Aeolian Suite

Aeolian
Suite,
2026.
Theatre
of
five
kinetic
sound
sculptures
with
wind
muffs
in
the
Finnish
Pavilion
at
the
61st
Venice
Biennale.
Arranged
in
a
circle
like
a
wind
rose
diagram,
each
sculpture
represents
an
atmospheric
force:
the
Melancholic
(Scirocco)
seeks
meaning,
the
Trickster
(Tramontana)
seeks
disruption,
the
Magician
(Garbin)
seeks
transformation,
and
the
Lovers
(Bora
Chiara
and
Bora
Scura)
seek
union.
Together,
they
sing
the
weather,
conjure
storms,
and
act
as
guides
for
deep
listening.
Curated
by
Stefanie
Hessler,
assistant
curator
Alison
Coplan.
Studio
team
Vanda
Skácalová
and
Beth
von
Undall,
custom
wigs
by
Sara
Mathiasson,
scenography
by
Celeste
Burlina.
Commissioned
by
Frame
Contemporary
Art
Finland.
(Photo:
Ugo
Carmeni)
Aeolian
Suite,
2026.
Detail
of
a
sound
sculpture.
The
composition
layers
meteorological
data;
musical
instruments
including
alto,
basset,
and
contrabass
recorders,
and
a
children's
woodwind
orchestra;
and
recordings
of
winds
from
Venice,
Helsinki,
and
beyond,
sounding
through
a
bridge,
sailboat
masts,
poplar
trees,
and
clotheslines.
Wind
section
Miako
Klein,
children
at
Musikschule
Friedrichshain-Kreuzberg,
Victor
Shepardson,
Mattia
Biadene,
and
Tuomas
Toivonen.
Thank
you
Enyang
Urbiks
and
Tony
Myatt.
(Photo:
Ugo
Carmeni)

Ma

Ma, I sense a tempest. Dra-ma.

With each cycle, a brain

With
each
cycle,
a
brain,
2026.
Exhibition
at
the
Nicoletta
Fiorucci
Foundation,
London,
expanding
upon
the
sound
sculpture
Pond
Brain.
Curated
by
Vittoria
de
Franchis.
Thank
you
Victor
Shepardson
and
Vanda
Skácalová.
(Photo:
Eva
Herzog)
Pond
Brain,
2026.
Limited
edition
resin
record
with
pond
flora
cast
inside,
featuring
sounds
from
the
instrument-fountain
of
the
same
name
and
released
as
part
of
PAN’s
Entopia
series
on
the
occasion
of
the
exhibition
With
each
cycle,
a
brain
at
Nicoletta
Fiorucci
Foundation.
Because
the
grooves
of
the
record
are
malleable,
each
play
sounds
different.
Thank
you
Disc
Archive,
Ville
Haimala,
and
Enyang
Urbiks.
(Photo:
Eva
Herzog)
Pond
Ephemeris,
2026.
A
score
in
the
form
of
a
lunar
chart,
perforated
in
paper
like
punch
cards.
(Photo:
Eva
Herzog)

Door

[A door through the crevice of which moonshine peeps in]

Pond Brain

Pond
Brain,
2023.
Instrument-fountain
cast
from
bronze.
Co-Commissioned
by
Helsinki
Biennial
and
Copenhagen
Contemporary.
(Photo:
David
Stjernholm)
Pond
Brain,
2023.
Sounds
from
the
pond
interact
with
oceanic
and
interplanetary
audio
libraries
(star
pulses,
dolphin
vocalizations),
as
if
the
instrument-fountain
resonated
at
these
scales,
and
they
at
its.
Thank
you
Victor
Shepardson.
(Photo:
Julian
Blum)

Ave bossa, bow ole

Ave bossa, bow ole.

Vermi-Sibyl

Vermi-Sibyl,
2023.
Compost
oracle
powered
by
an
earth
battery
as
part
of
Spora,
a
multi-year
exhibition
at
Swiss
Institute,
New
York,
curated
by
Stefanie
Hessler.
(Photo:
Alison
Coplan)
Vermi
Cell,
2023.
Soil,
metals,
worms
and
food
conjuring
a
lively
saxophone
and
pulsing
lights
at
Fragile,
Berlin.
Team
hoyahelper,
Vanda
Skácalová
and
Beth
von
Undall.
(Photo:
Jonas
Wendelin)

Bio-Bin

I’m a bio-bin Bio-begin Bio-within Bio-kin You will take a bio-spin Bio- Fin

Vermi Cell

Vermi-Cell,
2023.
Detail
at
Fragile,
Berlin.
(Photo:
Vanda
Skácalová)
Vermi-Cell,
2023.
Another
surfacing
at
max
goelitz,
Munich
in
2024.
(Photo:
Dirk
Tacke)
Midden
(LIVE),
2023.
Performance
summoning
the
earth
battery
powered
compost
oracle
Vermi-Sibyl
at
Swiss
Institute,
New
York
as
part
of
Performa
Biennial.
Featuring
the
saxophonist
Tapiwa
Svosve
and
an
ensemble
of
voice
actors.
(Photo:
Walter
Wlodarczyk)

A ternary system

You Me Mu (a ternary system)

