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mo_zeisner
love to make people feel and facilitate experiences
>>>>>>>>>>>>>>
into sound, sculpture, movement, transformation, interspecies care and coexistence
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sensing nature - Nordjylland
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality, and therefore intimacy, are becoming the seeds of relationship.
how does the being-sensed senses us?
___________________________________
The soundscape consists out of two recordings that are played simultaneously. One is a stereo recording of the outside environment. The other part of the soundscape is recorded from the inside environment of the forest soil. The second part mediates towards a speculative and fictional perspective on more-than-human liveliness and perception.
___edited by @ichbincir
___displayed at
> Freie Republik - @studio_huette x Kunsthalle[N]
> Neuroplastics @feldhausprojects
> Responding to Crisis: Interventions for Sustainable Futures at BOL
> Zukunftstag at UNI.T, Berlin 2021
> Teorema al Cine at La Cinètika, Barcelona
> moving bodies - @reykjavik.arts.festival @idnorvk
> Der Kurator by @enno_haar Hermannplatz & Schlessische Straße
> Shifting Tides at @kunstraumdigital @berlinartweek
_____________
sensing nature - Nordjylland
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality, and therefore intimacy, are becoming the seeds of relationship.
how does the being-sensed senses us?
___________________________________
The soundscape consists out of two recordings that are played simultaneously. One is a stereo recording of the outside environment. The other part of the soundscape is recorded from the inside environment of the forest soil. The second part mediates towards a speculative and fictional perspective on more-than-human liveliness and perception.
___edited by @ichbincir
___displayed at
> Freie Republik - @studio_huette x Kunsthalle[N]
> Neuroplastics @feldhausprojects
> Responding to Crisis: Interventions for Sustainable Futures at BOL
> Zukunftstag at UNI.T, Berlin 2021
> Teorema al Cine at La Cinètika, Barcelona
> moving bodies - @reykjavik.arts.festival @idnorvk
> Der Kurator by @enno_haar Hermannplatz & Schlessische Straße
> Shifting Tides at @kunstraumdigital @berlinartweek
_____________
sensing nature - Nordjylland
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality, and therefore intimacy, are becoming the seeds of relationship.
how does the being-sensed senses us?
___________________________________
The soundscape consists out of two recordings that are played simultaneously. One is a stereo recording of the outside environment. The other part of the soundscape is recorded from the inside environment of the forest soil. The second part mediates towards a speculative and fictional perspective on more-than-human liveliness and perception.
___edited by @ichbincir
___displayed at
> Freie Republik - @studio_huette x Kunsthalle[N]
> Neuroplastics @feldhausprojects
> Responding to Crisis: Interventions for Sustainable Futures at BOL
> Zukunftstag at UNI.T, Berlin 2021
> Teorema al Cine at La Cinètika, Barcelona
> moving bodies - @reykjavik.arts.festival @idnorvk
> Der Kurator by @enno_haar Hermannplatz & Schlessische Straße
> Shifting Tides at @kunstraumdigital @berlinartweek
_____________
unism
sculpture, sound, fragrance, performance
unism an installation activated by a performance delves into themes of belonging and transformation. It explores the cyclical process of seeking, finding, becoming-with, losing and seeking again — navigating between moments of hope and despair.
unism invites you to attune to otherness of the more-than-human through the porous system of your nostrils, eyes, skin, and ears — to find something familiar in the unfamiliar — it is experienced, touched, heard, breathed in and felt. A space in which memory, imagination, the present, human and more-than-human come together in a sensually tangible presence.
In collaboration with Magdalena Tworek @user_110083 (performance), Moritz Schmolke schmolmo.xyz (generative composition tool & spatial sound installation) and @_nikakim_ (performance).
