The realm of in-between

20.08.21 - 12.09.21

As part of the international sound art biennale Struer Tracks, Regelbau 411 presents the group exhibition THE REALM OF IN-BETWEEN featuring works by students from Jutland Art Academy and the Danish Institute for Electronic Music. 

The exhibition at Regelbau 411 revolves around the ability of sound to transform, expand, amplify and interpret the relationship between our physical and mental spaces. Framed by the unique location of Regelbau 411, five site-specific works explore the audible links between our inner spaces – as defined by our thoughts, imaginations and dreams, and the outer spaces – as defined by our physical surroundings. 

Thus, the focal point of the exhibition is the audible world and the special ability of sound to connect what is bodily present with our collective and individual memories and recollections, drawing lines to the past, present and future. 

The exhibition is the culmination of a long process, during which the invited artists from DJK and DIEM have explored the affective potential of sound and the site-specific qualities of our surroundings as the basis for their artistic work.

The exhibition THE REALM OF IN-BETWEEN opens as part of the Struer Tracks programme and has been developed in collaboration between Regelbau 411, Struer Tracks, Sound Art Lab, Jutland Art Academy and the Danish Institute for Electronic Music. The exhibition has been curated by Matilde Best and Simon Thykjær. 

CHRISTIAN STENBRO: TO BE ENTIRELY HOLLOW WITHIN (2021)

Through sound and video Christian Stenbro builds a geological dataset as the basis for a material transformation. In the work, a story unfolds bringing together 3D scans and motion tracking with corporeality in an encounter between technology and poetics. The bunker is turned into a space on the edge of material forms of existence: Sounds barely perceivable undergo artificial amplification, stones are formed by light, and oceans emerge from white noise, while scanning and modelling are staged as processes containing both pain and beauty. In this space, the original temporalities of the materials are accelerated. As we listen carefully, the sound of their slow geological evolution is audible as an echo of a distant performance, resounding through layers of time.

AUGUST NORBORG: A PLACE (WITH A PRESENCE) (2021)

With the interactive sound work A Place (with a presence) August Norborg explores sacrality and spirituality as atmospheres existing outside traditional places of worship. Being associated often with grandiose architecture, high and vaulted ceilings and biblical ornamentation, the sacred often builds on the feeling of something being greater than ourselves. In the bunker, sound is staged as a source of reverence overwhelming us as our footsteps reverberate and our voices echo. Based on a feedback state, traditional ideas about the relationship between humans and technology are destabilised, and a potentially overpowering presence manifests itself in a state of bodily and spatial interwovenness.

LIVIA BRUUN PEZZOT & ANDREA MAILUND GLAHN: HEARTBREAK HOTEL (2021)

The work Heartbreak Hotel is an investigation of the ability of sound to arouse physical responses when listening to love songs. A whispering chorus of heartbreaks inhabits the enclosed bunker space, secluded and tucked away. In this room, heartaches can unfold isolated from the outside world by the thick concrete walls. The bittersweet relics evoke memories of lost time to the sound of nostalgic tunes, blending in the bunker like a cacophony of broken hearts.

Thanks to: Marie Vørnle, Christian Glahn, Alvilda Reiter Jakobsen, Magnus Wall, Emma Ottsen Knudsen, Naja Zethner, Silas Saggau, Anna Ida Pezzot, Jonathan Bøge Jensen.

VERONIKA NIELSEN & AMALIE GÖTZ: VELKOMMEN!! (...) :O ? .. ... :-((. ... X3 ..XOXO (2021)

With the work Velkommen!! (...) :o ? .. ... :-((. ... X3 ..xoxo, the bunker is transformed into a mental space for feelings and realities that are both personal, private and at the same time universal. The girl’s room being a representation of thoughts that are solely one’s own, the work reflects on love, breakdown, isolation, dreams and self-understanding as changing states occupying body and mind if only for a while. The interior is familiar in an unfamiliar environment, pointing to the bunker and the girl’s room as physical and mental spaces where one is ultimately alone.

BENJAMIN ASGER KROG MØLLER: ”HVORDAN KAN I STÅ DER OG SE SÅ INTERESSANTE UD” (2021)

“HOW CAN YOU STAND THERE AND LOOK SO INTERESTING!?” These were the words shouted by Benjamin Asger Krog Møller in a bout of envy at the Danish railway authority Banedanmark’s two masts following his attempt to install a work on 10 August 2021 that was meant to borrow just a little of their aura. On a poster displayed at the Oddesund Tower, he read about these “two peculiar masts” sitting on the beach at Oddesund, about the way they seem to be “grabbing hold of the air”, and “looking like art, but solely fulfilling a technical purpose.” How could he possibly compete with the two masts, excelling as they did in a field without this being the intention at all? With a feeling of rejection and dejection Benjamin Asger Krog Møller gave up on his own piece.

Since then, the artist has come to realise that when it comes to cross-disciplinarity, envy is what drives us, and in the end science that has to live with being envied by the artistic disciplines, even though it probably couldn’t care less.

About Struer Tracks
Struer Tracks is an international bienniale of sound art taking place in the urban space of the small town of Struer. The bienniale will be held for the third time from 20 August to 5 September 2021 – this year with the theme Landscapes of Sound and with Charlotte Bagger Brandt as curator. 

Photo credit: Mikkel Kaldal.

The exhibition is supported by the Danish Art Foundation, Nordic Culture Fund, the Obel Family Foundation, Færchfonden, Central Denmark Region and Struer – City of Sound.