Category: Sound Installation

Minimalism Unbounded! The 5th International Conference on Minimalist Music

Akusmata Sound Art Gallery is collaborating with the Minimalism Unbounded! conference and curates content for the Music & Installation Program.


Minimalism Unbounded! The Fifth International Conference on Minimalist Music

At this conference we will encourage new debates about the sounds and cultural meanings of minimalist music.

Usually associated with the North American style propagated since the 1960s by composers like Steve Reich, Philip Glass, Terry Riley and La Monte Young, the influence of minimalism on musical life and cross-arts practices extends beyond these now canonical figures and arguably also predates them. This conference will continue to direct focused attention towards the core repertory, but will also encourage work which challenges our assumptions about the boundaries of the style and its significance.

Minimalism Unbounded! will focus above all on the relevance of the minimalist style in the 21st century. The influence of minimalism is especially evident in music performed in multimodal and cross-artistic settings, including film, musical theatre, sound, installation and performance art. It has disseminated and transformed beyond its reductive origins in the musical avant-garde and is today heard in diverse settings, some of them recognisably postminimalist, informed by environmental concerns, inspired by spiritual or mystical ideas, and permeating popular styles and forms including film scores, ambient and drone music, glitch and IDM.

We welcome musicologists and composers, cultural theorists and philosophers, inter-arts researchers and music theorists with a view to stimulating lively debate about the past and current state of the art in minimalist music and cognate artistic practices.

Minimalism Unbounded! will be a dynamic academic and cultural event staged in two cities, Turku and Helsinki. It will include performances of recent and older music, workshops for composers, public talks and debates, and high-level academic presentations and discussions.

Music & Installation Program

Wed 23.9
8:00 pm CYCLES
Sirkkala (lobby between Artium & Minerva buildings), University of Turku
Performers: E-Musikgruppe Lux Ohr, Slow Floe, Atte Häkkinen
Terry Riley: Keyboard Studies II (arrangement for two synthesizers), performed by E-Musikgruppe Lux Ohr
E-Musikgruppe Lux Ohr: Sequencer variations (from Keyboard Studies II)
John Richardson: The Fold (song cycle in five parts), performed by Slow Floe
Atte Häkkinen: Loop impro (solo)

Thu 24.9
Sibelius Museum, Turku
Performers: Veli Kujala accordion, Tom Johnson narrator, and students of TUAS Arts Academy, coached by Mikko Luoma: Orestis Willemen, guitar, Freya Annina Frinschknecht, flute, Vadim Grumeza, violin, Anna-Maria Huohvanainen, violin.Erkki Salmenhaara: Sonatine for Flute and Guitar (10′, 1981)
Morton Feldman: Trio for Flutes (4’,30”, 1972)
Erkki Salmenhhara: Sonatine for Two Violins (12’, 1972)
Kyle Gann: Reticent Behemoth for quarter-tone accordion (6′, 2015, world premiere)
Tom Johnson: Eggs And Baskets for narrator, guitar and violin (12′, 1987)
Philip Glass: Head-on for piano trio (4′, 1967)

Fri 25 Sep
Wegelius hall, Sibelius Academy, Töölönkatu 28, Helsinki
Performers: Eija Kankaanranta, Juulia Pölönen, Emma Kuntsi, Sarah Palu, kantele, Petri Kuljuntausta & Äänikuoro (sound choir), Assi Karttunen harpsichord, Antti Tolvi, pianoAntti Tolvi: Ääniväki (Sound Elves) (25’, 2012)
Hannu Saha: Arndt for 5-string kanteles (5′, 1986), performed by Eija Kankaanranta, Emma Kuntsi & Sarah Palu
Pekka Jalkanen: Toccata for kantele (8′, 1992), performed by Juulia Pölönen
John Bull, In nomine for harpsichord (4′, 16th Century), performed by Assi Karttunen
Katri Nironen: Agadir (extract) (6′, 1965),
Charlie Morrow: Counting to 9 – Toadfish Language (1973), performed by Petri Kuljuntausta & Äänikuoro
John Adams, China Gates (5′, 1977), arr. for kantele and harpsichord
Matthew Whittall: Wine-dark Sea for kantele and harpsichord (15’, 2008) performed by Eija Kankaanranta & Assi Karttunen
Tom Johnson: Counting To Seven (6′, 2012), performed by Petri Kuljuntausta & Äänikuoro