_____________________________
agar-agar, air, bee wax, cane sugar, decaying plant parts, flour, glycerin, hemp, humidity, metal, mycelium (reishi), light, plastic, spruce, spruce resin, soil,temperature, water, wind, performance, 8-channel generative composition, amplifier, computer, cables, speakers, subwoofer, fragrance (arolla pine, birch, european fir, greenoakmoss, hinoki, juniper, labdanum, lavender, porcini, red thyme, seaweed, shiso, siberian fir, treemoss, alcohol)
_____________________________
unism was originally created for a dark misty room with a 8-channel sound installation, and has been adapted for this exhibition.
___pictures taken at Affects of Violence - Kunstquartier Bethanien, Berlin
___displayed at
graduation show — Universtät der Künste, Berlin
Affects of Violence — Kunstquartier Bethanien, Berlin
endless gratitude to all the lovely people that helped and supported me to realize this project.
> special thanks to Anita Tarnutzer, Axel Haagen, @louismoeckel, @nam.namii_
_____________
unism
sculpture, sound, fragrance, performance
unism an installation activated by a performance delves into themes of belonging and transformation. It explores the cyclical process of seeking, finding, becoming-with, losing and seeking again — navigating between moments of hope and despair.
unism invites you to attune to otherness of the more-than-human through the porous system of your nostrils, eyes, skin, and ears — to find something familiar in the unfamiliar — it is experienced, touched, heard, breathed in and felt. A space in which memory, imagination, the present, human and more-than-human come together in a sensually tangible presence.
In collaboration with Magdalena Tworek @user_110083 (performance), Moritz Schmolke schmolmo.xyz (generative composition tool & spatial sound installation) and @_nikakim_ (performance).
_____________________________
agar-agar, air, bee wax, cane sugar, decaying plant parts, flour, glycerin, hemp, humidity, metal, mycelium (reishi), light, plastic, spruce, spruce resin, soil,temperature, water, wind, performance, 8-channel generative composition, amplifier, computer, cables, speakers, subwoofer, fragrance (arolla pine, birch, european fir, greenoakmoss, hinoki, juniper, labdanum, lavender, porcini, red thyme, seaweed, shiso, siberian fir, treemoss, alcohol)
_____________________________
unism was originally created for a dark misty room with a 8-channel sound installation, and has been adapted for this exhibition.
___pictures taken at Affects of Violence - Kunstquartier Bethanien, Berlin
___displayed at
graduation show — Universtät der Künste, Berlin
Affects of Violence — Kunstquartier Bethanien, Berlin
endless gratitude to all the lovely people that helped and supported me to realize this project.
> special thanks to Anita Tarnutzer, Axel Haagen, @louismoeckel, @nam.namii_
_____________
unism
sculpture, sound, fragrance, performance
unism an installation activated by a performance delves into themes of belonging and transformation. It explores the cyclical process of seeking, finding, becoming-with, losing and seeking again — navigating between moments of hope and despair.
unism invites you to attune to otherness of the more-than-human through the porous system of your nostrils, eyes, skin, and ears — to find something familiar in the unfamiliar — it is experienced, touched, heard, breathed in and felt. A space in which memory, imagination, the present, human and more-than-human come together in a sensually tangible presence.
In collaboration with Magdalena Tworek @user_110083 (performance), Moritz Schmolke schmolmo.xyz (generative composition tool & spatial sound installation) and @_nikakim_ (performance).
_____________________________
agar-agar, air, bee wax, cane sugar, decaying plant parts, flour, glycerin, hemp, humidity, metal, mycelium (reishi), light, plastic, spruce, spruce resin, soil,temperature, water, wind, performance, 8-channel generative composition, amplifier, computer, cables, speakers, subwoofer, fragrance (arolla pine, birch, european fir, greenoakmoss, hinoki, juniper, labdanum, lavender, porcini, red thyme, seaweed, shiso, siberian fir, treemoss, alcohol)
_____________________________
unism was originally created for a dark misty room with a 8-channel sound installation, and has been adapted for this exhibition.
___pictures taken at Affects of Violence - Kunstquartier Bethanien, Berlin
___displayed at
graduation show — Universtät der Künste, Berlin
Affects of Violence — Kunstquartier Bethanien, Berlin
endless gratitude to all the lovely people that helped and supported me to realize this project.
