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ANA Local

Eva la Cour Still Image / Still pondering

07.03.25 - 12.03.25

Still image / Still pondering is a screening and re-mediation of the video work The Artist as Editor? (Proposal for a story about Emilie Demant Hatt).

The work, from 2023, focuses on the female Danish painter and writer Emilie Demant Hatt (1873-1958), her early travels to Sapmi and the limited contemporary recognition of her research and art practice. At the same time, it focuses on how chance encounters, material fascination and emotional impact can expand the institutional boundaries of official archives.

Still image / Still pondering is also a meditation on film editing as research practice.

The video material used in the work is partly generated at previous showings in Astrid Noack’s Atelier: In 2020, the focal point was the book Muitalus sámiid birra by Johan Turi (1854-1936) – the first book written in Sami by a Sami, translated and published in Copenhagen in 1910 by Emilie Demant Hatt. Two years later in 2022, Astrid Noack’s Atelier housed New Notes – an display aesthetic setting for conversations about Emilie Demant Hatt’s navigation of her roles as a woman, painter, writer and researcher.

In film editing, the cut is certainly the act with which something is omitted, deferred or even cut into pieces. The incision is about making a choice to eliminate or exclude a material. But instead of asking what ‘a cut’ leaves out, I’m interested in how ‘cutting’ and ‘splicing’ rub against each other. For the cut is also crucial to the decisive moment of cutting a relationship between two segments, in as much as the decision to splice is about bringing two things together.

I understand splicing on the basis of my own training and experiences as a visual artist – experiments with montage strategies and other artists’ work with assemblage theory and conceptualisations of cinematic ‘gaps’ has taught me to think of video stills as open elements in the power of constructed narratives. Emilie Demant Hatt’s practice has directed my attention to how specific environments and viewing situations not only affect what I see; they become part of what I see!

In other words, the friction between cutting and splicing makes it interesting to dwell on artistic production of social relations as editing practice. At a time when Danish colonial history and colonial relations are suddenly on everyone’s lips, can ‘the artist as producer’ be usefully described as an ‘editor’?

To explore all this, during my residency at Astrid Noack’s Atelier, I have invited a few visual artists and colleagues to reflect on and respond to how they work with and think about editing as research practice. The hope is an exchange that can develop into experiments with film editing processes and collaborative/editorial artistic authorship in my long-term artistic research project Scenes of Fieldwork (2025-2027).

Everyone is welcome!

PROGRAMME

Opening on Friday 7 March 4-6 pm

Film screening (every half hour), Saturday 8 March 3-5.30 pm

Film screening (every half hour), Tuesday 11 March 3-5.30 pm

Film screening (every half hour), Wednesday 12 March 3-5.30 pm

The exhibition is supported by the Danish Arts Foundation.

BIO

Eva la Cour is a visual artist and researcher, also trained in media and visual anthropology. Through the use of analogue film, video, text and display aesthetics, her artistic research and practice revolves around the relationship between thought and image, archive and social process, authenticity and authority. She holds a practice-based PhD from HDK-Valand, University of Gothenburg, where, based on experiences from Svalbard, she investigated ‘live editing’ as a performative and situated cinematic expression and method for reorienting the colonial legacy of linear storylines. Since then, she has worked investigatively across filmmaking, academic research and visual arts, including as a postdoc at ‘Art as Forum’, UCPH (2022-2024) and currently at the Centre for Applied Ecological Thinking, UCPH (2025-2027).

Events

Calendar

ANA Local

Eva la Cour Still Image / Still pondering

07.03.25 - 12.03.25

Still image / Still pondering is a screening and re-mediation of the video work The Artist as Editor? (Proposal for a story about Emilie Demant Hatt).

Still image / Still pondering is also a meditation on film editing as research practice.

Everyone is welcome!

PROGRAMME

Opening on Friday 7 March 4-6 pm

Film screening (every half hour), Saturday 8 March 3-5.30 pm

Film screening (every half hour), Tuesday 11 March 3-5.30 pm

Film screening (every half hour), Wednesday 12 March 3-5.30 pm

The exhibition is supported by the Danish Arts Foundation.