Sat 26.9. 
3:30-5:00 pm
Helsinki Music Centre, main entrance
Meri Kytö: Soundwalk (soundscape listening tour)
6:00-6:40 pm
Akusmata Sound Art Gallery (Tukholmankatu 7K, Helsinki)
Marko Timlin: Musta monoliitti (Black monolite) (30-40′, 2015), solo for äänilevykone.
Black Box, Helsinki Music Centre
Performers: Emil Holmström, keyboard, Veli Kujala, quarter-tone accordion, Eija Kankaanranta, electric kantele, Antti Ohenoja, Jussi Markkanen, Petteri Kippo, Aleksi Haapaniemi, percussion, Jon-Patrik Kuhlefelt, sound7:30 pm
Kyle Gann interviewed by Matthew Whittall
8 pm
Kyle Gann: Unquiet Night (Mechanical Piano Study No. 10) (16’, 2004)
Tom Johnson: Tango, arrangement for 5-string kantele and accordion (4’, 1984)
Kyle Gann: Reticent Behemoth for quarter-tone accordion (6′, 2015)
Kyle Gann: The Unnameable for keyboard sampler and soundfile (12’, 2012)
Juhani Nuorvala: Concertino for electric kantele and soundtrack (7′, 2000/2014)
Kyle Gann: Snake Dance No. 2 for percussion quartet (12’, 1995)

Wed 23 – Sun 27


Juha van Ingen & Janne Särkelä ‘ASLAP. A 1000 year long animated GIF loop’ (Hommagé to John Cage) (2015). Fish Gallery (Alppikatu 17 lh2, Helsinki) Installation open only on Sat 26th, 2-7 pm.

Marko Timlin
‘Bits and Bytes’ (2015). Akusmata Sound Art Gallery (Tukholmankatu 7K, Helsinki)​
Installation open 2-6 pm daily

Petri Kuljuntausta
‘Transporter’ (2015), Sirkkala, University of Turku
Installation open Wed-Fri 8 am-8 pm, Sat-Sun 8 am-4 pm

Marko Timlin

Bits and Bytes
sound installation by Marko Timlin

19.9. – 27.9.2015
Opening hours: Mon – Sun 14 – 18

* * *

“Bits and Bytes” is a large-scale sound installation combining sound art and technology. This work is based on the use of 104 3,5“ floppy disk drive recycled from old computers.

The installation resembles a living organism: imagine being inside an ant-hill, surrounded by never-ending short sounds, clicks, crackles and tiny movements: there are endless sonic and visual variations inside a clearly defined overall structure.

This work expresses my deep admiration for the splendour and infinite diversity of nature. If we listen to natural phenomena like rivers, or the sound of leaves moving in the wind or the crackling of fire, we realize that all these phenomena share the same characteristics: they repeat themselves, but never quite exact, there are patterns with disturbances. This is why this installation is in a constant state of flux combining variation and structure, stasis and movement, chaos and order.

This work has been realized with the kind support of Suomen Kulttuurirahasto and Kuusakoski.

More information:

Martins Rokis: “?->?->?” v.1

“?->?->?” v.1
sound installation by Martins Rokis

19.1. – 25.1.2015
Opening hours: Mon – Fri 14 – 18, Sat – Sun 14 – 17

*   *   *

Finding information on the web depends on several factors, for example search engines inbuilt algorithms that “decides” how and which bits of information we are searching for are connected together. A folksonomy is one of the systems of classification and method of collaboratively creating and translating tags to annotate and categorize content. Thus relations between bits of information are decided via social consensus.

If we imagine this field of data as ocean, then in that ocean there are islands of information who’s existence is legitimized by users habits of classification. Navigation process from one point to another in this ocean of data can be full of surprises as peoples believes which things are related to others. This notion of collectively created map of information is starting point for installation “?->?->?“.

Custom software built for installation uses Freesound, a repository of Creative Commons licensed audio samples, whose content can be tagged and browsed by folksonomic means. By manually choosing first search word the automatic navigation process begins and  sonic environment is created from user uploaded audio samples that inhabits similar information space according to collectively added meta data. So in this context collective mind, layers of meaning and culture serves as notation for automatic composition.

Martins Rokis is working with sound and visuals in different contexts/forms, exploring multimodality of human perception via installations, performances or works for multichannel systems.

Note: Martins Rokis’ live performance on January 16th, 7pm
at Vapaan Taiteen Tila, Helsinki

A.Silent.Room – Anniversary

November 28, 2014, 19:00

 A.Silent.Room celebrated its first anniversary at Akusmata!


