Stine Janvin and Cara Tolmie will present a new collaborative performance based on their shared experiments with restrictive uses of the repeated and defamiliarised voice. In getting to know one another for the first time during this working process the pair have laid the ground for this performance by sharing a curious exploration into discovering discomforting thresholds within the branded Nordic concepts of “hygge”,”kos”, “mysigt” and “kalsarikänni”. Along the way this investigation has also meandered through ASMR cultures, analogue amplification, exaggerated proximities and temptations of conformity.
This new collaborative performance has been jointly commissioned by the Fourth Edition Festival in Stockholm, Borealis Festival for Experimental Music, Bergen and Äänen Lumo in Helsinki. The commission has been supported by the Nordic Culture Fund.
Cara Tolmie spends much of her time oscillating between contexts as an artist, musician, performer, DJ, pedagogue and researcher. Her works have been performed and exhibited widely at art galleries, music festivals, biennials, conferences and in the public space – both as solo presentations and collaborative projects.
Her practice at large investigates the complexity of the bind between the voice and body - of how voice can traverse internal and external realities of both the sounder and listener and how it can research various qualities of embodiment, pleasurable and disjointed. Within this she often explores performative techniques that dis/reorient the listening relationship between the singer and her audience through live uses of defamiliarised, uncanny and repetitive vocalisation.
Cara is currently a PhD candidate in Critical Sonic Practice at Konstfack, Stockholm. She also collaborates regularly with Rian Treanor, Stine Janvin, Susanna Marcus Jablonski, Em Silén, Moa Franzén and Julia Giertz.
Stavanger born, Berlin based vocalist Stine Janvin works with experimental music, sound and audiovisual performance, with a special interest in the ambiguous and unrecognisable qualities of the voice.
Her recent work is focussed on imitation and abstract storytelling through sound collages inspired by a variety of genres and traditions of electronic music, sound poetry, folk music and languages of various peoples, birds and animals.
Through a diversity of projects such as Fake Synthetic Music, the performative installation The Subjective Frequency Transducer, the live radio play In Labour, alter ego Stine II and as the second half of field recording adaptations duo Native Instrument (Shelter Press), she explores and challenges the physical features of the voice, the acoustics of her external/internal surroundings, and new performance strategies.