- an inhalation and exhalation in four movements

for winds, voices, strings and images


PNEUMATICKS is a composition of music and film, about the phenome­na respiration – the opening between the inside and the outside. Breath­ing is vitality in its purest form, the usual inhalation and exhalation often happens unnoticed. In PNEUMATICKS the consciousness of breathing is transformed into an unusual force in music and images. In its uncom­pressed form, the piece transmits fluctuations of light and sound waves in poetic oscillations received as organic energy.

PNEUMATICKS is developed by composers and visual artists synchroni­cally. The performance consists of a film shown on a 4 meter wide screen, along with music performed by a semi-acoustic, classically inspired en­semble: 3 singers, 1 bass clarinetist and 2 cellists. The music is composed by Lil Lacy and Signe Lykke as a symphony in four movements following the process of an inhalation and an exhalation in two breaths. The film is made by Ann Sophie von Bülow and Ulrik Heltoft and consists of docu­mentary day-for-night recordings from the West Nile region, Uganda.

The film shows the process of creating a pot, created by Leotissa Ayelan­go, a woman that lives exactly where the earth withholds special nutrient mineral primary particles, that makes it extra fertile. The texture of the soil is fine-grained and can with water and craft of hand be transformed into clay.

Leotissa leads us slowly into delivered technology, knowledge and expe­rience about soil, water, air and fire. The pot is an archetype, developed from a basic physical experience. It builds upon knowledge about being connected to a coherent, upright body that as a container embraces the inner space with an opening pointed towards the outer.

“Each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral, it’s a sort of constant euphoria.”

- Marcel Duchamp

The four movements

I movement is composed as a long and slowly growing intensity, where we follow Leotissa from the place where the soil is recovered to her studio. It is filmed in one shot and lasts exactly the time it takes her to move from the one place to the other.

II movement the recovery of the two types of soil, that need to be mixed to create the shapeable clay. The composition consists of two parallel layers: one that becomes softer and milder and another that grows in intensity.

III movement withholds two progresses. A rhythmic character in move­ment, volume and variation, that evolves into a long drone. The burning that becomes embers and transforms the plastic clay to ceramics.

IV depicts the forming process. The preparation of the soil to become clay; forming, calendaring, texturizing and detailing. Repetitive structures and descending phrases gather and dissolve again and again in a final cacophony of movement.

Words and names that appear in PNEUMATICKS

Leo-tis-sa The woman we follow and to whom the piece is dedicated.

Pû-ra-ka The pause immediately after an inhalation.

Re-cha-ka The pause immediately after an exhalation.

Kum-bha-ka Cutting off a breathing cycle, undependent of either in- og exhalation.

I-tu-ri The North Eastern Region of Congo where Lake Albert and the Blue Mountains, are part of creating the Southern beginning of the Nile.

Nya-ra-vur A village situated in the Nort Western part of Uganda, where Leotissa has her workshop. Nyaravur is about 15 kilometers distance from Lake Albert and borders up to the Ituri region.

Installation and live performance

PNEUMATICKS is developed as an installation where the music is prerecorded and as a live performance, where the music is played live to the film by the PNEUMATICKS ensemble.




Visual artists: Ann Sophie von Bülow and Ulrik Heltoft

Composers: Lil Lacy and Signe Lykke

Musicians: Katinka Fogh Vindelev (soprano), Laura Mayer (alto), Simon Rønne Rischel (baritone), Morten Lohmann Sønderskov Jensen (bass clarinet), Soma Allpass (cello) and Lil Lacy (cello)

Sound technician: Bjørn Gjessing

PNEUMATICKS is supported by

CLICK festival, Dansk Musikerforbund, Syddjurs kommune, Den Ny Maltfabrik, Dansk Skuespillerforbund, Dansk Komponistforening, KODA's kulturelle midler, Aarhus2017 and Statens Kunstfond

With support from Danish Composers´ Society´s Production Pool/KODA´s Cultural Funds

With support from Danish Composers´ Society´s Production Pool/KODA´s Cultural Funds