S.O.N.G’s statement of practice


Scylla’s Opulent Noise Generator (S.O.N.G) is a collective of multi-disciplinary artists living and working in different time zones. SONG believes in collectivity to build worlds and imagine art for the future.


With three core members (Anna Kinbom, Choterina Freer and Rut Karin Zettergren), they regularly expand the framework: inviting multiple artists into their polymorphic practice. SONG’s art practice takes many forms such as: collective drawing and writings; video installations; game creation; performances; seminars; and rituals. SONG’s artworks often start via online communications that develop over time into both virtual and physical spheres. It’s this in-between space that gives room for collectivised knowledge and idea generation.


For the last ten years, the core members have focused on developing techno-critical feminist methodologies to speculate together and build worlds. Between 2012-19, they were members of 0s+1s Collective who explored forms of artistic methods for online collaborations looking at late 20th Century net art, Cyberfeminist collaborations, and internet materiality. They were involved in a large-scale research and production projectThe Legacy Complex (TLC); in which they produced video, performance and installation works examining strategically militarised islands, and the technology located there from a feminist perspective.


Since 2019, SONG have been working on several projects exploring speculative feminist world building, and ritual making to imagine art for the future. Through this, they created a futuristic performance work called Nina, K and Connie, based on Marge Piercy’s eco-feminist utopia in her 1970s book Woman on the Edge of Time. Since 2022 they have been developing an extensive project called The Serene Machine in which they aim to create an online environment with multiple glitching perspectives to imagine art for the future. SONG are also currently showing their Augmented Reality work Interweave in over 130 locations across Sweden as part of Vävda Rum (Woven Places), curated by Ulrika Flink. 

S.O.N.G’s CV 

All listings below are for work made collaboratively by Anna Kinbom, Choterina Freer and Rut Karin Zettergren as part of S.O.N.G. or 0s+1s Collective

 

Education for three core members:

 

Anna Kinbom: 

2011-2013 MFA Fine Art, Royal Institute of Art, Stockholm, Sweden
2010-2011 Performative Art, Akademie der Bildenden Künste, Vienna AT

2008-2011 BFA Fine Art, Royal Institute of Art, Stockholm Sweden

 

Choterina Freer:

2010-2012 MFA Fine Art, Goldsmiths University of London, U.K.

2003-2004 Postgraduate Animation, Royal College of Art, London, U.K.

2000-2003 BA Fine Art (Hons), Central Saint Martins, London, U.K.

 

Rut Karin Zettergren: 

2023 – ongoing PhD Fine Art Practice, The University of the Arts Helsinki, Finland

2019 Coding for artists, Postgraduate, Konstfack, Sweden

2009-2011 MFA Fine Art, Royal Institute of Art, Stockholm Sweden 

2005 –2009  BFA Fine Art, Royal Institute of Art, Stockholm, Sweden

 

Solo exhibitions:

2018

The future was at her fingertips: Digital ambivalence, cyborging, and technofeminism (with 0s+1s Collective), Södertälje Konsthall, Sweden 

2017

The Legacy Complex (with 0s+1s Collective), Gotland Art Museum, Sweden 

The Legacy Complex (with 0s+1s Collective), Casa Victor Hugo, Havana, Cuba 

 

Group exhibitions, screenings and performances:

2023

Fleeting Figures, London Film Festival, LFF Expanded, U.K.

Vävda Rum (Woven Places), AR work shown in over 130 locations across Sweden. Curated by Ulrika Flink

2022

Futureless Festival, Blivande, Stockholm, Sweden, curated by Paola Torres Núñez del Prado

2020
Cyberfeminism Index an online exhibition at New Museum. An in‐progress online collection of resources for techno‐critical works from 1990–2020, gathered and facilitated by Mindy Seu (online)

2019

Nina, K and Connie, Tallnn Feminist Festival,Tallin, Estonia 

Nina, K and Connie, an audio performance- WH!PH! Side Affects in Minsk, Belarus 

2017
Mozart’s Ghost: Internet art, feminism and resistance, Curated by Alida Ivanov,
Gothenburg Konsthall, Sweden 

The Rhythm Method, 1,2,3,4, 

Work Hard! Play Hard! Transmission, Gallery-Canteen XYZ, Minsk, Belarus 

2016

The Legacy Complex seminar (with 0s+1s collective) at the Nordic Art Association Malongen, Sweden

2015 

Relative Distance Intimate Space, St Petersburg, Russia

Distant Relations GoCart Gallery, Visby, Sweden

Caught in the Act, Sliphusvillan, Sweden 

2013
Zeros + Ones, Arebyte Gallery, London, U.K.
Zeros + Ones, Crystal Beacon Artspace, Internet
Stand Up and Perform! Paulig Residence, Brussels, Belgium

 

Residencies

2023 Linkshouse Residency, Orkney, U.K.

2016 Nordic Art Association Malongen, Stockholm, Sweden
2016 BAC (Baltic Art Center), Gotland, Sweden
2016 The Bergman Estates Fårö, March, Gotland, Sweden

2015 BAC (Baltic Art Center), Gotland, Sweden

 

Grants

2022 Kulturbryggan Research Grant (for The Serene Machine)
2019 IASPIS International Cultural Exchange (for Tallinn Feminist Forum)
2019 Nordic Cultural Point Fund (for Tallinn Feminist Forum)
2017 IASPIS International Cultural Exchange (for Casa Victor Hugo, Cuba) 

2015 Kulturbryggan Research Grant (for The Legacy Complex) 

 

Catalogue/ books

2023 Cyberfeminism Index, gathered and facilitated by Mindy Seu (book).

2018 The future was at her fingertips: Digital ambivalence, cyborging and technofeminism (catalogue)

 

Bibliography /press:

Pokemon Go but for artistic purposes, Dinlokaltidning (Your Local Newspaper), 8 June 2023

Vävda rum,The National Association of Swedish Art Societies, E-Flux Agenda, 18 May 2023

0s+1s Collective – A collective brain online, Frida Sandström, Tidningen Konstnären (The Artist magazine), nr 4 2018
Alone in front of the screen, Josefine Wikström, Kunstkritikk (Art Criticism), 2018.
The dream of the internet's feminist potential is alive, Ida Therén in Svenska Dagbladet, 2018
Tentative about physical and digital bodies, Dan Jönsson in Dagens Nyheter, 2018
Göteborgs Konsthall reflects feminist internet art, Göteborgs-Posten, 2018
Soon artists may not even need to paint paintings, Göteborgs-Posten, Svenska Dagbladet, 2018
Dystopic sound in Mozart's Ghost, Kajsa Widegren in Göteborgs-Posten, 2018.
Cyberfeminism in constant change, ETC Gothenburg, 2018

The Legacy Complex på Gotlands Konstmusum, Maryam Fanni, Konsten.net, 2017