Can a forest be a participatory monument? Dancing Forest is a sonic experience. It is composed of a sound piece that serves as a score.
How do we embody the Forest, and how does the Forest embody us?
Let me take you to the forest with an exercise to open our senses through the act of radical listening. This exercise lets us explore listening by activating our very own embodied sound archive. Embodied sound archives are the summary of all our encounters with sound throughout our lifetimes. Let us imagine that our embodied sound archives (are the soundtracks of our lives) and that they create a narrative of all our experiences.
Listening is a method in artistic practice and research in the public sphere that has the potential to be a shared experience as well as an individual one. How does the Forest's conditioned environment shape our imaginary experiences of the Forest as a site of remembrance?
In Dancing Forest (2nd Edition), Røstad asks the listener to recall their own embodied experiences of forests. The sound piece will engage with the Forest as a living monument of the future's past and present. Curated by Julie Lillelien Porter in relation to the exhibitions Great Patriotic by Zink Zine, Sergei Prokofiev and Evgeny Granilshchikov, Parallel Dimensions by Zhanna Gladko and I Will by Siri Hermansen at Kunsthall 3,14.