> special thanks to Anita Tarnutzer, Axel Haagen, @louismoeckel, @nam.namii_
_____________
unism
sculpture, sound, fragrance, performance
unism an installation activated by a performance delves into themes of belonging and transformation. It explores the cyclical process of seeking, finding, becoming-with, losing and seeking again — navigating between moments of hope and despair.
unism invites you to attune to otherness of the more-than-human through the porous system of your nostrils, eyes, skin, and ears — to find something familiar in the unfamiliar — it is experienced, touched, heard, breathed in and felt. A space in which memory, imagination, the present, human and more-than-human come together in a sensually tangible presence.
In collaboration with Magdalena Tworek @user_110083 (performance), Moritz Schmolke schmolmo.xyz (generative composition tool & spatial sound installation) and @_nikakim_ (performance).
_____________________________
agar-agar, air, bee wax, cane sugar, decaying plant parts, flour, glycerin, hemp, humidity, metal, mycelium (reishi), light, plastic, spruce, spruce resin, soil,temperature, water, wind, performance, 8-channel generative composition, amplifier, computer, cables, speakers, subwoofer, fragrance (arolla pine, birch, european fir, greenoakmoss, hinoki, juniper, labdanum, lavender, porcini, red thyme, seaweed, shiso, siberian fir, treemoss, alcohol)
_____________________________
unism was originally created for a dark misty room with a 8-channel sound installation, and has been adapted for this exhibition.
___pictures taken at Affects of Violence - Kunstquartier Bethanien, Berlin
___displayed at
graduation show — Universtät der Künste, Berlin
Affects of Violence — Kunstquartier Bethanien, Berlin
endless gratitude to all the lovely people that helped and supported me to realize this project.
> special thanks to Anita Tarnutzer, Axel Haagen, @louismoeckel, @nam.namii_
_____________
unism
sculpture, sound, fragrance, performance
unism an installation activated by a performance delves into themes of belonging and transformation. It explores the cyclical process of seeking, finding, becoming-with, losing and seeking again — navigating between moments of hope and despair.
unism invites you to attune to otherness of the more-than-human through the porous system of your nostrils, eyes, skin, and ears — to find something familiar in the unfamiliar — it is experienced, touched, heard, breathed in and felt. A space in which memory, imagination, the present, human and more-than-human come together in a sensually tangible presence.
In collaboration with Magdalena Tworek @user_110083 (performance), Moritz Schmolke schmolmo.xyz (generative composition tool & spatial sound installation) and @_nikakim_ (performance).
_____________________________
agar-agar, air, bee wax, cane sugar, decaying plant parts, flour, glycerin, hemp, humidity, metal, mycelium (reishi), light, plastic, spruce, spruce resin, soil,temperature, water, wind, performance, 8-channel generative composition, amplifier, computer, cables, speakers, subwoofer, fragrance (arolla pine, birch, european fir, greenoakmoss, hinoki, juniper, labdanum, lavender, porcini, red thyme, seaweed, shiso, siberian fir, treemoss, alcohol)
_____________________________
unism was originally created for a dark misty room with a 8-channel sound installation, and has been adapted for this exhibition.
___pictures taken at Affects of Violence - Kunstquartier Bethanien, Berlin
___displayed at
graduation show — Universtät der Künste, Berlin
Affects of Violence — Kunstquartier Bethanien, Berlin
endless gratitude to all the lovely people that helped and supported me to realize this project.
> special thanks to Anita Tarnutzer, Axel Haagen, @louismoeckel, @nam.namii_
_____________
unism
sculpture, sound, fragrance, performance
unism an installation activated by a performance delves into themes of belonging and transformation. It explores the cyclical process of seeking, finding, becoming-with, losing and seeking again — navigating between moments of hope and despair.
unism invites you to attune to otherness of the more-than-human through the porous system of your nostrils, eyes, skin, and ears — to find something familiar in the unfamiliar — it is experienced, touched, heard, breathed in and felt. A space in which memory, imagination, the present, human and more-than-human come together in a sensually tangible presence.