A.\                   Room…



A.\                Room… is a concert series in Helsinki presenting silent music in extraordinary venues. Silent music in this context refers to quiet music that is “not loud”, but still audible.

Two basic thoughts inspired that concept:

  1. Concerts of silent music can be organized in locations where loud music could never be presented, thus concerts can be realized in very unusual venues
  2. Listening to silent music is a very enriching and calming experience

This concert series is also a kind of musical blind-date, as the audience never knows beforehand where a concert will take place and who is going to perform. The audience will meet at a previously announced location and go to the concert venue from there.


A.\                   Room… #05 was arranged on Friday, November 28th, 2014.


A.Silent.Room serie is curated by composer, sound artist Marko Timlin.

Martins Rokis: Biomimesis VII

multichannel sound installation

2.5. – 10.5.2014

Opening hours: Mon – Fri 14-18, Sat 14-17

Biomimesis is a serie of works that can be realized as site-specific installations, performances, multichannel compositions or something in-between. Custom-made software generates sound structures, which are based on ‘nature-inspired sound design’, models and processes. These sounds evolve in a spontaneous manner, they have not been composed, or follow any strict musical laws. Rather, they simulate a soundscape of some acoustic everyday space — the one on the street, in a forest or elsewhere, where sounds, according to John Cage, ‘live their lives’.

These ‘field recordings from nonexistent places’ without clear origin or context seem recognizable and familiar, evoking personal associations and cultural projections, yet in the same time alien, otherworldly and unidentifiable, blurring boundaries between what we consider natural and artificial. Listeners can ‘zoom’ in or out on various elements that make the whole soundscape, segregating or integrating them, discovering new details or subtle changes.

Martins Rokis is working with sound and visuals in different contexts, forms, crossing boundaries between so-called computer music, psychedelic noise and abstract sound art, blending generative strategies with improvisation and also occasionally making sound installations or works for multichannel systems.

Taina Riikonen: Skin Archive

sound installation

6.3. – 31.3.2014

Opening hours: Mon – Fri 14-18

Skin is the largest organ in human body. It senses temperatures, pressure, pain and pleasure, and preserves vast of memories, feelings, and stories. Today, the pervasive presence of skin is evident; skin is both an object of constant control and aesthetic modification as well as a crucial signifier of difference in the diverse cultural negotiations.

Skin Archive sound installation listens to skin through the touch it senses. The archive, which usually is understood as an official and formal categorizing and storing system, is in this case treated as unofficial, highly selective and as constantly flickering on pleasure/pain axis.

The sound material is created of recordings that are made i.e. at the boxing club, in sauna, at the tattoo studio and under the water. In these recordings the skin becomes porous as sweating, palpated, stroked, rubbed, sucked, pierced with needle, and scratched.

Skin Archive is a collection of selected ephemeral touches, and it invites the listener/spectator to recall also her or his own skin/touch stories and histories. The spoken narratives are written and told by students of Aalto University, Pori Unit of the Department of Art.

Special thanks to Marianne Decoster-Taivalkoski, Heikki Kossi, Tero Nauha, Merja Pesola, Elina Saloranta, Hannu Vuorinen and the students at the Aalto University, Pori Unit of the Department of Art: Pauliina Koivunen, Ismo-Pekka Heikinheimo, Suvi Härkönen, Gerardo Montes de Oca and Kristiina Saloluoma.
Image: Pirjo Mönttinen

Taina Riikonen is a Helsinki-based sound explorer who works with sounds and texts. Her current interests are diverse bodily sounds, machine sounds and urban vibrations. Riikonen’s work history includes radio works, sound installations, live performances and soundscapes for business purposes.

David Rothenberg: Insect Sync

a multichannel installation

8.11. – 15.11.2013

Opening hours: Mon – Fri 14-18

David Rothenberg, author of the recently released BUG MUSIC (book and CD), turns this work into a new sound installation Insect Sync for Akusmata, based on the two basic ways insects synchronize their sounds: overlapping irregular rhythms, and overlapping songs that blur into a drone. The drone sounds are based on the song of the seventeen year cicada, and the rhythmic patterns are based on the song of the snowy tree cricket.

The multi-channel sound installation also includes sounds from other surprising insects: Uhlers Katydid, said to have the most complex of all insect sounds, the Common True Kaydid, and the Pine Sawyer Beetle.

Additional synthetic sounds, inspired by the insect world, are added from computer and iPad.

