Sten-Olof Hellström – Tandem Musca Cacavit in Australia

Ett verk av konstnärsgruppen Tvilling särskilt skapat för platsen kring Dockan i Malmö. Den rumsliga gestaltningen tar sin utgångspunkt i en text av Bianca Maria Barmen som kretsar kring hennes personliga upplevelser av förlust och tvillingskap. Konstnärsgruppen Tvilling består av Freja Andersson, Bianca Maria Barmen, Britta Olsson och Erik Peters. I samarbete med Media Evolution med stöd av Kulturrådet. A site specific work by the artist group Tvilling, created for the area around the old dry dock in Malmö. The piece takes its starting point in a text by Bianca Maria Barmen that revolves around her personal experiences of loss in relation to twinship. The artist group Tvilling consists of Freja Andersson, Bianca Maria Barmen, Britta Olsson and Erik Peters. In collaboration with Media Evolution with support from the Swedish Arts Council.

"Secret Garden" for Immersive Days #2 IAC Lund.

What can a cemetery teach us? Public Retreat's Graveyard Digression asks this question, and many more, in an approximately 30 minute long sound journey passing through St. Pauli Southern Cemetery in Malmö. Public Retreat is: Johanna Fager, Nicole Cecilie Bitsch Pedersen and Jo Mikkel Sjaastad Huse. The Graveyard Digression was made as part of the exhibition "Scores For Malmö" in the gallery SPARK, in Båstadsgatan 4.

_if you aren't used to hiking, push your bike!_ _Prepare, Stay Safe, Be Warm_ In the absence of an album tour due to the COVID19 pandemic, this Sound Walk was created as an opportunity to experience Cristian Vogel's 2021 album in your city! _Some tips_ ✔︎ Full battery charge! ✔︎ Quit background apps ✔︎ Prefer download rather than stream ✔︎ Keep device in hand, use map to guide you ✔︎ Stay safe!

“Refshaleøen Tapes vol. I. (take-away edition)” Refshaleøen Tapes is a compilation of electronic improvisations and sketches recorded from my home studio in Refshaleøen, Copenhagen. Initially released as an album during the first corona lockdown in March 2020, this new “take-away version” sets a landscape and time of day to each track. The soundwalk is not meant to be followed in any particular order and it is almost impossible to experience it entirely in one day. Riding a bike between locations is strongly recommended.

created by Cristian Vogel for individuals or a group of 1 - 8 headphones only , includes binaural mixes - contact: info@cristianvogel.com

Refshaleøen is dominated by the colossal building at its centre. A beacon, a church, a testament to industry. It has a gravitational pull. It contains and it excludes. It weighs down and soars above a landscape of many elements. Grasses reclaim the squares where administration once took place. A birch forest nestles DJs and dancers. A skin of concrete protects a long archaeological history recorded layer upon descending layer just below your feet. The vast slipway where ships lurched their way out to sea is unnavigable. No points of reference except for far boundaries. Rectangular civil engineering becomes absorbed into a circular field of perception. Empty fenceless space is a canvas for blooms of sound. All from this building, this area, the people who use it; what it is, was, and could well be. At the centre of each bloom is a concentric dance - one in grass and another on gravel. Thank you, Thomas. Before I had seen inside, it was a hidden space that I could only guess about what went on in there. My attempts to infiltrate are marked by small bright green squares (like the one in the picture above). *Move/stand still/sit. Go fast/go slow. Plan/react. Find centres/draw lines.* **Some Practical Stuff** - For a more reliable sound experience, download the walk while in reach of wifi instead of streaming. - If the sound stops, try pressing pause and play again. It should restart. - You can click on a zone and then 'see more' to find out more about it. Or you can just put your phone away. Either way is fine. - Headphones that cover your ears are best.

How do we understand who we are through listening? Welcome to Witness Stand Refshaleøen Witness Stand is a collective listening experience, where we attune together to the sounds of this island, both past and present, to imagine possible futures. In collaboration with Metropolis, we invited each artist to create site responsive works that consider the acoustic proximities, particularities and resonances, both acoustic and cultural, in their works. This experience lasts for three hours, with approximately 20 minutes at each site and a walking traverse in between. Maria Bertel leans into the sound signal of the lighthouse: the maritime codes of short and long blasts, the marker of paying attention, through slow movements of long, low tones. Our gaze sweeps real and imagined horizons, as islands take shape before our eyes, and cormorants emerge to steal fish and ruin nets. Ragnhild May connects with the verticality of water, from the depths of swimming in dirty water as a metaphor for where we are in the 21st century, to the surfaces temporarily covered by the rain, invoking a visceral response. We sit within temporal fluctuations, as Ragnhild hints towards positive trends and the persistence of artistic expression, in this place and everywhere. Katrine Garup Elbo responds to the dissolving natures of bodies of water and materials, inviting us to a place of empathy, as humans with water bodies. Beneath the surface lies an opportunity for collectivities, a slow, relentless process where each drop makes a difference; transformative repetitions. P.O. Jørgens’ deals with the processes of change: a passageway in flux, through a series of invitations for audiences to listen and to play. A lifelong fascination for the potential music within discarded or neglected materials is transferred into re-purposed and expressive possibility, literally sounding the material transformation of Refshaleøen itself. Jørgen Teller builds a world from a small object, and an instrument re-configured, an intersection that is built between his moving body and the implications of sound on and within architectures. A portative spatiality intersects with the stationary echoes from epic structures whose time must surely come soon. MT sit within the aspen trees and look out to the building of the future, calibrated by the voices of those witnessing. Whispers spring from the growing woodland As part of our process together, we invited each artist to audio describe their site: you can hear these descriptions here on the Echoes app, with some short excerpts of their work. Thanks to the Metropolis team who care so deeply about their place and the role artists have in building complexity and empathy for possible futures: thanks to the incredible artists who work in the ephemeral field of sound, spending their time bringing impossibilities and change to the spaces we inhabit together. Madeleine Flynn and Tim Humphrey The sound journey is a continuation of the performances Radio Free Mermaid (Metropolis 2015) and Stemmer, Strøm og Støj på Slusen (Metropolis 2019), where the musicians transformed Copenhagen’s harbour into a fascinating soundscape that could be experienced both on water and on land. Witness Stand is supported by Koda Kultur, William Demant Fonden and the Australian Government through Creative Australia, its principal arts investment and advisory body. . Metropolis’ summer programme is supported by the City of Copenhagen and the Danish Arts Foundation. https://www.metropolis.dk/en/witness-stand/

I denne audio walk reflekterer Den Lille Havfrue tilbage på de livlige somre ved sin plads i København, før stedet var påvirket af Coronakrisen. Der plejede at være fyldt med mennesker om sommeren, på grund af turister og andre besøgende, men i disse Coronatider er der næsten ingen. Den Lille Havfrue tænker derfor tilbage på, hvordan det ville have været under normale omstændigheder i forhold til, hvordan det er nu; så stille at man kan høre vandet slå mod stenene.