actions from the past; also in the manipulation of reality, of others views and her own view. Emilie has a master’s degree in electroacoustic music composition from the Université de Montréal and her work has been performed all over the world and has received numerous awards, both in Canada and internationally.

Émilie is a member of Dead Squirrels (noise music trio), Kohlenstoff Records (label and experimental music collective), Projet K (experimental ensemble), Moshi Moshi (experimental and Kawaii audio/visual trio) and Jeunesse Cosmique (music label and cosmic family). She also plays in the Giri Kedaton Gamelan. Émilie’s performance at Akusmata will be an attempt at going somewhere else musically speaking and hopefully magic will happen.


PROJECT VO (JPN/FI/GER)
Rieko Okuda, keys
Antti Virtaranta, double-bass

Project VO (JPN/GER/FI) is an improvising duo between double-bassist Antti Virtaranta and pianist Rieko Okuda. Since their first album, glass hopper, 2012, they have continued expanding their creative ways of navigating the free improvisation landscape. The combination of piano and bass has taken Project VO on a sonic journey that keeps pushing them constantly to new directions.

Japanese-born pianist, composer and multi-instrumentalist Rieko Okuda, have made a name among new generation of the Berlin improvised scene. She settled in Europe after MA in piano at Juilliard School of Music in New York. In the USA she worked with saxophonist and a bandleader Bob Mintzer at first, following stints with Jon Faddis and John Fedcheck. Joining a band of alto-saxophonist Marshall Allen of Sun Ra Arkestra followed, for two years, working also with Elliot Levine, cellist of Cecil Taylor, and Calvin Weston, drummer of Ornette Coleman’s Prime Time Band. In Berlin, she develops projects with double-bassist Antti Virtaranta with whom she plays in Project VO and Akvariettrio. Her another piano trio is called Cleaning Each Other, as much as collaborations with musicians like Audrey Chen, Els Vandeweyer, Susanne Zapf, Yuko Kaseki, Axel Dörner, Norbert Stammberger, and Otto Szabolcs Horvath, a.o.

Antti Virtaranta is a Finnish bassist and composer. He began his music journey at 17 years old focusing on Jazz music, attending University of the Arts in Philadelphia. Quickly he was introduced to free jazz and experimental electronic music, and this changed everything. He moved to Berlin to join the vibrant scene of improvisers, starting projects with many musicians and developing his own sound. Currently he is focused on expressing his voice in music and sound through composition and improvisation. Using his influences from jazz and rock music and self-taught contemporary music, his musical language is formed. Nowadays, his focus is on concepts and compositions for solo bass and solo electronics, and using non-conventional notations. These ideas develop and are imposed into the small groups (duos and trios) and larger ensembles that he is involved with to create instant composition in his varying projects, which include collaborations with dancers and visual artists, on top of the numerous musicians he works with.


JUKKA KÄÄRIÄINEN – NATALIA CASTRILLON DUO

Jukka Kääriäinen is a finnish musician specialised in experimental and free improvised music. Jukka’s instruments vary between plain acoustic and prepared guitar to back bag of pedals, live-electronics and bowed electric guitar. Jukka has toured many European countries such as Italy, Hungary, France, Germany, Russia and Estonia. Alongside solo concerts Jukka has been collaborating with musicians like Teppo Hauta-Aho, Emilio Gordoa, Mikko Innanen, Kalle Kalima, Paul Pignon, Harri Sjöström, Jone Takamäki, Roomet Jakapi, and Pauli Lyytinen.

Natalia Castrillón is a versatile harpist from Colombia interested in improvisation and the experimental sound possibilities of the pedal and lever harp. She has collaborated with artists from different music genres and disciplines such as theatre, dance and contemporary improvised music. Natalia plays actively in different projects that include Latin American, West African, World, and Experimental Improvised Music. She graduated from Caldas University (Colombia), and also studied harp, chamber music, symphony orchestra, music theory and ear training at Pontificia Universidad Javeriana (Colombia). In addition, she worked as a music and harp teacher at Fundación Nacional Batuta in Colombia.

LIVE: Marjamäki-Metsätähti + Rasmus Hedlund

JARI MARJAMÄKI – TATU METSÄTÄHTI + RASMUS HEDLUND
+ VJ Ville Kuvaja

Wednesday, June 18, 2019.
Doors 18:30, Showtime: 19:00



Marjamäki/Metsätähti
Jari Marjamäki (Zentex) on Portugalissa asuva muusikko, DJ ja äänitaiteilija. Hän on toiminut teknotuottajana ja tapahtumajärjestäjänä, sekä suhinoinut kokeellista musiikkia soolona ja erilaisissa kokoonpanoissa jo yli 20 vuoden ajan. Tällä hetkellä hän pyörittää myös Desterro-nimistä vaihtoehtoista keikkapaikkaa Lissabonin keskustassa.

