'The Expected' is a stop motion animated short film with an estimated length of 15 minutes. The plot revolves around a couple and a failed pregnancy. The imagery and themes are heavily influenced by genre cinema, such as body horror and psychological thrillers. A fairytale and a slow-paced relationship drama set in a confined domestic space where loneliness and violence are equally threatening.

'The Tactilist’ is a video installation, departing from the 1921 Manifesto ‘Il Tattilismo’, written by fascist, futurist and poet F.T. Marinetti. Considering Marinetti’s ambivalent subjects of intimacy, touch, violence and ‘the imaginable’ – Mariella Louise Otto uses the futurist ideology as an example of the endless possibilities and powers embedded in language and poetry, as well as a tool for exposing current tendencies within the socio-political.

Danish composer and inventor Lars Kynde and Canadian visual artist and dancer Soeine Bac meet in the Make Sound residency to explore their shared interest in integration of sound and movement. They will together transform the space into a large mechanical acoustic instrument-body of strings and steel, which Soeine Bac will explore in relation to her own body by dancing inside it and altering the timbres with her body weight.

‘Red Plague’ (working title) explores the displacement between a live performance and the echo thereof. The title refers to the social phenomenon of ‘dancing epidemics’, especially the incident in 1518 which came to be known as the ‘Dancing Plague of Strasbourg’. This epidemic started when one woman came out of her house and suddenly started dancing, and several hundreds of people joined in.

Working in the field of performance and contemporary dance, Sanna Blennow & Elise Brewer incorporate sound in their movement practice as a way to think around and create dance and performance from another angle. By developing and executing exercises where they drain our vocabulary of words, investigating the connection between gestures and spoken word, they are scattering, shifting and peeling off what makes sense in a speaking and communicative body. This creates a playground where fantasy is invited, and also where new ideas can expand and unfold.

During the last months Jonna Hägg has been listening and observing the soundscapes of different islands, recording a lot of sound from these places. At IAC she will continue processing the collected material, create new soundscapes inspired by her observations of how we no longer can differentiate between natural and manmade sound environments. “Natural” nature sounds and manmade sounds are always mixed together, wherever we are.

A symposium programme with lectures, panel discussions, screenings, installations and performances. The aim of the symposium and surrounding programme is to show how artistic research and artists today are looking for new ways to engage with and make sense of our climate futures. We all know what is at stake and still surprisingly little is being done to challenge our clear but nonetheless dark scenarios. So how do artists produce new knowledge or new sense of what we already know?