BIO

ANA Local

Rikke Luther Dust & Flow: Muds, Movement, Time, Scale (film screening, 5pm)

19.03.25

Rikke Luther’s new film Dust & Flow, draws together recent scientific research on mud and sediment flows, eDNA, and the concept of ‘deep-time’, with personal responses to the planet’s new moving landscapes, examining the way humans are attempting to make sense of impossibly rapid changes occurring in the Earth System.

The ground beneath our feet is now moving – at human speeds. The body of the Earth bleeds mud. The synthesis of earth and water does not speak, but stares blankly back at us. Strangely forceful winter rains no longer connect to ground water; and new mud-lakes claim once fertile fields. Elsewhere, the rains propel muds down swollen river courses to the sea; unprecedented sedimentary flows congregate off-shore, causing biochemical changes to the oceans we do not yet understand. Closer the centre of the heat, where fish swam half a century ago, ‘Lake Chad’ is now a dried-out mud-scab. Everywhere, the natural foundations that supported the mechanics of Modernity are warping and dissipating – speeding change; re-programming us. And we struggle, as if to catch a bullet in flight; desperately attempting to update our understanding of this new biochemical topography.

Dust & Flow examines the deep history of the ocean-land relation and the very recent development of new ‘mud-scapes’. The film weaves developments on the islands of Gotland, Iceland, and Svalbard, with up-to-the-moment scientific research and our culturally-limited understandings of history and time. Hung-up on human conceptions of History and politics, we struggle to understand the vastly accelerated scale of movement and time demonstrated by the muds.

Luther’s visual engagements with these fast-mutating landscapes stretches the objective ‘documentary form’ to allow an account the author’s own subjective interior dialogue. The innovative script is voiced by the actor David Bateson, performing the roles of the narrator, Luther, Luther’s inner dialogue, and two additional characters.

The Ocean-Lands is attempting to outline the social, political, and bio-chemical, implications of rapid movements in the planet’s new ‘mud-scapes’.

The film forms part of Luther’s Novo Nordisk-funded post-doctoral project The Ocean-Lands: Mud Within the Earth System, based at Queen Margrethe’s and Vigdis Finnbogadottir’s Interdisciplinary Research Centre on Ocean, Climate, and Society (ROCS) at Copenhagen University. The film is a response to a NAARCA-funded commission, and has been produced with additional funds from Art Hub Copenhagen and the Swedish Arts Council. The film draws on NAARCA-funded site-visits.

In 2021 and 2023, preparatory work and process-oriented material has been presented in ANA in the exhibitions “The New Mud” and “Mud in the Earth System”.

Past events

ANA Local

Gitte Villesen, Pia Rönicke, Jytte Høy & Sebastian Hedevang On (again)

19.01.25 - 02.02.25

Pia Rönicke, Bordered, digital film, 31.01 min, 2021

Gitte Villesen, Wet Sand, (working title), 2024. Detail from “Flora’s Shipwreck” (1882) by Ingeborg Madsen

Dear Sebastian, Gitte, and Jytte,

I would like to invite you to participate in the exhibition ”On (again)” in connection with my screening of the film “Bordered” at Astrid Noack’s Atelier.

In conversations with you in various settings (at a pub, a celebration, or through a screen), it emerged that each of us was reading Solvej Balle’s ”On the Calculation of Volume”. These conversations revolved around crises—being stuck in the grind, Long COVID, exhaustion, the inability to make work—but also about how reading became a kind of way out. Still, it was surprising to realize how differently we approached the text, with disparate attentiveness and longings. Yet, it shouldn’t be startling that our reading reflects our lives and artistic practices. The repetition of November 18th, which forms the premise of Balle’s series, provides a framework that radically reshapes the world we inhabit—language, relationships, imprints, objects, actions, and our connection to history and the future—and, by extension, how it is possible to make art.

In the spring of 2020, during the lockdown, I filmed “Bordered”, which included scenes at Astrid Noack’s Atelier. In a state of suspension, as though hanging in mid-air, I had time to observe movements that are otherwise managed in a split second. This led me to think about patterns that might prevent a collapse. A system that does not accelerate its own destruction in the absence (or presence) of movement. The slumbering, like hibernation, halting the process of life as a form of preservation, is part of the balance I believe we have forgotten. But without a present future, daydreaming is also not possible.

In the film “Bordered”, a filmmaker attempts to trace Silvia’s steps in an unknown near future and past. Who is Silvia? What is Silvia? In a search for coexistence, Silvia bridges seemingly opposing worldviews: sequence and simultaneity. Silvia has left the narrative as a means to an end, as a counterbalance to a world that only obeys progression.

