MINU 2022 | Lost in Data

MINU _ festival for expanded music | www.minufestival.com

Lost in Data | 09.11 22.00 | Christianshavns Beboerhus

Symbiotic relationships between different mediums frame Johanna Sulalampi’s new transdisciplinary work ‘SOS III: Lost in data’, which is inspired by the electrical activity of fungi as compared to human language.
Both works by Nina Fukuoka and Cathy van Eck relate to contemporary culture through mediated and obscured symbolism, while ‘Piles.Piles...Piles’ by Emil Vijgen explores personal events from specific periods in the composer's life.

Program:

Johanna Sulalampi: SOS III: Lost in data [2022] premiere
Emil Vijgen: Piles.Piles...Piles [2022] premiere
Nina Fukuoka: Belgian rare groove & breakbeat [2015]
Cathy van Eck: Song no. 3 [2010]

Performed by K!ART [Mikkel Schou, Hsiao-Tung Yuan, Joss Smith].

MINU is a Copenhagen-based festival presenting art on the borders of new music and other media. It is a space for oscillating between extremes and charting relationships between art, technology, and contemporary culture.

Festival program: https://www.facebook.com/events/473547498049401

Tickets: https://billetto.dk/e/minu-festival-2022-billetter-692646

MINU 2022 has only one kind of ticket available: a festival ticket that gives access to all concerts on the festival.
It’s important for us to present events that are accessible to everyone regardless of financial means. The festival ticket is priced at 100/200 kr. We want to encourage audiences to visit multiple events, therefore access to all concerts on the festival is included when you purchase a ticket.

MINU 2022 is realised with support from Nordic Culture Point, A.P. Møller Fonden, William Demant, Det Obelske Familiefond, Knud Højgaards Fond, Kaptajn Aage Nielsens Familiefond, Sonning Fonden, KODA Kultur, Frederiksberg Kommune and NEUSTART: Art Music Denmark, Statens Kunstfond, Kulturministeriet and Udenrigsministeriet.

The work by Johanna Sulalampi was commissioned by K!ART. The work by Emil Vijgen was commissioned by Hsiao-Tung Yuan with support from KODA Kultur and Statens Kunstfond.