89: FINAL EXHIBITION
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a planet
a loop
a heart
an island
an error
and a spark
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28.11 17.00 - 18.30 [opening and performances]
29.11 10.00 - 17.30 [performances from 13.00-16.15]
Venue: Teaterøen [annekset] | William Wains Gade 11
89 is an experimental sound art learning community born out of the unique ecology of Struer—City of Sound, Denmark. Nine artists came together over the course of twelve weeks: learning, experimenting and exploring sound as a chance encounter. The resulting exhibition tends to concepts of time, performance, grief, the body, the shape of sound, digital failure and fragility. An example of distant currents converging to create distinct aural experiences.
SCHEDULE
28.11 17-18.30 [opening & performances]
17:00 – 17:30: Folding Loop – Irini Kalogeropoulou
17:40 – 18:00: SUBTLE PLANETS – Reuben the Organizer
18:05 – 18:25: BUFFER//ERROR – Rheece van der Linde
29.11 10.00-17.30 [exhibition opening times]
13:00 – 14:00: SUBTLE PLANETS – Reuben the Organizer
14:30 – 15:00: Folding Loop – Irini Kalogeropoulou
15:30 – 16:15: BUFFER//ERROR – Rheece van der Linde
WORKS
BUFFER//ERROR
by Rheece van der Linde
BUFFER//ERROR examines what happens when digital systems are pushed to the edge of collapse. Through a performance built around a Teensy-driven sampler housed in a mutated teddy bear, the work explores how machines express exhaustion, anxiety, and instability through sound. The teddy becomes both an instrument and an organism: reacting to touch, feedback, and stress. Its red eyes flicker as it strains under pressure, embodying the tension between care and destruction. The result is a fragile, unsettling performance that exposes the emotional and sonic thresholds of failing digital systems.
Rheece van der Linde
is a South African–Zambian artist working across sound, visuals, and digital media. With a background in sound production and as co-founder of the DIY label Kulture Lab, her practice moves between electronic music, installation, and experimental technology. Currently based in Europe, Rheece explores how play, error, and participation can open new ways of listening and creating together.
Aion: The Slow Becoming
by Jose Alejandro Salgado (oido)
Aion: The Slow Becoming is an exploration of time, energy, and transformation on a scale beyond human perception. The work centers on a stone, an ancient composite of silex and chalk, formed from the remains of crustaceans and slowly reshaped by the Earth over millions of years. Through sound transmitted in seawater, the stone’s own resonant frequency, is allowing the stone to carve itself, imperceptibly and patiently. This subtle act of self-eroding resonance reminds us that change often unfolds beyond the limits of our immediate perception. The process itself, rather than the result, becomes the work: a meditation on time, energy, and transformation.
Jose Alejandro Salgado
(Colombia/Ecuador), also known as oido, is a sound artist whose practice explores the more-than-human structures that sustain ecosystems as sacred, interdependent architectures. His work spans sound design and installations employing raw materials and acoustic phenomena to uncover hidden layers of ecological processes.
SUBTLE PLANETS
by Reuben the Organizer
SUBTLE PLANETS is an audiovisual performance and multisensory environment created by overlapping 4.1 sound output, a 4-screen video wall, light, scent diffusers, and simple scenography elements. The title of the piece reflects the resonances between macrocosm and microcosm, as expressed in the Hermetic principle, "as above, so below; as within, so without", which can be recognized in the geometrical patterns replicated at different levels of nature This idea pervades the work as a theme, a method, and a structural principle, inspiring states of inner vision and feelings of cosmic belonging.
Reuben the Organizer
aka Reuben da Rocha, is a Brazilian electronic musician, poet, and anti-disciplinary artist, working with found sounds, field recordings, vocal harmonies, and lo-fi samples. Cosmic freedom, oneirism, and utopia are recurrent themes in his work. His output spans live performance, multimedia settings, free improvisation, radio art, and composition.
Folding Loop
by Ιrini Kalogeropoulou
What sounds remain if we listen? How can we “hold space” for our own listening in spaces of absence, loss and separation? The project Folding Loop is an audio spatial composition exploring the persistence and fragility of sound and memory within architectures of absence. Emerging at the intersection of performance and installation the project invites the audience to traverse a fragile acoustic ecosystem where found objects, field recordings, cassette players, speakers, microphones, and human bodies interconnect, creating a third space. Within this environment, sounds are generated live as loops that fold, erode, and transform, evoking a dialogue between the ephemeral and the recorded, between what fades and what remains, what is silent and what is heard.
