SOUND SPACES is an open window towards nowadays post-classical music world, with internationally active composers and sound artists who are invited to create and perform, infusing different spaces of Malmö with their art. It is an open window towards nowadays post-classical music world, with internationally active composers and sound artists who are invited to create and perform, infusing different spaces of Malmö with their art.

‘More with less’ is an international collaboration project, involving six composers from four different countries: Denmark, Sweden, Italy and Lithuania. The fruit of this collaboration will be a new repertoire for Duo Dubois, created through vicinity between composers and performers. Duo Dubois is a young duo of saxophone and percussion, dedicated to the research and the production of recent art music.

The Öresund Collegium for Artistic Research aims to develop collaborations with researchers, artists and their respective institutions in the Öresund region. Its point of departure resides in the fertile and versatile artistic and academic culture prevailing in the area: the three academies of the Faculty of Fine and Performing Arts, the other faculties of LU, the neighbouring universities on both sides of the Öresund, as well as a plethora of local artistic, cultural, social and ecological agents.

This project seeks to investigate technology and its influence on reading and narration in the construction of a coherent and autonomous self. Departing from a Lacanian understanding of language, it seeks to trace the impact of a digital Other on subjectivation: what would the impact of a digital Other completely indifferent of its subjects be? An Other that lacks what is fundamentally human, such as temporality, death and empathy? An Other that repeals the distance between self and market necessary for critical judgment?

‘Transmediating meaning’ analyses audio guides as complex transmedial formats with multiple media shifts: Visual objects, sculptures, paintings, etc., are translated into spoken text whose characteristics, perceptions and readings differ from the ‘original’. An examination of these differences is crucial for the democratic application of audio guides for different visitor groups such as visually impaired visitors that are widely excluded from the art discourse.

Photographer Masahisa Fukases complex work is translated into a choreographic composition that blends movement, projections, soundscape, lighting in a cinematic collage. The work researches how equivalence can be achieved between projection and a live body in a stage setting. It also explores how a high level of interaction between a live body and scenography can be attained by combining projectionmapping with interaction-design.

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.

‘Passing Through’ is a sound installation project that reflects upon the way waves of energy and signals move though and around space and matter. Inspired by her ongoing work with sonification of electromagnetic waves from radio, telephone and Wi-Fi signals, Camille Roth will explore concepts of barriers, connections, interfaces and conducting materials, that shape the way that information flows.

‘Critical Dialogs’ is a contemporary art podcast that will investigate the latent potential of the podcast format to support critical dialogue and innovative forms of art criticism. ‘Critical Dialogs’ will explore emergent approaches to and forms for art criticism that are enabled by today’s media landscape and changing public sphere. Pilot episodes will take the form of conversations among professional art critics on topical issues such as decolonizing/queering art criticism, and the ethics of critique.

‘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.