Research Catalogue

Jenny Sunesson (b. 1973) is a Swedish artist predominantly working with sound. Her practice ranges from field recording and live collages to conceptual sound art and video. Sunesson uses her own life as a stage for her dark, tragic and sometimes comical re-contextualised work where real and invented characters and derogated stereotypes, collaborate in the alternate story of hierarchies and normative power structures in society.

a lesson in the shadows of death entangled moment of frozen fragments embodying sacred movements through air, body, mind, mattering, voicing as if NOTHING

The Agenda Group is a research group based at KMD, connecting artistic practices "with an agenda". The group enables crossover methods rather than media specificity, allowing space for different participants. "An agenda" is here understood as an aspect of socially engaged art practices. This relates to people, narratives and history alike and is about our shared values and contribution to society as artists. The engagement relates to issues outside of the artistic context and investigates how these issues might be mediated and moderated with artistic means. The Agenda Group is open for all kinds of artistic practices, but the focus of the discussions will be on artistic practice "as crucial to both individual and societal change and development" (KMD Strategic Plan). The relationality between art and society is never as simple as it seems and these reflections involves the thinking of intensity in addition to formats, translation and displacement. In this sense the agenda of an artistic project is crucial to the understanding of its implications. The Agenda Group is a pragmatic platform to connect various members of staff at KMD (artistic-researchers, post-docs, PhD’s and maybe even MA-students). The main purpose is to meet regularly, presenting and discussing the artistic research of each of the group members. An internal critical agenda. Research group initiator: Professor Frans Jacobi

”Vi använder ord för att nå varandra och för att förstå oss själva och världen. Orden är alltid kroppsligt förankrade och sammanbundna med tanken och viljan”, förklarade gumman. ”Men vad har det med mitt gestaltande att göra?” suckade skådespelaren. ”Allt”, svarade gumman och log. ”När människokunskap länkas till skådespelarkonsten blir den både konkret och magisk. Du förstår, kroppsliga kunskaper om språkhantering är mycket viktiga att ha med sig i det gestaltande ögonblicket. Det räcker inte att analysera den dramatiska texten eller att göra medvetna val. Det finns något i oss som är större, något som vi ska vara rädda om.” ”Vad ska jag vara rädd om?” ”Du ska vara rädd om dig själv. Om ditt konstnärskap. Om din röst”, svarade gumman utan att tveka. Vad är det som sker i övergången från skriftlig till muntlig gestaltning? Orden som i det vardagliga samtalet flödar fram i förbindelse med avsikten och känslan, förlorar under högläsning både sin självklarhet och spänst. Istället för att finna övningar som skyler över det som går förlorat, tycks det mig mer intressant och verksamt att försöka förstå vad som sker. Och hur det kroppsligt intuitiva skulle kunna tas tillvara. Min forskning har utmynnat i en saga. Sagan om skådespelaren som återfann sin röst. Om konsten att gestalta med röst och tal.

Calling Songs is a research into the possibilities of using the sounds created by insect and frog choirs in a musical composition/soundscape. An 8-channel speaker system was developed for this purpose, able to stand outside conditions and fitting into a natural environment. The voices of crickets and frogs have characteristics that make them sound almost electronic and therefore blend surprisingly well with the sounds that the muiscians of Zwerm can produce using effectpedals, loop-feedback, modular synthesizers and occasionally a guitar. The listener is invited to question the idea of culture versus nature. For the performers, the central question is how to give non-human life a voice in our artistic practice. Calling Songs is a collaboration between Johannes Westendorp, Zwerm and Pieter Verhees

This exposition is part of the series The Sonic Atelier – Conversations with Contemporary Composers and Producers, dedicated to exploring the evolving role of the composer in the twenty-first century. Through a Q&A format, the project investigates how contemporary creators inhabit hybrid identities at the intersection of composition, production, performance, and technology. This interview features Iosonouncane (Jacopo Incani), who reflects on the influences that shaped his formation, the balance between composition, production, and mixing, and the challenges of navigating today’s algorithm-driven music industry. He also discusses his approach to film scoring, the role of spatialization as a compositional parameter, and his views on new technologies such as artificial intelligence and immersive formats. His insights highlight the tensions between experimentation and market logic, as well as the need to preserve complexity and diversity as essential values in contemporary music-making.