Irini Kalogeropoulou
is an interdisciplinary artist and musician based in Athens, Greece. Her practice spans electroacoustic composition — drawing on techniques of musique concrète, field recordings, and prepared piano — and participatory projects in public space. Through these, she explores grief, absence, memory, urban dynamics, and the sonic performativity of everyday life, while seeking to create spaces for collective listening and alternative social imaginaries.
biological oscillatοrs
by cheyenne hendrickson
How do we come to know our internal worlds, the parts that slip, gurgle, and work in silence? We meet them in waiting rooms, through scans and reports, or in the sudden rush of movement, the stomach’s drop, the heart’s thud, the body’s reminder to say I am here. When you place your hand on your heart, do you feel it, hear it, or imagine it first? What about a tumor? Its pulse- is it a language of vibration, hum, or frequency?
If organs are made of cells, and cells of electrical pulses, perhaps we are resonance rather than matter, oscillations folding inward and outward, endlessly. biological oscillators is an interactive sculpture containing five internal “tumors,” each a transducer translating its genetic being into sound. Through field recordings, Geofón-captured movements, and contact-mic improvisations, the work invites us to listen differently, to feel what the internal body says beneath consciousness, through frequency.
cheyenne hendrickson
is a multisensory artist whose work explores the human body, both inside and out. Through sound, sculpture, video, and installation, she creates immersive experiences that investigate the unseen, visceral realms of our internal world and how they interact with the environment around.
wanderings
by Uma Dingemans & Luana Lojić
wanderings are a series of experiments with sound beaming and spatialisation. It imagines curly sounds, underwater communication and the flow of electricity within a circuit, investigating how sound travels through different states of matter.
Using sound beaming as a compositional method, sounds are concentrated or placed to spill between spatial positions, forming sound islands. To sense each island, you are invited to wander around the room. By doing so, you may hear a voice, a vibration or a tone hinting you are within one of its spectral positions. How does moving trace the outline of the sound or move you from one island to the next? The space holds, leaks and speaks.
Luana Lojić
is an artist who imagines sensory data as semi-permeable, autonomous and sensitive beings. Her installations and performances often explore object empathy, geo-emotionality and the subtle bonds of things. She forms one sixth of the collective the Lovers (Ljubavnice) and shares her life with her companion dog, Ulla.
Uma Dingemans
is an Australian musician, sound artist and anthropologist. Trained in classical piano and cello, Uma composes and performs with anthropological research methods, field recordings, and improvisations, exploring how acoustic instruments, digital processing and environmental soundscapes interact, overlap and extend one another.
occurrences desiring nothing but a spark
by Sabina Oțelea & Ce Pams
occurrences desiring nothing but a spark is an installation exploring time and fragility manifested as an interconnected system perpetually seeking unstable equilibrium. Without an evident origin or end, the installation is actuated through small occurrences happening simultaneously.
The installation is an exercise of transducing energy into different forms of existence, and evaluating those existences not as means-to-an-end, but as occurrences demanding no witness but their own heat – a whole never greater than the sum of its parts.
Glass, magnets and copper wire are the main materials enabling an interrupted sonic presence. Employing the principles of a fragile speaker, the installation examines the transparent properties of not only the materials, but of the potentials of creating transparent technologies. Through this process, the vibration of sound becomes a gesture towards the space it delineates.
Sabina Oțelea
is a critical designer, researcher and creative technologist whose work exists in places where sound, ecology and technology meet, reflecting on the present and speculating on the future of these elements. Their practice explores non-anthropocentric futures and feminist technoecologies through poetic storytelling and affective world-building. Sabina advocates for pluriversality as a prerequisite for designing with and for more-than-human worlds, finding roots in concepts of sympoiesis, relationality, and reciprocity. Through their design process, they further their audiences’, as well as their own, enmeshment with nature, theory and fiction.
Ce Pams
artistic practice involves sound performances, interventions and installations. She develops processes based on listening and on observing natural phenomena exploring them as generative and autonomous systems that interact with technological processes, the human, and the non-human. She relates to the territory as a living and ever-changing space, establishing a dialogue with its materialities, dynamics, and ecosystems. At the same time, she explores the architectural spaces and their creative potential, not only as containers of sound, but as active agents that shape the sonic experience through their materialities, layout, and resonances.