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Discipline
17.4 sound piece, 12:22 min, 2025
Discipline was composed for a surround sound concert at Lyssningsrummet, Stockholm, where the audience is encircled by speakers and subwoofers. The sound material was gathered during my fieldwork in Gjerdrum and Bagn, Norway—sites where landslides of earth and mud have reshaped the landscape, often through the interplay of human intervention, shifting climate, and the ground’s own movements.
The composition opens with two electroacoustic signals that alternate independently. When they occasionally align, a vibrating resonance emerges in the room. From this sonic ground, point-like scrapes from contact microphones appear, moving between the speakers and gradually giving way to excavator engines that build toward a crescendo. Out of the sound mass, a vibrating guitar string rises, gliding through the room and leaving behind an echo that slowly fades. When the engines and the string fall silent, a stream remains—its running water weaving together the remnants of earlier sound layers before drifting away.
The piece was created for Traversées Sonores—an event I co-organized at Lyssningsrummet, Stockholm. The title translates to Sonic Crossings, an ongoing initiative supporting emerging artists working with sound. The concert was realized with the generous support of Royal Institute of Art, Stockholm and Institut Français de Suède. Other participating artists included Ash, Mari Mattsson and tm. The event was later restaged during Nuit Blanche 2025 at the Swedish Institute in Paris.
flute but not the master
stereo channel sound installation, 02:53 min, 2024
This sound piece is based on recordings where I blew through discarded metal tubes with my mouth. With the tubes’ varying tones, I create a composition that shifts between attack and release. In the exhibition, the piece was activated every ten minutes, with the speakers placed directly on the pipes to create a physical connection between the sound and its origin. Created for the exhibition Buss 501, a project by Nisse Bergman with Konstfrämjandet Västmanland.
Approaching breach / Närmre brottet
4-channel sound installation,12.11 min, 2023
Approaching breach is an installation featuring reworked sounds, eight speakers, and a room. The sonic material is originates from a performance with former classmates, where we worked with wet mud. From these recordings, I cut and extract fragments to form rhythmic sequences that shift between intimate and distant tones. As the sounds lose their recognizability, they become a method for exploring what remains – textures, resonances and traces of contact. The rhythms build gradually towards intensity, circling moments when resistance falters and gives way.
The speakers are placed apart, directed toward the floor and walls. As the sound hits the surfaces, the passage transforms into an instrument for an indirect, bodily listening.
Trailer
ASICS - trickler
performance, 30 min, 2023
A performance for Kunst på Ruinen; a one-day event taking place in the surroundings of a drained lake, before the pumps were turned on to restore the lake and water would seep back. I place myself on a ruin wall beside the lake and slowly pull my body forward. The wall shifts in levels, and with each rise, I bend to lick myself ahead. The slow movement holds the body in exertion, mirroring the ground’s gradual change and dissolution.
ASICS
performance, 10 min, 2022
Running shoes make the body light and bouncy against hard surfaces. Here, the dynamic is reversed —the shoes take control, dictating the body’s movements as they wrestle and caress each other. A rubber sole drags against another, generating sluggish friction that builds tension. The sneakers give vent to a relationship, while the body navigates a choreography balancing resistance and fluidity.
Excerpt (2 min)
One effort, many sighs / En ansträngning, flera suckar
video, 21 min, 2022
This project is inspired by human effort when building on unstable ground. Excavating mud creates movement, while attempts to stabilize and prevent mudslides often worsen the problems we aim to solve. The video shows a group shaping bricks using a segmented wooden frame. As the group forces mud into uniform shapes, the rigid dynamics of production emerge, revealing tensions between labor, constraints, and mud’s unpredictability. The act is repeated until all the mud is shaped.
photo: Niels Engström, Caio Marques de Oliveira
edit: Stella Dieden Richter
participants: Johanna Bjurström, Elmer Blåvarg, Sofia Romberg, Andreas Widoff, Andrea Larsson, Stella Dieden Richter
Trailer
When routine becomes ritual / När rutin blir ritual
performance, 45 min, 2021
This is a performance in three acts where I portray myself and a door as object and subject respectively. In the first act I lie down next to the door to perform a back somersault. Faceing down, I do a slow rise for 20 minutes; I push my body up from the floor to standing position, after which the clothes expose parts of my body. By slowing down my normal speed, hiding my face and letting my clothes expose my body, I try to steer away from the reading of me as a subject. In the second act, I smear the door surfaces and parts with Vaseline, and the third act is the smeared door lying on the floor.
Är man först ren
text, 2021
A poem about caressing the floor, drinking an old glass of water, skin absorbing lotion and a question whether we were first clean and then nasty or the other way around. As a contribution to the livestream Beuys, beuys, beuys, the poem was read aloud three times via phone call; from inside a taxi, a wardrobe, and a taxi again. The voice went straight into the live stream, and with a delay of a few seconds through speakers out into the recording room.
Kulturprofilerna
performance, 30 min, 2021-22
Kulturprofilerna is a queer punk band named after Jean-Claude Arnault—a central figure in Sweden’s #MeToo scandal, known in the tabloids as the ‘Culture Profile’.
The band brought together ten artists, curators, and thinkers, playing on found instruments with raw energy and no filters. As a songwriter and front performer, I helped lead our chaotic shows—using humor and vulnerability to challenge oppressive structures. Our songs tackled themes like lesbian love, annoying pets, and mommy issues—channeling resistance through unfiltered emotion and collective catharsis. We performed at release parties, public institutions and art venues.
Band members: Malin Arnedotter Bengtsson, Sarali Borg, Moa Cedercrona, Stella Dieden Richter, Heidi Edström, Beata Sjöstedt, Laus Østergaard, Lovisa Fahlgren, Lior Nønne Malue Hansen, Lovisa Gauffin Wohlfarth
Credits: Martin Ålund - initiator and sound technician
Setlist
Vilda Vulvan
Port Salut
Alkoholtårta
Boy
Lorte kat
Kulturmannen
Kokosmjölk
Supermakter
Yoga
Franska låten (cover of Poupée de cire, poupée de son)
Trailer
Photo 1: Supermarket, José Figueroa. Photo 2: Musikaliska, Niels Engström. Photo 3: Snotty Seaside, Sanna Albenius. Photo 4: Moderna Museet Stockholm, Albin Håkansson. Trailer: Snotty Seaside, Sanna Albenius
Keep me wet: parted / Håll mig våt: delad
performance, 30 min, 2020
In this project, I explore the encounter between the car and the mud. The process begins with me gathering a pile of wet mud and driving over it, capturing the moment when the mud gives way and the pile splits apart. The performance acts as a starting point for a further process where I perpetuate the remaining track. Performed during group exhibition Sex Cave at Galleri Konstepidemin, Gothenburg.