In collaboration with Magdalena Tworek @user_110083 (performance), Moritz Schmolke schmolmo.xyz (generative composition tool & spatial sound installation) and @_nikakim_ (performance).
_____________________________
agar-agar, air, bee wax, cane sugar, decaying plant parts, flour, glycerin, hemp, humidity, metal, mycelium (reishi), light, plastic, spruce, spruce resin, soil,temperature, water, wind, performance, 8-channel generative composition, amplifier, computer, cables, speakers, subwoofer, fragrance (arolla pine, birch, european fir, greenoakmoss, hinoki, juniper, labdanum, lavender, porcini, red thyme, seaweed, shiso, siberian fir, treemoss, alcohol)
_____________________________
unism was originally created for a dark misty room with a 8-channel sound installation, and has been adapted for this exhibition.
___pictures taken at Affects of Violence - Kunstquartier Bethanien, Berlin
___displayed at
graduation show — Universtät der Künste, Berlin
Affects of Violence — Kunstquartier Bethanien, Berlin
endless gratitude to all the lovely people that helped and supported me to realize this project.
> special thanks to Anita Tarnutzer, Axel Haagen, @louismoeckel, @nam.namii_
_____________
Der Kurator by @enno_haar
Thank you for selecting sensing nature – Nordjylland for 'Der Kurator' alongside other great works.
Originally shown at Hermannplatz, Berlin - 2022.
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inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
inside studio
outside studio
2 taken by @user_110083
8 performance by @_nikakim_
11 taken by @ichbincir
17 performance by @user_110083
_____________
sensing nature — Þingvellir
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance: Magdalena Tworek @user_110083
___concept: Mo Zeisner
___photo: Mo Zeisner
___environment: Þingvellir
___1, 2 displayed at
> shifting tides @kunstraumdigital @berlinartweek
_____________
sensing nature — Þingvellir
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance: Magdalena Tworek @user_110083
___concept: Mo Zeisner
___photo: Mo Zeisner
___environment: Þingvellir
___1, 2 displayed at
> shifting tides @kunstraumdigital @berlinartweek
_____________
sensing nature — Þingvellir
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance: Magdalena Tworek @user_110083
___concept: Mo Zeisner
___photo: Mo Zeisner
___environment: Þingvellir
___1, 2 displayed at
> shifting tides @kunstraumdigital @berlinartweek
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
contributed two recordings of the 2022 Fagradalsfjall’s volcanic eruption to the album ‘ebbing ice lines‘ by @pablodiserens. You can listen to them in the beginning of the track „world in the process of making“.
More than happy to be part of this 2xLP and to make it the first time on vinyl! Thank you Pablo!
On „ebbing ice lines“, Pablo Diserens brings us into the geologies of the Low Arctic. Entirely assembled of field recordings of glaciers, drifting ice, volcanoes, avian vocalizations, and anthropogenic hums, the album sheds light on the minute sounds produced by these environments in Iceland, Finland and Norway. It invites us to think of landforms, especially glaciers, as entities in their own right, and draws us into an intimacy with bodies far greater than our own. The title „ebbing ice lines“ plays with the existing tree line terminology — the edge past which trees do not grow — to imagine lines receding in a warming climate, beyond which ice can no longer form. The result is a dronesque and texturally-rich journey through some of the world’s most fragile melting zones.
link to the release: https://f-o-m.bandcamp.com/album/ebbing-ice-lines
photos 4, 5, 6, 7, 8, 9, 10, 11, 12, 13 taken by me from various field trips to Fagradalsfjall.
mastered by @mathieu_bonnafous
design by @pablodiserens
duration: 60:04 • 2xLP gatefold • limited edition of 300
recorded, composed, and photographed by pablo diserens
sounds from the low arctic : recorded in iceland, finland and norway between 2018 and 2023
recordings of fagradalsfjall’s volcanic eruption on „world in the process of making itself“ by mo zeisner
words in „how much space do you need?“ by vilmundur þorgrimsson (gallery freevilli)
text by anton spice
title „world in the process of making itself“ quoted from ursula k. le guin’s „left hand of darkness“
in celebration of the international year of glaciers’ preservation (unesco & wmo, 2025)
project supported by @LOM via LOM+you program
published by @forms.of.minutiae + @dinzuartefacts
fom19 + dnz118 • 2025
_____________
‘Telling Stories from the Forest’ was a weekend of carrier bags, gathering, movement, and storytelling — a workshop exploring the potentials of fiction, imagination, and collective sensing. Led by Janosch Bela Krantz, Magdalena Tworek, and Mo Zeisner. Participants were invited to receive and build stories through gathering practices, bodily encounters, and speculative listening.
On the first day, we created carrier bags through up-cycling techniques, accompanied by field recordings and a reading of Ursula K. Le Guin’s Carrier Bag Theory of Fiction—a story that prioritizes the gathering and holding of various elements —like fragmented narratives, relationships, and contradictions— rather than a linear, "heroic" narrative driven by conflict.
On the second day, we visited Heiðmörk. People were invited into a fictional setting and send on an self-exploration and gathering around Heiðmörk. Somatic interventions and a listening station introduced speculative ways of attuning to the forest. Later, around a campfire, we shared the stories we had collected and carried—each person expressing themselves in the form that felt right.
‘Telling Stories from the Forest’ emphasized communal learning, rooted in exchange between facilitators and participants. It unfolded in a safe, inclusive and non-judgmental environment, nurturing collective imagination and deepening connections to nature.
________________________________
part of L.E.A.F.
supported by @improv_for_dance_enthusiasts, @nurt_foundation and European Union
artwork by @janoschkratz.eu
thank you Improv for Dance Enthusiasts for the invitation and trust 🤍
_____________
‘Telling Stories from the Forest’ was a weekend of carrier bags, gathering, movement, and storytelling — a workshop exploring the potentials of fiction, imagination, and collective sensing. Led by Janosch Bela Krantz, Magdalena Tworek, and Mo Zeisner. Participants were invited to receive and build stories through gathering practices, bodily encounters, and speculative listening.
On the first day, we created carrier bags through up-cycling techniques, accompanied by field recordings and a reading of Ursula K. Le Guin’s Carrier Bag Theory of Fiction—a story that prioritizes the gathering and holding of various elements —like fragmented narratives, relationships, and contradictions— rather than a linear, "heroic" narrative driven by conflict.
On the second day, we visited Heiðmörk. People were invited into a fictional setting and send on an self-exploration and gathering around Heiðmörk. Somatic interventions and a listening station introduced speculative ways of attuning to the forest. Later, around a campfire, we shared the stories we had collected and carried—each person expressing themselves in the form that felt right.
‘Telling Stories from the Forest’ emphasized communal learning, rooted in exchange between facilitators and participants. It unfolded in a safe, inclusive and non-judgmental environment, nurturing collective imagination and deepening connections to nature.
________________________________
part of L.E.A.F.
supported by @improv_for_dance_enthusiasts, @nurt_foundation and European Union
artwork by @janoschkratz.eu
thank you Improv for Dance Enthusiasts for the invitation and trust 🤍
_____________
‘Telling Stories from the Forest’ was a weekend of carrier bags, gathering, movement, and storytelling — a workshop exploring the potentials of fiction, imagination, and collective sensing. Led by Janosch Bela Krantz, Magdalena Tworek, and Mo Zeisner. Participants were invited to receive and build stories through gathering practices, bodily encounters, and speculative listening.
On the first day, we created carrier bags through up-cycling techniques, accompanied by field recordings and a reading of Ursula K. Le Guin’s Carrier Bag Theory of Fiction—a story that prioritizes the gathering and holding of various elements —like fragmented narratives, relationships, and contradictions— rather than a linear, "heroic" narrative driven by conflict.