T.G. Forrest, image

Jacob Kirkegaard: Koirohi

15.10. – 20.10.2013

Koirohi is created from sound recordings from the active nuclear power plant located in Olkiluoto, Finland. With sensitive contact microphones and accelerometers placed directly on turbines, boilers, and thousands of meters of pipes above and below the ground, vibrations from the production of nuclear power can be heard. Since all these elements vibrate at very different rates and through different materials the sounds are rich in overtones, and have an almost dreamy or unearthly quality. Akusmata gallery premieres a 4-channel realization of the work. Koirohi means wormwood in Estonian, like Chernobyl means wormwood in Ukrainian.

Jacob Kirkegaard’s (*1975, Denmark) works are focused on scientific and aesthetic aspects of sonic perception. He explores acoustic spaces and phenomena that usually remain imperceptible to the immediate ear. Kirkegaard’s installations, compositions & photographs are created from within a variety of environments such as subterranean geyser vibrations, empty rooms in Chernobyl, a rotating TV tower, and even sounds from the human inner ear itself.

Jacob Kirkegaard website

The exhibition has been arranged in cooperation with
Nordic Music Days 2013

Budhaditya Chattopadhyay: Dismantling a Sound Work in Six Easy Steps

Budhaditya Chattopadhyay


6-channel sound installation

October 20th – November 16th

The installation explores the artistic process involved in a sound composition. Not
merely deconstructive in approach, the installation rather incorporates review and
recapitulation of the process of composing that uses field recording as a material.
The installation thus acts as a decomposition of the finished work in order to
question over-determination in the end product of sound-based artworks. Primarily
considering sound as an artistic material of essentially ephemeral in nature, the
installation examines the trajectory of phenomenological development the work
possibly has gone through. As methodology, it disengages the six primary layers of
field recording materials used in the work. In doing so, the installation involves the
audience to experience the work in a process-oriented way. The multi-level sound
projection unwraps the work into its source material of field recording disembodied
in their inability to translate actual location onto augmented space of the gallery,
thereby remaining as visceral audio layers disposed to the audience as a speculative
structure of the work. Rather than contributing to the tradition of process art, the
installation stems out of a necessity to analyze, articulate and describe a sound-based
artwork from a phenomenological angle. The artist’s current academic involvement
with sound here works as a catalyst keeping the installation in a discursive state.

Budhaditya Chattopadhyay biography

Born in Birbhum, India, Budhaditya Chattopadhyay studied Cinema specializing in Audiography at national film-school SRFTI in Calcutta (2003-2006), and later received Master of Arts in New Media with an emphasis in Sound Art from Aarhus University, Denmark (2007-2009). Since studying at film-school, he has been involved with sound composition primarily as response to the visual supremacy over predominantly artificial construction of sound in Cinema; consequently, his critical engagement with an autonomous auditory practice develops into a body of work that consists of sound-based new media artworks processed in dialectical opposition to cinematic sound. His works have been exhibited at a number of venues and performed widely. In 2007 he has collaborated with Rijksakademie network to produce an archive of urban audio imageries for a series of curated shows; being a SARAI fellow in 2006, he has worked on a sound art project presenting the outcome at CSDS, New Delhi. Between 2009-2010, he has received a generous grant from Prince Claus Fund to collect audiovisual materials for producing a large-scale sound and video installation. He is recipient of the prestigious Arts Scholarship in 2011 from Charles Wallace India Trust London. He has been short-listed in the PRIX Phonurgia Nova 2010, and awarded with an Honorary Mention in PRIX Ars Electronica 2011. Currently he is engaged with a practice-based PhD project researching on the inter-relationship and cross-influences between cinema, digital media and sound art.

In cooperation with:
Artists’ Association MUU

Janne Särkelä: Ambient²

Janne Särkelä
22.4.-28.4.2012, 12-14pm (each day)

In my work AMBIENT², I interpret the sound landscape of Harakka island into music, into another language through a computer-abled generative process. We are born into sound landscape to which we get used to through our lives and we take it as a familiar foundation, compared to which everything is strange and peculiar. It is about interpretation. When the same sound landscape is repeated as music something weird and unexpected is revealed.

Music created by the AMBIENT² does not strive to fit its tones into any existing note system. It re-creates the frequencies of the source material by synthetic instruments as a spectral musical application. The final result is a musical work which never quite exactly repeats itself. The composer is the observed space which creates its own tonal system. The music thus created is not aleatory but determined by its own rules.

The basic form of the music is defined by ambient aesthetics, and in this case ambient sound creates the ambient music and the borders of music and the world are seamlessly intertwined.
Janne Särkelä:

The sound exhibition is part of the La-bàs Biennale 2012 -festival: