06.11.26: Amina Hocine (SE) + Barbara Skovmand (DK)
Sculptural performance concert
The boundaries between sculptural sound art, performance art, and experimental music dissolve as the two composers, Swedish Amina Hocine and local Barbara Skovmand, transform Basement’s raw surroundings into a total experience, where new electronic music forms the soundtrack to a performance in which ancient organ pipes interact with dystopian science fiction.
Date: Friday 06.11.26
Doors: 19:30
Show: 20:00
Price: 145 dkr + fee in presale / 165 dkr at the door
Venue: Basement, Enghavevej 42, 1674 København V
Amina Hocine (SE)
Swedish composer, sound artist, and instrument builder based in Stockholm, where she studies electroacoustic composition at the Royal College of Music. Her practice moves within the tension field between acousmatic music, notation, and physical sound production, with a particular focus on long-form compositions, minimal harmonic movement, and static rhythmic gestures.
At the core of Hocine’s work is a self-built organ constructed from PVC pipes and HVAC components, powered by compressed air. Inspired by foghorns and sirens, the instrument produces intense drones and complex layers of frequency, which she describes as “sound crystals.” From this starting point, she explores the psychoacoustic potential of sound and its ability to shape perception depending on space and context – each performance unfolds as a unique spatial installation, where the vibrations of the pipes interact with the acoustics of the room.
Hocine’s compositions revolve around timbre and resonance, inviting introspection and deep listening. Drawing on spiritual music, practices, and therapeutic processes, she approaches sound as a transformative and healing medium. Her works often unfold as spatial, almost ritualistic ceremonies, where sound appears as a living, communicative presence.
Through spatial configurations in which sound replaces language, her concerts develop into a form of wordless theatre. Here, frequencies and resonances carry tensions, states, and inner movements, inviting the listener into a sensory and contemplative space.
Barbara Skovmand (DK)
Copenhagen-based visual artist and musician working at the intersection of sound, sculpture, and performance. Her practice is rooted in an experimental approach to materials and form, developing her own instruments as sound sculptures that are activated in spatial and expanded concert formats.
Central to Skovmand’s work are her après-Baschet sound sculptures – acoustic instruments that extend the legacy of the French Baschet brothers. The sculptures generate sound through friction, as wet fingers are drawn across glass rods, sending vibrations into mirror-polished steel surfaces. Here, the sound is amplified and distorted into complex, otherworldly sonic fields that are experienced both aurally and physically.
Her works take shape through a craft-based approach to metal, where pipes, rods, and plates are formed by hand into organic, almost living structures. Drawing on both biological and mythological references, from planktonic life forms to angelic figures, her sculptures balance the technical and the sensuous, with a visual language that is as organic and human as it is distinctly science fiction.
Skovmand’s practice centers on resonance and the relationship between body, sound, and space. Her performances are often staged in architecturally distinct environments, where the movement of sound and the acoustics of the space become active collaborators. In these settings, her works unfold as immersive situations in which the boundaries between instrument, sculpture, and concert dissolve.
Through her work, she explores connections between humans, nature, and technology, with a particular sensitivity to what lies beyond immediate understanding. Her sound sculptures function as both sonic sources and visual objects, opening up an experience of sound as something physical, malleable, and alive.