For me, reading “On the Calculation of Volume” is connected to the film through questions about how temporalities affect spaces and how mutations in time create mutations in matter. But from this perspective, do we also have the agency to reverse our own footprint if we enter into a different relationship with time itself?

It is this daydreaming I invite you to participate in, with a presence at Astrid Noack’s Atelier between January 19th and February 2nd, 2025.

Warm greetings,

Pia

On (again) is an exhibition featuring Gitte Villesen, Pia Rönicke, Jytte Høy, and Sebastian Hedevang, with the reading of Solvej Balle’s seven-volume work On the Calculation of Volume serving as a conceptual framework. Through the exhibition, the space is transformed over the course of the exhibition period, engaging with a more open exhibition format. The exhibition takes shape through conversations, readings, and a presence in the space. The artists contribute singular works, fragments of works in progress, or works on their way to becoming more comprehensive.

PROGRAM:

Reading, Sunday, January 19th at 3 PM, open from 1 PM to 5 PM

Reading, Sunday, January 26th at 3 PM, open from 1 PM to 5 PM

Opening, Friday, January 31st from 5 PM to 7 PM

Open Saturday, February 1st from 1 PM to 5 PM

Reading, Sunday, February 2nd (Groundhog Day) at 3 PM, open from 1 PM to 5 PM

The reading is in Danish.

BIO:

Gitte Villesen: I developed my primarily filmic and photographic works as situational encounters with protagonists who are present not just through moving video footage, but also as important dialogue partners. My practice of telling and re-telling as forms of manifold montages of the encountered, the staged, and the archival is continued in my recent projects, but since 2016 extended through pervasive references to litterature often feminist science fiction (Ursula K. Le Guin, Octavia E. Butler und Suzette Haden Elgin)

Pia Rönicke: I work between text, objects, and film, with archives and everyday actions, between forests and other kinds of spaces to dissolve restricted notions. The connection between the free and equal is a continuous obsession, but also about articulating matters in frameworks that must be rediscovered.

Jytte Høy: My art is about ‘abstract space’ and the little things that nobody notices. Through simple actions and powerful concepts, I generate associations and relationships between everyday objects and mental images. I aim for ambiguous statements because the many layers of meaning open up great freedom of interpretation.

Sebastian Hedevang: Sebastian Hedevang: In recent years, my practice has been nourished by collaborations and self-organized collective processes in various constellations. Learning from The General Past (2023) with H. Heise, A. Rønholt Schmidt, J. Funder and M. Knudsen at La Cucina, Copenhagen, The Chocolate Wagon with Andreas Rønholt Schmidt i.a. with the exhibition Sludge Cake at ANA in 2021, as well as several works and projects with Mia Edelgart where children have been the primary audience.

Om (igen) is supported by the Danish Art Foundation.

ANA Local

Claus Handberg & Henrik Sundh Workmusic for Poets – live launch session, 2-3.30pm

15.12.24

Workmusic for Poets is a new Copenhagen-based project with a unique sound that also has a beautiful purpose: to guide and inspire others in their creative journeys through the abstract twists and turns of music.

Claus Handberg, guitarist and author, and Henrik Sundh, award-winning musician and producer, are collaborating to bring Workmusic for Poets to life. Handberg’s background in both poetry and music, combined with Sundh’s expertise as a composer, producer and musician, create a dynamic partnership.

Workmusic for Poets is a captivating musical experience that inspires its listeners to express themselves creatively. As the name suggests, the music acts as a companion to various creative activities, such as writing or drawing, rather than just being background sound. It actively shapes and influences the creative process with moods, directions, inspiration and challenges.

The music has a slow, unpredictable and transformative nature that flows freely between the two main expressions: Handberg’s Americana-inspired guitar and Sundh’s experimental ambient. The music is composed entirely of guitar recordings, performed by Handberg, then sampled, transformed and rearranged by Sundh.

On Sunday 15 December, Workmusic for Poets will be performed live in ANA while the audience writes, draws, folds or anything else under the influence of the music.

We provide paper and pencils as well as coffee, tea and Christmas cookies. As always, admission is free and everyone is welcome.

See you there!