8-13 Hz

8-13
Hz;
A
door
through
the
crevice
of
which
moonshine
peeps
in;
2024.
Blown
glass
sculpture
with
light
strobing
in
the
‘mu’
frequency
range
and
a
silver
gelatin
diptych
linking
the
mu
waves
to
‘ma’,
the
concept
of
negative
space
in
the
Pauli-Preis
2024
exhibition
at
Kunsthalle
Bremen.
Team
Vanda
Skácalová
and
Beth
von
Undall.
(Photo:
Tobias
Hübel)
8-13
Hz,
2024.
Neuroactive
sculpture
embodying
the
electrophysiological
foundations
of
a
mu
state.
The
work
originates
in
a
commission
for
Biennale
de
l'Image
en
Mouvement
2024:
A
Cosmic
Movie
Camera
at
CAC
Genève,
curated
by
Nora
N.
Khan
and
Andrea
Bellini.
(Photo:
Tobias
Hübel)

nimiia cétiï

nimiia
cétiï,
2018.
Project
using
machine
learning
as
a
medium
to
channel
messages
from
Bacillus
subtilis nattō,
an
extremophilic,
probiotic
bacterium
and
a
possible
Martian.
Pictured
here
at
Somerset
House
Studios,
London
where
the
work
was
also
made
during
a
residency
tutored
by
Memo
Akten.
(Photo:
Anne
Tetzlaff)

forgetting stuttering

forget ([“language”, “code”]) # forgetting language # forgetting code stutter ([“our”, “way”, “to”, “divinity”]) # o--our # w-ww-www-way # ttt---to # d--d-divinity

nimiia seance

nimiia
cétiï,
2018.
Video
still
showing
a
machine
eye
view
to
Bacilli
subtilis
bacteria
as
guides
to
Martian
writing.
nimiia
seance,
2019.
Performance
channeling
a
Bacterial-Martian
culture.
Life
Forms
at
Haus
der
Kulturen
der
Welt,
Berlin.
Shin-Joo
Morgantini
in
the
flute,
costume
collaboration
with
Nhu
Duong.
(Photo:
Joachim
Dette)

HMO nutrix

HMO
nutrix,
2022.
Fountain
of
synthetic
human
milk
powered
by
breast
pumps.
Commissioned
by
Haus
der
Kunst
and
Schering
Stiftung,
as
part
of
programmes
curated
by
Sarah
Johanna
Theurer
and
Christina
Landbrecht
respectively.
Pictured
here
at
CAC
Genève
in
the
context
of
Chrysalis:
The
Butterfly
Dream
in
2023.
(Photo:
Mathilda
Olmi)

nnother

I was a host, and then I was a[n, n]other. Stuck on. Sucked on. Feeding off. Feeding on.

Trip Feed

Trip
Feed,
2023.
Exhibition
with
Diakron
at
their
project
space
Primer,
located
inside
a
biotechnology
lab
just
outside
of
Copenhagen.
Two-channel
installation
of
Stellar
Nursery,
a
video
travelling
through
an
artificial
gut
that
has
been
fed
with
psychobiotics.
(Photo:
David
Stjernholm)

I Magma

I
Magma,
2019.
Community
of
blown
glass
lava-heads
as
a
portrait
and
a
seed
for
machine
learning.
Co-commissioned
by
Serpentine
Galleries
and
Moderna
Museet
on
the
occasion
of
the
Mud
Muses
exhibition
curated
by
Lars
Bang
Larsen.
(Photo:
Theresa
Hahr)
I
Magma,
2019.
Community
of
blown
glass
lava-heads
in
the
exhibition
NO
NO
NSE
NSE
at
Oslo
Kunstforening
in
2020.
(Photo:
Julie
Hrncirova)

No central creatures are fixed

The
figure
of
the
deep;
The
dark
boiling;
Early
reign,
the
lunar
goddess,
2020.
Photograms
and
I
Magma
at
Kunsthall
Trondheim
as
part
of
NO
NO
NSE
NSE,
a
solo
exhibition
curated
by
Stefanie
Hessler.
Thank
you
Brittany
Nelson.
(Photo:
Aage
A.
Mikalsen)

Bacteria-sex

Bacteria-sex, molecular-sex, nuclide-sex, quark-sex (fading out)

Gut-Machine Poetry

Gut-Machine
Poetry,
2017.
Homebrew
computer
fueled
by
a
wetware
random
number
generator
(a
symbiotic
colony
of
bacteria
and
yeast
in
a
kombucha
tea
ferment)
and
producing
a
new
kind
of
language.
A
commission
by
Kiasma
Museum
of
Contemporary
Art.
In
collaboration
with
Vincent
de
Belleval
and
Johanna
Lundberg.
(Photo:
Mikko
Gaestel)
Nam-Gut
(the
microbial
breakdown
of
language),
2017.
Video
based
on
Gut-Machine
Poetry,
shown
here
at
Amant,
New
York
as
part
of
SIREN
(some
poetics)
curated
by
Quinn
Latimer
in
2022.
(Photo:
Adrianna
Glaviano)

Minakata Mandala

Minakata
Mandala,
2017.
From
a
series
of
organisational
labyrinths
for
a
decentralized
autonomous
organism
(slime
mold),
agar
and
oat
flakes.
The
historical
mandala
shape
representing
the
limits
of
anthropocentrism
is
pictured
here
in
Caroline
A.
Jones'
Symbionts
exhibition
at
MIT
List
Visual
Arts
Center.
(Photo:
Dario
Lasagni)

Many-Headed

Many-Headed
Reading,
2022.
Image
documenting
a
decentralized
performance
from
2016,
featuring
a
Physarum
polycephalum
(slime
mold)
trip
report.
Commissioned
by
Centre
Pompidou
for
Worlds
of
Networks.
Thank
you
Mikko
Gaestel.
(Photo:
Dirk
Tacke)