Anders Lauge Meldgaard
Anders Lauge Meldgaard is a dansih multi-instrumentalist and composer working in a wide field of musical forms of expression spanning new compositional music, free improvisation, instrument invention, to sound installations.
Through his work he examines the tension between the strictly composed and the improvised and unpredictable. Anders is also a member of the artist-driven experimental platform and record label År & Dag.
For Struer Tracks #3 Anders is composing a piece in dialogue with the choir Klang from Holstebro and with lyrics written for the project by Danish author Amalie Smith. The theme of the work is the air between us, what we share and what binds us together socially and physically. In an age of corona mutations and face-masks, this theme is more relevant than ever. The piece is based on recordings of the choir and will be performed via portable loudspeakers and you can experience the concert throughout the city center of Struer during Struer Tracks.
Website År & Dag: aarogdag.net
Arendse krabbe (b. 1979) is a visual artist and works in audio, video, performance, text, collective readings and listening situations. Arendse Krabbe works with what it means to listen and understands listening as a tool that sensitizes. Sensitivity can create new and other communities across species, systems and boundaries. Arendse is interested in listening to hidden structures, unheard voices - Both the voices of humans, other species and voices from other dimensions.
For Struer Tracks #3, Arendse works with the city of Struers sewerage and the human intestinal system, making it possible to tune in to the sounds. The unseen, underground and inner sound is brought to the surface and becomes audible.
Kaffe Matthews is a British composer, sound artist and musician who works live with space, data, things and place to create new electroacoustic compositions. The physical music experience for both the creator and the listener has always been central to her approach. Therefore, she has invented some unique interfaces, e.g. the Sonic armchair, the Sonic bed and the Sonic bicycle, which not only enables new approaches to composition, but also gives the audience immediate ways into unknown sound and music.
For Struer Tracks#3 she is developing a piece for Sonic bikes composed of many tiny sonic fragments. Filling the harbour with electronic sounds scattering between the silos, along the fjord path and banging through the city centre’s one street, riders will be their own composers changing the narratives by where they ride.
Follow Kaffe's journey with her work for Struer Tracks # 3 on her blog.
Ragnhild May (b. 1988) works with sound art, performance, sculpture and installation. Through her artistic practise, Ragnhild examines overlooked acoustic phenomena and their effect on the human sensory system. The boundaries between artificial and natural, human and machine, materiality and immateriality, work and tools gets blurred.
Ranghild's method is exploratory, humorous and playful. She uses music theory, feminist thinking, computer technology and physics in the creation of her works.
For Struer Tracks # 3, Ragnhild creates a work at Struer harbor that plays exclusively by the force of the wind. The work ties in with her previous work of building instruments that produce new sounds with an emphasis on the musical potential as well as their sculptural and aesthetic qualities.
Vinyl- terror & -horror
Vinyl terror & horror is a collaboration between Camilla Sørensen (b. 1978) and Greta Christensen (b. 1977), both graduated from the Royal Danish Academy of Fine Arts in Copenhagen in 2007/2008. They both live in Berlin.
In Vinyl, Terror & Horror, they focus on the relationship between objects and sound. It is presented in various situations such as installation, sculpture, composition work or as live concerts. The work - whether it is presented as an installation or a concert - uses sound to create a narrative that always directly refers to the medium that plays it or the situation in which it is presented.
For Struer Tracks # 3, Vinyl-terror & -horror creates a sound installation consisting of rebuilt speakers, turntables, TVs, etc., which together make up a story consisting of collected "harbor stories". The stories are both fictional stories, stories from people who have worked at the port as well as stories based on the port's remains. The work is created in collaboration with Bang & Olufsen.å
Jana Winderen is an artist who currently lives and works in Norway. Her practice pays particular attention to audio environments and to creatures which are hard for humans to access, both physically and aurally – deep under water, inside ice or in frequency ranges inaudible to the human ear.
Jana uses sound and listening to focus on important issues and questions in relation to the state of health in the environment around us, which we share with other living beings.
For Struer Tracks # 3, Jana will create a work that makes it possible to listen to the smacking sounds of mussels eating. The work will be themed on the water around Struer and the way we have lived and live with the water. Her work will also be able to tell us about the water quality through analysis of the mussels. The work will result in a sound composition based on the sounds and vibrations that surround the mussels in their environments.
Se Byen Vertikalt
Mette Møller Overgaard, David Navndrup Black and Esther Wrobel are the artistic team behind Se Byen Vertikalt. Through their collaboration, the city's spaces turn upside down and challenge the audience to act differently in relation to the city's sounds and architecture.
The artists have worked together across the board as workshop leaders, creators, and performers, including in Sparrow Dance’s Taking space series. They have been collaborating on projects that combines sound, movement and architecture since 2014.
Brandon LaBelle is an artist, author and theorist, born in Los Angeles and living in Berlin. His artistic work explores issues of social and cultural life using sound, performance, text and site-specific constructions. This results in projects that create interventions in the public space, for example in the form of a political action or through art projects that translate into social work. The works often relate directly to other people who knowingly or not become part of the work.
For Struer Tracks # 3, Brandon will make use of the harbor's raw and industrial atmosphere. Together with Struer's young people, an installation is created based on the often anarchic environment in music clubs. The installation functions as an artistic space where visitors can hang out, watch and listen to audio and video materials as well as other research material. The installation is also activated through a series of events where local bands and DJs can perform.
Juliana Hodkinson works with vocal, orchestral, instrumental and electronic music. Her works arise in the interplay between abstract concepts and social relations where sound recordings, foley and ripped media are incorporated. Juliana is associate professor at the Royal Academy of Music in Aarhus and chairs the Danish Composers' Society.
For Struer Tracks # 3, Juliana is presenting a new piece composed for and with the local choir Side by Side and their conductor Sisse Skovbakke. The piece has evolved online, week by week, during the pandemic without the choir, conductor and composer being able to meet. In place of real-life collaboration and rehearsal, and exploration of site-specific roots, the choir has contributed text through answering questions about their hopes and fears for the coming time, and the highs and lows of their local neighbourhood. The piece 'Future Unreal' has in every way been evolved under conditions that were the exact opposite of all that is required for performance, and so the transition to presenting the work within the biennal context in the public sphere in Struer is full of contextual contingency. Tonal movements and textual fragments mix together, and new connections and contexts erupt when the choir performs in changing constellations around the urban space, blurring the boundaries between performance space and public space. You can experience the performance in Struer at two concerts during Struer Tracks.