BIO:

Henrik Sundh is a musician and producer. Henrik won two awards at the Danish Music Awards Jazz in 2005 for his work with cult bands Tys Tys and Autofant. He was also part of singer Josefine Cronholm’s band Ibis and has worked as musical director with renowned stage artists Das Beckwerk and Mute Comp. Physical Theatre, while he has produced music under the name Dodebum, releasing three EPs on the acclaimed UK label bleep.com in 2014. He has been teaching music, composition and music production at several conservatories in Denmark and is now head of the adult department at the Rhythmic Centre in Copenhagen, a school with all kinds of courses in music for everyone. He also performs with the artist Sitrekin.

Claus Handberg is a poet and musician. He made his debut as a poet in 2001 with ‘320 Pund’ published by Gyldendal, and his latest release is the collection ‘Vores’ at Antipyrine from 2018. He made his debut as a musician and songwriter in 2009 with the album ‘In A Sense’ and most recently released ‘Ind Kommer Alle’ at Antipyrine in 2016. Claus has been teaching creative writing at Forfatterskolen and held numerous courses and workshops in writing both poetry and prose. He also has a career in photography with several exhibitions under his belt.

ANA Local

Jeuno Kim FAQ, Ofte Stillede Spørgsmål, 자주 올라오는 질문

08.11.24 - 23.11.24

The Danish title is taken from Kirsten Hammann’s book by the same name where in the form of a journal entry, she expands on the frequently asked questions she gets as a writer. In the book we get insights into her process as a writer, the challenges of writing, her role as a mother, a partner, a friend, her conversing with other writers, comments on the literary scene, and what is happening in society at the time of her writing. In this performance exhibition, I took the questions in Hammann’s book and posed them to a fictional Astrid Noack or No Ack, whom I have taken on as a “teacher” in the past year, and created a set of exercises and prompts for working. In the process of researching on Astrid Noack’s practice and works, I wondered about how it would be had she been my teacher at the art academy, and the conversations I would have had about the process of making art, the challenges of surviving as an artist, and how what one is surrounded by gets woven into the work we make as artists.

Some of the prompts “given” by my fictional teacher No Ack have been abstract questions such as “Where is Intuition? – draw a map of its location and how to get there”; “What is Arm’s Length? – draw the anatomy of that policy”, while others have been abstract proposals drawn from experiences in classrooms such as, “Measure The Growth of Misunderstandings”, or “Can All The Clocks in the World Be Walking Together.” The nonsensical and absurd assignments from the fictional teacher No Ack pushes me to grapple with unsavory conditions and emotions of being an artist such as disappointment of time-not-spent; difficulty of accepting failure; and competing with ghosts from the past.

The performance-exhibition consists of “translation drawings” on paper of varying sizes (A5 – 90 x 150cm) where text and drawn elements are intertwined in landscapes and quotidian tableaux; as well as textual forms made in clay, clothes hanger, and fabric that I consider to be “sculptural” forms that is to be read as texts/book.

PERFORMANCES:

Friday November 8th

Wednesday November 13th

Friday November 15th

Friday November 22th (This afternoon Pia Rönicke will hold a studio visit with Jeuno Kim and No Ack from 4.30pm-5.30pm.)

Saturday November 23th

All days from 4.30-6pm
Performance duration 20 minutes

BIO:

Born in South Korea, Jeuno Kim is a Swedish artist and educator living in Copenhagen. Currently, she is the study leader of the BFA school at the Royal Danish Academy of Fine Arts. Previously, she was a Professor at the Funen Art Academy, and study leader of the BFA program in Fine Arts at HDK-Valand, Gothenburg University.

Kim has a background in feminist liberation theology, classical piano, and has previously worked as a radio DJ. Her performance, text, sound and video works explore the nebulousness of memory and its formative role in questions of identity that is mediated through geography, translation, and narratives. Her artistic practice is oriented toward problematics of representation, animated images as knowledge, feminist pedagogies, and issues of living in translation required of many diasporic identities.

Since 2008 Kim has been part of an artist duo with Swedish artist Ewa Einhorn, and since 2009 they have made numerous videos, performances, drawings, and installations. They are the founders of Krabstadt, a feminist transmedia project, which has been shaped through many collaborations and contexts producing animated films, computer games, performances, and an academic journal.

Artist Pia Rönicke lives and works in Copenhagen. She is educated at the Royal Danish Art Academy (1995-2001) and California Institute of the Arts (1999-2001).

