Fylkingen at Spring Clean:

Josefin Lindebrink, Janna Holmstedt and Jacek Smolicki, Fylkingen PPPOD

Friday 3 and Saturday 4 May, 1–6pm

In collaboration with Marabouparken konsthall, Fylkingen presents two acts, which in different ways activate the audience’s listening. In the installation Habitat, by Josefin Lindebrink the audience are invited to place themselves on oscillating surfaces. Between the installation and the visitor’s own body a circuit of sounds is formed that challenges the skin as the border between biology and technology.

In Sonic Sensibilities, Janna Holmstedt and Jacek Smolicki invite you to a series of activities -a silent walk, a concert and a performance- in the park and inside the gallery’s main hall. The acts begin with a silent walk outdoors in which existing sounds are observed and woven together with   smaller sound installations by Smolicki. The sound walk is followed by a concert where Smolicki creates fascinating soundscapes with the help of everyday objects, prerecorded sonds and live recordings. Following this, Janna Holmstedt moves between the human, the synthetic and the beastly in her performance. Her piece builds upon archival material and sound recordings from a scientific experiment where dolphins were suppose to learn to speak english through their blowhole.

In the Konsthall’s library some of the teeming activities and the genre transcending art and musik being created at Fylkingen will be presented through a listening station for the Fylkingen pod cast: Fylkingen PPPOD.

Fylkigen is an artist run stage and association for experimental music and art. The association was founded in 1933 och has ever since supported and presented a wide offer of the most prominent composers, musicians and artist in the field of radical electronic, contemporary music, performing arts and multimedia. In 2019 Fylkingen turns 86 years old, which makes the association the oldest forum of its kind.

Fylkingen PPPOD

Listening station in the library
Friday 3 and Saturday 4 May, 1–6pm

A pod is a capsule. It can carry a seed or function as a time capsule. Fylkingen PPPOD is at once a container and a flight recorder, an attempt to capture if only a fraction of all the magic moments, teeming activities and genre transcending art and music that have occurred at Fylkingen. In the episodes that were released during the autumn of 2018, Elisabeth Hedström let’s oss take part of known and lesser known parts of Fylkingen – in the shape of an experimemtal stage, meeting place and artistic free zone. The episodes are available at Fylkingen’s website and Soundcloud .

Interviews, sound and edit: Elisabeth Hedström
Soundmix: Emil Olsson
Jingle: Johannes Bergmark
Editor: Janna Holmstedt

Josefin Lindebrink
HABITAT

Machine learning, sound, transducers, haptic perception, bio sensors

Installation in BOX
Friday 3 and Saturday 4 May, 1–6pm

HABITAT explores themes of development as both a solitary and communal process. The project aims to problematise existence alongside an intelligent technology that continuously challenges the skin as a boundary for identity or the autonomous human body. The visitors can position themselves on surfaces that oscillates in response to biophysiological feedback from it’s occupant. As others occupy their own structures, they are added to the other’s feedback loop. The oscillations are controlled by a machine that through machine learning continuously tries to keep in balance with its occupant(s).


Josefin Lindebrink is an artist and educator active in the intersection between art and science. With a background in music and applied physics her work explores and critically examines the role of emerging technologies in relation to body and matter. She is the acting chair of Fylkingen New Music and Intermedia Art.

Janna Holmstedt & Jacek Smolicki
Sonic Sensibilities

A sound walk in the park an two performances in the gallery with sounds, objects, video and voices
Saturday 4 May, 4–6pm

In Sonic Sensibilities, the artistry of Janna Holmstedt and Jacek Smolicki and their respective interest for different forms of listening practices and sound technologies meet.  Through active listening other aspects of our surroundings than those we usually notice in a visually oriented culture emerge. How do I perceive my surroundings and my own presence in these if I silently listen, instead of looking at or speaking about it? How do the surroundings and the objects sound? How does language really sound? What does technology do with our listening and our bodies? In Sonic Sensibilities, which can be said to consist of three acts, we ar led from already existing soundscapes and ways of listening outdoors, to augmented, distorted and recorded sounds in Smolicki’s performative sound collage where everyday objects are used in unexpected and poetic ways, over to historical sound archives, animal voices and storytelling in Holmstedts lecture-performance. The latter takes its starting point in sound recordings of communicational experiments performed on dolphins in the 1950’s and 60’s in the USA, where the dolphins were supposed to learn to speak english with their low holes. At the centre of it all was a women called Margaret Howe, whom, during 75 days, tried to live under equal conditions with the dolphin Peter in a house filled with water.

Janna Holmstedt works with situated practices and different forms of expanded story telling in the border lands between sound- stage- and contemporary art. In 2017 she presented her doctoral thesis in fine arts, ”Are You Ready for a Wet Live-In? Explorations into Listening”. Besides being a member of, and active in the production group of Fylkingen she is an affiliated researcher at the transdisciplinary feminist platform The Posthumanities Hub at KTH and Linköping University.


Jacek Smolicki works in the intersection between aesthetics, technology, archiving and the every day. His work manifests itself through performative landscape compositions, sound walks, experimental archives and installations. During the past few years he has also experimented with different recording techniques, in a systematic way, in order to document the human and more-than-human everyday life. In 2017 he received a PhD from School of Arts and Communication, Malmö Univsersity.