Tatu Metsätähti (Mesak) on – Marjamäen tapaan – Turusta maailmalle paennut äänityöläinen. Helsingissä nykyään vaikuttava muusikko on tasapainoillut avantgarden ja klubimusiikin molemmin puolin koko uransa ajan, ja on sotkeentunut myös nk. skweee-liikkeeseen.

Akusmatassa kaksikko esiintyy ensimmäistä kertaa yhdessä. Luvassa on ainutkertainen, elektroniseklektinen ambient-teos joka nojaa vahvasti improvisaatioon.



Rasmus Hedlund

Rasmus Hedlund on monialainen muusikko jonka sävellyksiä voi kuulla elokuvissa, teatterissa ja kuvataiteessa. Hänen monista projekteistaan yksi tunnetuimmista lienee Ljudverket-levymerkki.

Akusmatassa esitettävässä konsertissa eri äänilähteistä pulppuavat sähkösignaalit muokataan ohjainten säätövipujen avulla sopivaan muotoon kulkemaan kuparijohtoja pitkin päätevahvistimeen, josta signaaliketjun päässä oleva kaiutin lopuksi muuntaa sen ihmiskeholle vastaanotettavaksi ääniaalloksi.

LIVE: Nordic Sound Art and Electronic Music

NORDIC SOUND ART AND ELECTRONIC MUSIC

 

Place: Vuosali, Vuotalo, Mosaiikkitori 2, Helsinki.

Date: Saturday, May 11, 2019

Time: 19:00-21:30

Free entrance

 
The producer of the event is Akusmata, the first sound art gallery in Finland. The event is supported by Vuotalo Cultural Centre and Nordic Culture Fund / Puls.

 

​ARTISTS​
 
HARALD FETVEIT
​(NO)​
 
Harald Fetveit started to play noise in the mid-eighties. He has developed a characteristic, forward-leaning sound, often full of ruptures and rapid dynamic changes. He was educated in visual arts, and has worked with site specific installations and photography, but also been involved in contemporary dance and performance art, with a.o. Baktruppen. Since 2003, he has been running “Dans for voksne”, a series for experimental concerts and related activities, and has played a major role in the development of Oslo’s experimental music scene.
 
His focus has always been on the live-setting. He has played with people like Junko Hiroshige, Hankli Ryu, Mattin, Lucio Capece, John Hegre, Jim Denley and Anla Courtis, with whom he also collaborates in the project DNA? AND? with kids with mental disabilities. He is currently active with drummer Thomas Oxem in their duo SKÆVV and with sax-player Dario Fariello in their duo Sciardac. “Norway’s finest improvising noise/voice duo” has been stated on his latest album with vocal artist Agnes Hvizdalek, the album was released in November 2018.
 
haraldfetveit.no
soundcloud.com/user-438589218
sanntidsmusikk.bandcamp.com/

SONJA TOFIK
​(SE)​
 
Sonja Tofik makes intimate and often melancholic ambient that draws upon influences from folk music and noise. Her distorted and slowly lulling synth loops are paired with folk-inspired vocal melodies and field recorded samples, a haunting sound both atmospheric and anguished. Through intimate and subdued synth music, echoing of organ harmonies, Tofik creates a realm of sonic shadows. In 2017, she released her debut EP ’Neuros’, and ’Vilar i dina spår’ together with Marlena Lampinen, both on the label Moloton. Previous shows include, among others; Fylkingen, Stockholm, Moderna museet, Stockholm, and Intonal festival, Malmö. ​Tofik is part of Stockholm studio collective Drömfakulteten. ​She lives in Stockholm and Berlin. ​
 
https://soundcloud.com/sonjatofik
https://open.spotify.com/artist/0xQ4lVwDOjBxjaPO5hIiC3