The exhibition is supported by the Danish Arts Foundation.

ANA Local

Arendse Krabbe Invitation to listen: Sound of becoming another kind of being – Living – Dying

20.09.24 - 19.10.24

You are invited to a listening situation in Astrid Noack Atelier. You listen to the room and the room listens to you. Beyond his acoustic performance, Astrid Noacks plaster sculpture Young man planting a tree leads me to today’s urgent need to plant a tree, an oak tree, an olive tree, any tree.

In the listening situation, shifts in time and space also occur when sounds from a past but current event are played through loudspeakers. The sound of a reading will also be present. The text being read is the testimonies of people in Gaza, testimonies whose statements are present in the room as they are read out. It is in these folds of time, place and sound that Pauline Olivero’s words resonate; ‘Our world is a complex matrix of vibrating energy, matter and air, just as we are made of vibrations. Vibration connects us with all beings and connects us to all things interdependently.”

Perhaps it’s obvious that vibrations connect us.

But how do you listen? How do I listen? How are communities created in relation to how we listen? Pauline Oliveros points out in her manifesto for listening as activism Quantum Listening; “how we listen creates our lives”.

A kite and its tail are also present in the space. It was made by a group of artists and cultural workers who demonstrate against the genocide in Gaza. The kite is also made in sympathy for the artists and cultural workers around the world who are censored when they speak critically about the genocide in Gaza. The community, which I am also a part of, has borrowed space at Til Vægs in Lundtoftegade to organise themselves. The kite is inspired by the poem ‘If I must die’ written by poet, writer, university professor and mentor for young people Refaat Alareer. He was born in 1979 – the same year as me. He died in an Israeli airstrike in 2023 along with his brother and sister and her four children. Refaat Alareer left behind his wife and their six children. In April 2024, Refaat Alareer’s daughter Shaima, her husband and their four-month-old son were also killed in an Israeli air strike. The kite’s tail is several metres long and has loops – each loop represents a child killed in Gaza. Over 14,000 children have been killed in Gaza. The kite is present in the room in such a way that it is ready to be taken back to the streets to demonstrate against the genocide in Gaza.

The listening situation you are invited to is made in love and care for you as a listener, Astrid Noack’s Atelier as a listener, the community around the kite and the people suffering distress and loss.

In the hope of love and with loving vibrations

～ Arendse Krabbe

The title of the exhibition is a quote from American composer Pauline Olivero’s text ‘The Earth Worm Also Sings’.

Pauline Oliveros (1932 -2016) was a composer, musician, activist and founder and practitioner of Deep Listening.

LISTENING SITUATIONS:

Friday 20 September at 5pm.https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1075779?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Thursday 26 September at 5 pm. https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1077057?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Thursday 3 October at 5 pm. https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1077065?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Sunday 13 October at 3pm.https://billetto.dk/e/invitation-to-listen-sound-of-becoming-another-kind-of-being-living-dying-billetter-1077067?utm_source=organiser&utm_medium=share&utm_campaign=copy_link&utm_content=1

Admission is free, please register via links:

BANNER WORKSHOP FOR THE PALESTINE SQUARE:

Join us for a workshop with visual artist Suada Demirovic on 16 October, 2-5pm in Astrid Noack’s Atelier. We will make a collective banner for the exhibition space Palæstina Plads in Nørrebro. Please bring leftover textiles (like discarded duvet covers), yarn, needle, sewing thread if you have any lying around. Everyone can join in. The workshop is in collaboration with Til Vægs.

SOLIDARITY FILMSCREENING FOR PALESTINE #4

by Maia Torp Neergaard and Arendse Krabbe

On saturday the 12th of October at 19 hour Arendse and Maia will open up Astrid Noacks Atelier to show a short film programme in solidarity with Palestine. The evening’s main film will be ”Vibrations from Gaza” by Palestinian artist Rehab Nazzal. A 16 minute glimpse into the lives of children with hearing dissabilities in Gaza. A both beautiful and thought provoking piece. The donations of the evening will be sent to Atfaluna Society for Deaf Children. Rehab writes: Atfaluna was looted, bombed and destroyed by the IOF and now the Deaf community of the Society is working in tents in Deir Albalah.

We will provide some snacks and tea/coffee and hope that you’ll come and send donations to support Palestine.

