This is a series of six sound installations where vibrating natural materials are influenced by humans interact in a delicate and temporary interplay. The installation may be perceived as silent by some, as it requires proximity to be heard. The vibration is caused by an electronic machine. The string holds as long as it can, and if the string breaks, the installation collapses and a new type of understanding occurs.

'...In the idea of "the web of life" lies also the recognition of an intricate connection and relationship. If you start making holes and pulling at threads the web still holds together. But if you go too far it can suddenly unravel completely.'

Sandra Diaz, in conversation with Anders Dunker in 'The Rediscovery of the Earth,' 2019

«With a small transducer speaker I could turn the window pane into a resonating plate that amplified and echoed the sound work of sound artist Trond Lossius. These vibrations were lifted to the strings of the broken piano, which in turn lifted its response into the room.(…)

A disused barn filled with tons of clay, sounds from nature, strings from a piano, an analogue synthesizer and an old window. I needed to listen, and then improvise the music around the dialogue between these existing elements. (…)»
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Interview with Katrine Køster Holst from her book «Jeg tenkte ikke at jeg skulle helle leire på gulvet for å lage en god lyd» (2022)

Collaborators in the project:

Katrine Køster Holst (project leader and ceramic artist)
Ane Sivertsen Landfald (visual artist and author)
Hege Rimestad (violinist and composer)
Sigrid Espelien (artist and ceramist)
Anne Gry Haugland (literary scholar)
Simen Korsmo Robertsen (composer and sound artist)
Trond Lossius (artist and composer)

Limit(less) is a dynamic 50-minute dance performance featuring Japanese Butoh dancer Azumaru and the iiwa KUKA robot. This physical duet explores the complex interactions between human and machine, emphasizing the re-design of movement for non-human partners. With Butoh's grotesque and absurd elements meeting iiwa's mechanical nature, they create a relationship defined by collisions and improvisation. The performance explores preconceptions of agency and embodiment, inviting audiences to rethink the interconnectedness of technology and humanity in today's world.

In this work music plays a crucial role in shaping the audience's understanding of the relationship between the human and the machine. As composer, my challenge was to create a sonic palette that invites listeners to engage with the performance on a personal level giving space for interpretations. I aimed to bring the two bodies closer together, infusing the soundscape with a natural and organic essence. Throughout the creative process, we emphasized that this work is not merely a vision of the future; it reflects our current reality, where the boundaries between technology and humanity are increasingly blurred. The music serves to enhance this dialogue, complementing the movements of both Azumaru and iiwa and their dependencies.

Director & choreographer: Karolina Bieszczad-Stie
Dancers: Azumaru and iiwa Kuka
Programmer: Mathias H. Arbo
Music: Simen Korsmo Robertsen
Lighting design: Stein Stie
Production assistant: Aleksandra Piotrowska
Collaborators: KUKA, Kuben yrkesarena, The Norwegian Industrial Workers Museum
Photos: Magne Risnes
Premiere: 18th June 2022 at Vemork in Rjukan

Inspired by John Cage’s 1960s avant-garde philosophy, particularly his deep understanding of silence and chance, the performance encourages the audience to embrace the beauty found in fragile imperfections. Cage argued that real sound is often overshadowed by the pursuit of perfection; he believed that listening reveals hidden nuances that are often overlooked. Additionally, the Buddhist concept of wabi-sabi—which finds beauty in transience and imperfection—inspires this artistic endeavor.

WS#5 Of Silence is a solo performance featuring a church organ, grand piano, cassette player, effects pedals, a “Buddha board,” and an old synthesizer. By inviting the audience to listen deeply, WS#5 explores the delicate beauty found in ancient instruments, questioning conventional notions of what constitutes beauty in art and sound. Even dust is quite beautiful if you look closely.