FREDRIK MATHIAS JOSEFSON
​(SE)​
 
Fredrik Mathias ​​Josefson has for several years worked in the area between sound art and electroacoustic compositions and questioned concepts such as installation and concerts. His artwork, performed in this concert, titled ‘What Can I Say To Convince You That All My Happiness Is In Loving You?’, is an example of this and the question is raised: what is an installation, what is a composition?
Recently, Fredrik Mathias Josefson’s focus has been to spatialize sound in compositions for high-density speaker arrays and within that format create sound environments of artificial field recordings and sound objects. The speaker elements make the air vibrate — a vibration which reaches the ears like sound. In this work, the vibrations have shifted from the air to the objects, from the intangible to the physical. The work has a narrative, but what is manifested is a short slice in this narrative. Time is frozen, but nothing is still – everything is vibrating.​ ​Josefson is active in the international experimental and electroacoustic music and art scenes with over thirty albums and over a hundred concerts. He lives and works in Stockholm and Hamburg where he is researching at the Hochschule für Musik und Theater Hamburg.
http://www.mathiasjosefson.com/
https://open.spotify.com/artist/7CgSCQLmQuvpWHKFmOy80P

Live: BRAIDEDSOUND (USA/CAN/NL/FI)

BraidedSOUND

(full band + duo & trio)

Wednesday, April 24, 2019

Showtime 19:00, doors 18:30


BraidedSOUND is a series of improvisational site-specific experimental ensembles that operate off a graphic score designed by Jesse Perlstein. These performances celebrate collaboration, improvisation and interpretation, ensuring that each performance is a unique experiment unto itself. Braided Sound also strives to be as global as possible, connecting artists from different backgrounds, genres and cultures both musically and spiritually.

For BraidedSOUND’s Helsinki debut we have invited some amazing local musicians (and two foreign) to join the ensemble.


BraidedSOUND
[helsinki ensemble] – audio/video
from USA/Canada:
JEREMY YOUNG (piezo’d surfaces + oscillators)
https://cargocollective.com/jeremyyoung
JESSE PERLSTEIN (vox + field recordings on tape)
https://jesseperlstein.com
from Netherlands/Helsinki:
MARLOES VAN SON (electronics)
https://www.marloesvanson.nl
ALEX VAN GIERSBERGEN (visuals)
http://wtf0.nl/
TYTTI AROLA (violin + electronics)
https://www.tyttiarola.com/
PETRI KULJUNTAUSTA (guitar)
http://kuljuntausta.com/

Every performance is a chance to rethink the very building blocks upon which my compositional practice is founded, but invitational opportunities to perform with new creative collaborators in far away countries welcome both excitement and logistical challenges.

While this project draws on a deep familiarity with graphically notated score history, from that of Cage and Cardew and Stockhausen among many others, BraidedSOUND distances itself from the aesthetics and behaviors of “concert music” almost entirely—we are rather seeking to explore and define a contemporary use of the graphic score as a map, the compass and legend of which must be figured out with every single new performance, by every participating artist, together as a unit, in every new space and every different city, and using the hybrid sonic avenues of electronic and acoustic elements as its toolkit.

‘Helsinki Score’


Live: Marja Ahti – Kati Roover

Marja Ahti – Kati Roover

Vegetal Negatives Record Release

Wed 27.3.2019, showtime 19:00 (doors 18:30)

Marja Ahti‘s album Vegetal Negatives is released March 29 by the Swiss label Hallow Ground. It is a game of sonic mutations, mimicry, inversions, and association inspired by a text called “On pataphotograms”, by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination.

The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood’s ideas about associative movements between sounds based on shared characteristics and sonic energy. Her approach to field recordings is neither diaristic, documentaristic, nor purely acousmatic, but rather it starts out from somewhere in between these notions: the sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing.

Marja Ahti (b. 1981) is a Swedish-born artist living and working in Turku, Finland. She has been an active part of the Finnish experimental music scene for more than ten years. This is her debut LP under her own name.

www.marjaahti.com


Kati Roover is an Estonian-Finnish visual artist based in Helsinki. In her works she approaches environmental changes through poetic imagination. Roover’s interests include human-non-human interaction, natural sciences, anthropology, special places, deep listening and documentary essay film. She works with moving image, photography, sound, text and installations.

Kati Roover will present a sound work, H2O – Creatures that was recently exhibited at Titanik Gallery in Turku. In the working process she has looked at the massive cultural changes where water’s cyclical time were condensed into simple H2O form. The mythical stories of water gave way to the linear time defined by a man. Human watery organs and the efficient processes created by them, work as modifiers of water structure and it’s flows in the environment. Water has become a commercially available, manageable and disappearing material or a hidden landfill. However, as an element, water is still like a permeable channel, a cyclical cycle of time and an all-embracing sensor: by its very nature, a state that registers change and challenges the senses to a different experience of reality.

http://www.katiroover.com/