Heavy rotation (Anonhi performing Sometimes I feel like a motherless child at Primavera Sound 2025)
2026
Uv print on pulpboard, marker on whiteboard foil, MIDI cable, travel size Listerine Classic mouthwash bottles, mixed silicone cable ties, whiteboard marker, beeswax, polyester, padding, pins, WOM BPOP lollipop holders, magnets, broom gripper.




Continuing an existing thread of their practice, the duo draw from a live exhibition of a musical artist, researching it and re-encrypting it in different form, creating an autonomous byproduct of a sonic fact. In this case singer-songwriter Anohni’s 2025 series of concept shows “Mourning the Great Barrier Reef“ is looked at as filtered through fan footage available online. In them, blown-up, alienating images of marine life towers over the performers showered in bright colors, making the death drive that the shows are conceptually based on, uncannily, cartoonishly at odds with the visual architecture. Distorted through the confusion of unofficial documentation, then, the surreal stage design of the shows becomes totally overcharged, exploding and twisting the emotional potential of the event.

The work proposes to bring this detouring even further, with the Heavy rotation series functioning as a pirate, imaginary collection of altered sonic memorabilia. In it, musical events are regarded as epistemological models particularly fit for speculation, and vehicles of transcendence. In this re-writing effort, scale, hierarchy and landscaping are factors isolated from the bootleg videos, and brought to the fore in the work. Meanwhile, music notation, oral health and the private environment of one’s car, are all signifiers tied to ideas of voice and sound, a personal vocabulary that the duo deploy in this reconfiguration of their object of study.







 

 
Part of the show Sequence for an Optimal Dispatch, curated by Guilherme Vilhena Martins at aaaa nordhavn, Copenhagen