Rubber’s Sole
3-channel sound installation, 12:44 min (loop), 2025
speakers, stands, wooden beams, speaker textile
Rubber’s Sole is built from recordings of wet mud being pressed, shaken, released, and dropped. The composition keeps the material in motion, preventing the mud from ever settling into a stable state: thuds and sticky releases move between two standing speakers in irregular pulses, alternating between isolated gestures and dense accumulations, while a floor speaker carries intermittent impacts and a constant crackle texture. Gradually, traces from the recording situation leak through–murmurs, a vibrating phone. As the loop reaches its end, all three speakers emit crackling sounds to clear the field and the loop to start over.
Discipline
17.4 sound piece, 12:22 min, 2025
Discipline combines field recordings with synthetic and instrumental elements. The field recordings were made with contact and airborne microphones during a research trip to areas in Norway shaped by landslides and mudslides. The composition establishes distinct sonic layers that develop in parallel, gradually gathering into a dense accumulation of scraping gestures and motor noise. Sliding electric guitar textures sweep through this accumulation, leaving a weave of trickling currents, harmonized motor hums, and recurring resonances.
The piece was created for Traversées Sonores (Sound Crossings)–a surround-sound concert in Lyssningsrummet co-organized with the Royal Institute of Art in Stockholm and Institut français de Suède. Discipline was later presented during Nuit Blanche 2025 at the Institut suédois in Paris, alongside works by Ash, Mari Mattsson and tm.
flute but not the master
stereo sound installation, 02:53 min, 2024
flute but not the master is built from recordings of salvaged metal tubes, blown through by mouth. The tubes’ varying tones form a high-intensity dissonant mass in which sounds erupt simultaneously, cut off abruptly or fade into slow dissipation, creating a concentrated release of energy. Created for the exhibition ‘Buss 501’, the work was activated every ten minutes, allowing each eruption to return as a recurring interruption within the space.
Approaching breach / Närmre brottet
8-channel sound installation, 12.11 min, 2023.
speakers, cables, rubber cylinders
Approaching breach is a sound installation set in a stripped passage at the Royal Institute of Art in Stockholm. The composition is built from recordings of a collective performance in which participants worked with heavy, wet mud. Sonic fragments are drawn from both intentional and incidental sounds and reassembled into rhythmic sequences that gradually condense and disperse. A wet rumble–a low-frequency drilling from nearby construction–folds into clatter, punctuated by the sharp squeaks of rubber soles before dispersing into increasingly sparse rhythms and movements, leaving only a thin crackling strand.
Speakers are placed at intervals, facing the floor and walls. Low frequencies strike the walls, while scraping and squeaking travel along the floor. The passage becomes a space for indirect, bodily listening.
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.
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
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
120 x 80 cm, 2020
mud, epoxy, tarp, cold asphalt and sand
A pile of wet mud run over by a car, dried and preserved with liquid plastic. Exhibited at Liljevalchs Vårsalong in Stockholm in 2023.
Don’t Bring An Instrument
2023-ongoing
A platform and series of courses developed with Aron Fogelström. The project explores sound without technical knowledge or instrumental skill as a prerequisite, approaching listening, the body, space, and sonic material itself as means of making and thinking with sound.
Courses include Off Site (Royal Institute of Art, 2024), Leakage As Resistance (2025), and Sonic Commons (Index, 2026), with themes ranging from Stockholm’s sonic landscape and sound in exhibition contexts to collective listening.
Off Site and Leakage As Resistance were developed as courses over several sessions during a semester and combined workshops, talks, and experiments led by us with contributions from invited artists, curators, and architects. Invited contributors included Birt Berglund, Soni Sagan, Sara Davin Omar, Lisen Pousette, Amina Hocine, Malte Dahlberg, Cathrin Mayer, and Nina Emge.
Sonic Commons took the form of an afternoon-long workshop at Index during the exhibition Liberation Radio, where we set up a temporary installation among the exhibition’s other works, which participants collectively activated through scores that dissolved ownership and created a speculative collective body of sound.