Everybody is warmly invited

BIO:

In her artistic practice, Arendse Krabbe works with what it means to listen. Including how listening requires a fully present body. She is interested in exploring what mutual listening means and how this practice can create new and different communities across species, ethnicity, systems and borders. Arendse Krabbe works process-orientated, often engaging in collective constellations with people, other life forms and dimensions. Her work manifests itself as listening situations, sound, video, text and radio.

The exhibition is supported by The Danish Arts Foundation.

See full archive

About ANA

Photo: Laura Stamer.

ANA is an independent, non-profit space for artistic experimentation, knowledge sharing and community building in Outer Nørrebro in Copenhagen. It is housed in the former studio of Danish sculptor Astrid Noack. ANA’s mission is to use art as a critical pedagogical tool to influence the surrounding society and move it in a more sustainable direction.

ANA was established in 2009 and has a background in the activist artist collective YNKB (Ydre Nørrebro Kulturbureau). ANA’s programme consists of four strands: ANA Local, ANA Air, ANA Children and ANA Forum. These refer Astrid Noack’s everyday life and artistic work in her studio from 1936-1950, where social and professional exchanges with neighbours and artists from near and far were part of everyday life. ANA’s cross-aesthetic programme connects the history of the space with a desire to jointly develop the place, which as a result of gentrification is left isolated, cut off from its former existence as part of a lively backyard environment with workshops and small industry.

Today, ANA stands on the shoulders of the many artists and actors that have helped to support and develop the space over the years. ANA’s institutional modus operandi is rooted in a principle of repetition, slow (research) processes, knowledge sharing and collective (un)learning. To allow artists and curators to develop projects over several years and get to know the site and the surrounding rapidly gentrifying neighbourhood – which used to be a typical working-class neighbourhood – we emphasise inviting them several times, so they can continue their research and conversations over time. This is with a desire to keep things moving, to prioritise process over outcome and to function as a responsive, self-critical and relational art space.

In the coming years, we will further emphasise commoning and collective (un)learning. Practices that go against the productivity and growth-oriented values that characterise the surrounding capitalist society. We want to gradually slow down and focus on offering artists generous time for reflection and the opportunity to experiment and research in a context where knowledge sharing, negotiation and critical dialogue are central.

ACCESS NOTE:

ANA is wheelchair accessible and admission to our exhibitions and activities is always free.

COLLABORATION PARTNERS:

PASS – Center for Practice-based Art Studies, University of Copenhagen

roda – soft water on hard stone (Katarina Stenbeck & Carla Zaccagnini)

SUPPORTED BY:

Overretssagfører L. Zeuthens Mindelegat

Preservation Work

It’s still there. The sculpture studio in Rådmandsgade 34 on Outer Nørrebro in Copenhagen. The sculptor Astrid Noack (1888-1954) lived and worked here under very primitive conditions in the back building in the period 1936-1950. From here she fought her way up through the male-dominated art world of the time, and created some of her most significant works.

In 2010, the Foundation Rådmandsgade 34 was formed with the aim of gently restoring the studio. In September 2016, as the first important step in the Foundation’s work, the restoration of the part of the backyard where Astrid Noack lived and had a studio began. The restoration was realised with support from the New Carlsberg Foundation and was handled by architect Erik Brandt Dam.

Astrid Noack

Astrid Noack (1888-1954) is one of the twentieth century’s most significant Danish artists. As a sculptor she was inspired by the French tradition, which is characterised by frugality and scarcity of means, and by archaic sculpture. The figures stand in space and small displacements of movements gives life to the sculptures. The sculptures are built up from the inside, from where the displacements are propagated towards the surface and further into the room.

Current

Eva la Cour Still Image / Still pondering

Events

Calendar

Eva la Cour Still Image / Still pondering

Rikke Luther Dust & Flow: Muds, Movement, Time, Scale (film screening, 5pm)

Past events

Gitte Villesen, Pia Rönicke, Jytte Høy & Sebastian Hedevang On (again)

Claus Handberg & Henrik Sundh Workmusic for Poets – live launch session, 2-3.30pm

Jeuno Kim FAQ, Ofte Stillede Spørgsmål, 자주 올라오는 질문

Arendse Krabbe Invitation to listen: Sound of becoming another kind of being – Living – Dying

About ANA

Preservation Work

Astrid Noack

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