‣ statement

When collaborating with other artists, I go places, blend art forms and create multifaceted works impossible to conceive on my own. I very much value consistency with my co-creators in order to grow – together – from experience, repetition and the ongoing dialogue.

‣ currently working on

  • Et levende Monument for fællesskab by We like We
  • Gravitational Shift by Em Kaa
  • 1 + 1 = 3 by Kirkegaard & Vindelev

‣ we like we

We like We is an experimental performance and sound collective based in Copenhagen, Denmark.

Praising the collective We like We focuses on a collaborative working ethos utilizing a unique mix of instruments, musical background and art forms.

We like We consists of Katrine Grarup Elbo (violin) Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). All three of them are classically trained, but share a desire for exploring, experimenting, jamming and shaping a sound of their own.

Expanding their inspiration and influence from the classical roots We like We makes music driven by intuition and playfulness. Through their collaborative compositions We like We creates music that travels beyond the grid of genres.

Debut album a new Age of Sensibility was released in 2014 on the Danish label The Being Music. Next to the entire All (2017) and Time is Local (2019) has been released on the German label Sonic Pieces.


‣ 1 + 1 = 3

Since 2014 Danish sound artist Jacob Kirkegaard and classical singer and composer Katinka Fogh Vindelev have been collaborating on a number of various projects. The couple’s performative works reflect their relationship, and resonate in the colliding and sustained encounter of their voices, hearts or ears to a point, where the individual sound or body dissolve into something else.

Jacob is an artist and composer working in carefully selected environments to generate recordings that are used in compositions or combined with video imagery in visual, spatial installations. His works reveal unheard sonic phenomena and present listening as a means of experiencing the world. Kirkegaard has recorded sonic environments as different as subterranean geyser vibrations, empty rooms in Chernobyl, Arctic calving glaciers and tones generated by the human inner ear itself. Currently based in New York, Kirkegaard has presented his works at galleries, museums and concert spaces throughout the world, including MoMA in New York, Louisiana and ARoS in Denmark, KW in Berlin, The Menil Collection & the Rothko Chapel in Houston and at the Aichi Triennale in Nagoya, Japan.


∙ eustachia for two voices (2016)
Composed from tones generated in the inner ear. These tones, called spontaneous otoacoustic emissions (or SOAE), are produced – without external stimulation – in people’s ears. Each emitting ear produces something akin to an acoustic fingerprint. Whereas the combinations of tones emitted from one ear can be dissonant, microtonal and complex, tones emitted from another ear can be harmonious and perceived as ‘in tune’. Recorded with specialized microphones inserted directly in the ears of students, during Jacob Kirkegaard’s sound-artist-in-residence at St. John’s College at University of Oxford in 2016, these tones now form the basis of this composition. The Eustachian tube extends from the middle ear to the pharynx and connects the ear and the voice. Connecting two sensory organs of the human body, the ear and the mouth, Eustachia for 2 Voices presents SOAEs interpreted entirely for voice.
‣ eustachia for two voices has been performed at
Louisiana @ Museum of Modern Art, Humlebæk, DK
ARoS @ Art Museum, Aarhus, DK
Ribe Art Museum @ Ribe, DK
Fridman Gallery @ New York City, USA
Munkeruphus @ Gilleleje, DK
Video from 9 Evenings + 50, Fridman Gallery, New York City, September 2016
Katinka Fogh Vindelev & Jacob Kirkegaard – Eustachia for two Voices
Jacob Kirkegaard – Eustachia for Twenty Voices
Katinka Fogh Vindelev – Eustachia for One voice


‣ HanKat

A collaboration with mezzo-soprano and artist Hanne Marie le Fevre. Hanne and Katinka share a desire for dissonant sounds, physical reflection and immediate spatial investigations. They for instance like singing into the walls, lying down, or collapsing in an inconvenient position. Vindelev & le Fevre always performs partly composed and partly improvised.

‣ vindelev & le fevre have performed at

Slow walk during SLOW event @ Glyptoteket, CPH, DK
Badesøen Festival / the Lake @ Albertslund, CPH, DK


‣ Em Kaa

Behind the name Em Kaa you’ll find visual artist Marie Kølbæk Iversen and classical singer and composer Katinka Fogh Vindelev.
The blend of Marie’s texts, videoes or sculptures and Katinkas conceptual and melodic compositions creates a multifaceted expression. Both benefitting from and relating deeply to each others artistic language, they’ve happily been collaborating, teaching and doing workshops since the creation of their first work, the mini opera performance Moonologue in 2018.
Now working on a new project Gravitational Shift, Em Kaa is examining the intelligence of fear and pain. Because that space,
that fear catapults one into, however, in their experience to a large extent is speechless. They try to establish another communication form than the conversation-based one: to insist on ‘dialogue’ with the fear and the one being isolated by the fear of his/her power. By time-stretching and transcribing women’s birth sounds, we extract the underlying melody of the complaint, and the composition sings the scream instead of reproduce its affect. It is therefore an elongated, beautiful and meditative expression that contrasts with the composition immediately dramatic starting point. Gravitational Shift is planned to manifest itself in many different forms: a performative choir piece, a song book, an installation etc.


∙ Moonologue (2018)

Moonologue – for our Suns is a new opera produced in collaboration between composer Katinka Fogh Vindelev and visual artist Marie Kølbæk Iversen. It is an independent continuation of Kølbæk Iversen’s long-term art project Io/I, which is on view at Louisiana Museum of Modern Art until January 20, 2019, as part of the exhibition “The Moon.” Performed by countertenor Morten Grove Frandsen and soprano Vindelev herself ! 

In the opera’s libretto, written by Kølbæk Iversen, the diverging identities of Io is explored: Io is Jupiter’s inner-most moon, which was discovered in 1610 by Galileo Galilei, but she is also the Greek-Roman mythological priestess after whom the moon is named. Through Galileo’s Italian (‘io’ is the Italian word for ‘I’) the different manifestations of Io are synthesised into a composite Self; a Self thus also encompassing Galileo as well as the artists – the audience even; a Self which speaks through the Moonologue.

In her composition of Kølbæk Iversen’s text, Fogh Vindelev takes as her starting point this blurring of identities, which she reflects in the two voices – a male and a female voice, a countertenor and a soprano (sung by Morten Grove Frandsen and Fogh Vindelev herself) – that intersect and diffuse each other beyond the singers’ cultural and biological genders. The composition shifts between recitative and abstract parts together reflecting the hybridising, supernatural, and mythic character of the text.

The collaboration manifests as two live performances at Louisiana Museum of Modern Art during the fall and winter of 2018, for which Kølbæk Iversen has created the masks and costumes: one at full moon on November 23, and one at new moon on December 7, 2018. In addition, the opera is released as a limited vinyl edition by Antipyrine Records on the occasion of the first performance.

‣ Moonologue has been performed at
Louisiana Museum of Modern Art @ NOV 2018, DK
Louisiana Museum of Modern Art @ DEC 2018, DK
Khio Oslo National Academy of the Arts @ JAN 2019, NO​
Cisternerne @ VEGA ARTS @ MAJ 2019, DK
Henie Onstad @ MAJ 2019, NO