On the second day, we visited Heiðmörk. People were invited into a fictional setting and send on an self-exploration and gathering around Heiðmörk. Somatic interventions and a listening station introduced speculative ways of attuning to the forest. Later, around a campfire, we shared the stories we had collected and carried—each person expressing themselves in the form that felt right.
‘Telling Stories from the Forest’ emphasized communal learning, rooted in exchange between facilitators and participants. It unfolded in a safe, inclusive and non-judgmental environment, nurturing collective imagination and deepening connections to nature.
________________________________
part of L.E.A.F.
supported by @improv_for_dance_enthusiasts, @nurt_foundation and European Union
artwork by @janoschkratz.eu
thank you Improv for Dance Enthusiasts for the invitation and trust 🤍
_____________
‘Telling Stories from the Forest’ was a weekend of carrier bags, gathering, movement, and storytelling — a workshop exploring the potentials of fiction, imagination, and collective sensing. Led by Janosch Bela Krantz, Magdalena Tworek, and Mo Zeisner. Participants were invited to receive and build stories through gathering practices, bodily encounters, and speculative listening.
On the first day, we created carrier bags through up-cycling techniques, accompanied by field recordings and a reading of Ursula K. Le Guin’s Carrier Bag Theory of Fiction—a story that prioritizes the gathering and holding of various elements —like fragmented narratives, relationships, and contradictions— rather than a linear, "heroic" narrative driven by conflict.
On the second day, we visited Heiðmörk. People were invited into a fictional setting and send on an self-exploration and gathering around Heiðmörk. Somatic interventions and a listening station introduced speculative ways of attuning to the forest. Later, around a campfire, we shared the stories we had collected and carried—each person expressing themselves in the form that felt right.
‘Telling Stories from the Forest’ emphasized communal learning, rooted in exchange between facilitators and participants. It unfolded in a safe, inclusive and non-judgmental environment, nurturing collective imagination and deepening connections to nature.
________________________________
part of L.E.A.F.
supported by @improv_for_dance_enthusiasts, @nurt_foundation and European Union
artwork by @janoschkratz.eu
thank you Improv for Dance Enthusiasts for the invitation and trust 🤍
_____________
‘Telling Stories from the Forest’ was a weekend of carrier bags, gathering, movement, and storytelling — a workshop exploring the potentials of fiction, imagination, and collective sensing. Led by Janosch Bela Krantz, Magdalena Tworek, and Mo Zeisner. Participants were invited to receive and build stories through gathering practices, bodily encounters, and speculative listening.
On the first day, we created carrier bags through up-cycling techniques, accompanied by field recordings and a reading of Ursula K. Le Guin’s Carrier Bag Theory of Fiction—a story that prioritizes the gathering and holding of various elements —like fragmented narratives, relationships, and contradictions— rather than a linear, "heroic" narrative driven by conflict.
On the second day, we visited Heiðmörk. People were invited into a fictional setting and send on an self-exploration and gathering around Heiðmörk. Somatic interventions and a listening station introduced speculative ways of attuning to the forest. Later, around a campfire, we shared the stories we had collected and carried—each person expressing themselves in the form that felt right.
‘Telling Stories from the Forest’ emphasized communal learning, rooted in exchange between facilitators and participants. It unfolded in a safe, inclusive and non-judgmental environment, nurturing collective imagination and deepening connections to nature.
________________________________
part of L.E.A.F.
supported by @improv_for_dance_enthusiasts, @nurt_foundation and European Union
artwork by @janoschkratz.eu
thank you Improv for Dance Enthusiasts for the invitation and trust 🤍
_____________
‘Telling Stories from the Forest’ was a weekend of carrier bags, gathering, movement, and storytelling — a workshop exploring the potentials of fiction, imagination, and collective sensing. Led by Janosch Bela Krantz, Magdalena Tworek, and Mo Zeisner. Participants were invited to receive and build stories through gathering practices, bodily encounters, and speculative listening.
On the first day, we created carrier bags through up-cycling techniques, accompanied by field recordings and a reading of Ursula K. Le Guin’s Carrier Bag Theory of Fiction—a story that prioritizes the gathering and holding of various elements —like fragmented narratives, relationships, and contradictions— rather than a linear, "heroic" narrative driven by conflict.
