The audiowalk is streamed from the audience's own phone and headsets.
Skjold and Our Future Baby!
Site-specific audiowalk at Østerbro Stadium, Copenhagen.
Stereo sound in headset, 10 min. flags, banners, disco ball and a sound installation 3.40 min. in loop.
Sound production: Stine Kvam and Erik Medeiros
Music: YUKKA and Erik Medeiros
Football players: Skjold Female 1. division team and coach Mathias Ørts
Trumpet: Ben Rodney
Visualized and constructed in cooperation with Per Brunskog.
Photo: Sidsel Christensen
Skjold Contemporary, Copenhagen 2022
Site-specific audiowalk at Østerbro Stadium, Copenhagen.
Stereo sound in headset, 10 min. flags, banners, disco ball and a sound installation 3.40 min. in loop.
Sound production: Stine Kvam and Erik Medeiros
Music: YUKKA and Erik Medeiros
Football players: Skjold Female 1. division team and coach Mathias Ørts
Trumpet: Ben Rodney
Visualized and constructed in cooperation with Per Brunskog.
Photo: Sidsel Christensen
Skjold Contemporary, Copenhagen 2022
Edited excerpt of audiowalk
Flags, banners and discolight served as physical landmarks where the events took place.
The color and design are homage to Thorgej Steen Hansen's mural.
The color and design are homage to Thorgej Steen Hansen's mural.
As in an emotion-based pinball game, the audience is thrown between the concrete walls at Østerbro Stadium.
The football player, Sarah, becomes your I-perspective when you put the headphones on and follow the sound up the stairs and into the changing-room, where your teammates on Skjold's football team are waiting. The intensity increases with the coach's booster speech and an upbeat and energetic song in the dressing room, and continues when you and your team step outside onto the football field and the waiting cheering masses.
The sound of a lone trumpet on the other side of the football field finds its way to your chest and the match begins.
But what happened?
Suddenly, everything was over.
The 3D audiowalk has a classical three part dramaturgy commonly used in feature films, but no litteral narrative. The listener is presented with an audio narrative and the physical scenarios where events take place. The listener can imagine these events and project them into their current location; the changing room, the stadium and under the tribune.
The on-site audio recordings with binaural microphones, provide a 3D experience of the real recordings and create the experience of being present during the recording. With the help of the sound, the audience can locate where the trumpeter stands, Sarah sitting in the middle of her colleagues, and their movements in the stadium.
The narrative, or rather, the emotional state of the protagonist, is conveyed through three songs written for the work.
Composed and performed by the Egyptian-born rapper YUKKA and the Brazilian musician and sound producer Erik Medeiros. Songs in Arabic, Portuguese, Danish and English. But the mood and emotional state in the songs are familiar to everyone.
This linguistic confusion and the global concrete aesthetic of Østerbro Stadium's grandstand building, means that one can easily imagine being in a football station in Cairo, Rio de Janeiro as well as in Copenhagen.
The football player, Sarah, becomes your I-perspective when you put the headphones on and follow the sound up the stairs and into the changing-room, where your teammates on Skjold's football team are waiting. The intensity increases with the coach's booster speech and an upbeat and energetic song in the dressing room, and continues when you and your team step outside onto the football field and the waiting cheering masses.
The sound of a lone trumpet on the other side of the football field finds its way to your chest and the match begins.
But what happened?
Suddenly, everything was over.
The 3D audiowalk has a classical three part dramaturgy commonly used in feature films, but no litteral narrative. The listener is presented with an audio narrative and the physical scenarios where events take place. The listener can imagine these events and project them into their current location; the changing room, the stadium and under the tribune.
The on-site audio recordings with binaural microphones, provide a 3D experience of the real recordings and create the experience of being present during the recording. With the help of the sound, the audience can locate where the trumpeter stands, Sarah sitting in the middle of her colleagues, and their movements in the stadium.
The narrative, or rather, the emotional state of the protagonist, is conveyed through three songs written for the work.
Composed and performed by the Egyptian-born rapper YUKKA and the Brazilian musician and sound producer Erik Medeiros. Songs in Arabic, Portuguese, Danish and English. But the mood and emotional state in the songs are familiar to everyone.
This linguistic confusion and the global concrete aesthetic of Østerbro Stadium's grandstand building, means that one can easily imagine being in a football station in Cairo, Rio de Janeiro as well as in Copenhagen.
The exhibition is kindly supported by the Danish Art Foundation and the Municipality of Copenhagen.
Powered by