Artists : Toke Højby Lorentzen, Hart Lëshkina, Sandra Boss & Katrine Würtz
Free entry
Time :
17:00:
Vernissage of Strategic Opacity, Opus 26 & Boy World Effigy II by curator Anna Frost. Udsigten, DOKK1.
19:00:
Bird Choir starts with a live performance by Sandra Boss & Katrine Würtz. Godsbanen, Foyer.
Location : DOKK1 (udsigten) & Foyer, Godsbanen
Info about the pieces
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An examination of the interplay between image, code, and manual practice through fiberglass scores, sonic translation, and material disruption, positioning human labor as a symbolic force within the technological system.
More info:
Toke Højby Lorentzen works at the intersection of sound and image as a semantically fluid field, where the two media continuously inform and transform one another. In the series Strategic Opacity, Lorentzen examines the interplay between image, code, and manual practice through fiberglass scores, sonic translation, and material disruption, positioning human labor as a symbolic force within the technological system.
For SPOR, Lorentzen will present his work on yet another score from the series, which aims to let loose the algorithm that decodes it, resulting in a translation with autonomous result-generating capabilities.
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A multi-channel video and sound installation that engages the historic Danish boys’ choir Herning Kirkes Drengekor as both subject and living system.
More info:
Boy World Effigy II is a multi-channel video and sound installation that engages the historic Danish boys’ choir Herning Kirkes Drengekor as both subject and living system. Positioned between ritual and performance, the choir becomes a mechanism through which the work examines how identity is formed within structures that simultaneously nurture and constrain. Rather than addressing youth as a theme, the artists focus on the choir as a collective body where individuality remains fluid, continuously calibrated against shared codes of harmony, posture, breath, and timing.
Constructed through performative frameworks, behavioral scores, and spatial conditions, the installation unfolds as a constellation of fragments rather than a linear narrative. Moments of cohesion and discipline coexist with subtle ruptures, hesitation, misalignment, or shifts in awareness, revealing ongoing negotiations between agency and conformity. Vulnerability is not scripted but emerges within the friction between structure and improvisation, where participants encounter themselves as both subject and image.
The choir operates as a metaphor for broader social and mediated systems in which the self is shaped through participation, projection, and mutual awareness. Recurring concerns include collective identity, ritualized behavior, avatars, and the internalization of being seen. Attention circulates laterally through imitation, alignment, and self calibration, producing a condition where performance arises from within the collective rather than through external command. Spatially, the installation disperses perception through simultaneity. Video and sound function as interdependent structures, creating a horizontal perceptual field that resists singular viewpoint and total comprehension. Viewers navigate partial visibility, aware that something always remains beyond their field of view.
By translating fragmented media rhythms into an immersive environment, Boy World Effigy II positions the audience within the contradictions of collectivity, holding them in a space where harmony and fracture coexist, and identity remains continuously negotiated rather than resolved. The installation can be experienced at Dokk1 throughout the day.
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Bird Choir explores the tension between the natural and the human-made and appears as a choir of alien birds, where whistles, melodies, and tones blend together in an out-of-tune lament.
More info:
Bird Choir is an installation created by visual artist Katrine Würtz and composer Sandra Boss that combines ceramics, rubber hoses, metal couplings, an electric air pump, a wooden box, sensors, and a MIDI-controlled playback system.
The work explores the tension between the natural and the human-made and appears as a choir of alien birds, where whistles, melodies, and tones blend together in an out-of-tune lament. The work consists of twenty ceramic bird whistles filled with water. The birds are connected to an automated air system that performs a preprogrammed composition activated via sensors. When the birds are supplied with air, they are transformed into an apocalyptic bird choir.
The work is inspired by the bird migrations that take place along the Danish coastlines. Because of an increasingly mild climate in Denmark, some bird species will soon become rare and disappear entirely, while new species will arrive from the south as breeding birds. But what kinds of birds will come in the future? What will they sound like, and what will they want to tell us?
The installation is initiated through a ceremonial performance in which all the birds are filled with water. Bird Choir has previously been exhibited at BASALT: Sons et Curiosités in France as well as at Johannes Larsen Museet, Stevns Fyr, and Organ Sound Art Festival.
Anne Marqvardsen & Anna Berit Asp Christensen
Credit: Denis Liššák