On the second day, we visited Heiðmörk. People were invited into a fictional setting and send on an self-exploration and gathering around Heiðmörk. Somatic interventions and a listening station introduced speculative ways of attuning to the forest. Later, around a campfire, we shared the stories we had collected and carried—each person expressing themselves in the form that felt right.
‘Telling Stories from the Forest’ emphasized communal learning, rooted in exchange between facilitators and participants. It unfolded in a safe, inclusive and non-judgmental environment, nurturing collective imagination and deepening connections to nature.
________________________________
part of L.E.A.F.
supported by @improv_for_dance_enthusiasts, @nurt_foundation and European Union
artwork by @janoschkratz.eu
thank you Improv for Dance Enthusiasts for the invitation and trust 🤍
_____________
‘Telling Stories from the Forest’ was a weekend of carrier bags, gathering, movement, and storytelling — a workshop exploring the potentials of fiction, imagination, and collective sensing. Led by Janosch Bela Krantz, Magdalena Tworek, and Mo Zeisner. Participants were invited to receive and build stories through gathering practices, bodily encounters, and speculative listening.
On the first day, we created carrier bags through up-cycling techniques, accompanied by field recordings and a reading of Ursula K. Le Guin’s Carrier Bag Theory of Fiction—a story that prioritizes the gathering and holding of various elements —like fragmented narratives, relationships, and contradictions— rather than a linear, "heroic" narrative driven by conflict.
On the second day, we visited Heiðmörk. People were invited into a fictional setting and send on an self-exploration and gathering around Heiðmörk. Somatic interventions and a listening station introduced speculative ways of attuning to the forest. Later, around a campfire, we shared the stories we had collected and carried—each person expressing themselves in the form that felt right.
‘Telling Stories from the Forest’ emphasized communal learning, rooted in exchange between facilitators and participants. It unfolded in a safe, inclusive and non-judgmental environment, nurturing collective imagination and deepening connections to nature.
________________________________
part of L.E.A.F.
supported by @improv_for_dance_enthusiasts, @nurt_foundation and European Union
artwork by @janoschkratz.eu
thank you Improv for Dance Enthusiasts for the invitation and trust 🤍
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
lost in textures and synergy of matter..
fragments from various field trips
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
sensing nature — Ljótipollur
performance, digital photography
sensing nature is based on an ongoing self-study. sensing nature can be seen as a documentation of humans seeking and temporarily finding belonging, connection and kinship in their surroundings, losing them and seeking them again.
The body becomes the medium through which they reach out. Sensitivity and sensuality — and therefore intimacy — are becoming the seeds of relationship.
how does the being-sensed senses us?
________________________________
___performance & concept: Mo Zeisner
___photo: Chloé Binh-Cirlot @ichbincir
___environment: Langjökull
>>> 1, 3 displayed at shifting tides @kunstraumdigital @berlinartweek
2, 4, 5, 7, 8 close surrounding of Ljótipollur
_____________
once i found shelter
2022
steel, sound, fragrance, light
___displayed at
> come forth, Reykjavik
_____________
once i found shelter
2022
steel, sound, fragrance, light
___displayed at
> come forth, Reykjavik
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
_____________
here are some fragments from the past few weeks.
After finding myself in a rather burned-out state, I’m slowly starting to reconnect, recharge and restore — new ideas and inspiration are arriving.
It is always good to leave the big city life behind and return to the core of my practice, again and again. Every time I am out there, I find myself asking: What am I still doing in this big city? Having grown up in the countryside, close to the presence of the non-human world, the urge to be there — to become with it — has never left me. Nothing else affects and teaches me the way nature does.
I’m currently rethinking where I want to locate myself. Besides entering a major phase of transformation — accompanying the autumn.
Biggest love to all the hearts that supported me those past weeks. I love you.
8, 9 ecosensibility & photo by Magdalena Tworek @user_110083 as part of an ongoing research practice and process we share
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