‣ statement

There is something very intriguing about the voice, that keeps me wanting to explore it further. Because whether we want it or not, the voice expresses something more than what we are conscious of and in control of – something unconscious, something unique, something so human…

‣ currently working on

  • A voice in a voice in a voice’s debut release planned to come out in 2021
  • I am All my voices a conceptual live installation and composition portraying the full register of my voice 3 octaves – 36 tones

‣ a voice in a voice in a voice

A voice in a voice in a voice is a solo project mixing live singing and unique samples of my voice.

Through repetitions and multiplications I explore dissonance and randomly generated electronic arpeggio patterns, transporting my voice into new hypnotic realms creating otherworldly voice compositions.

A voice in a voice in a voice will be released in 2021

‣ voice patterns & a voice in a voice in a voice have been performed at

a voice in a voice in a voice @ Festival of Endless Gratitude event at Koncertkirken, 2020, Copenhagen, DK
a voice in a voice in a voice @ Krogerup Højskole, Set gennem Kunsten, 2019, Humlebæk, DK
a voice in a voice in a voice @ New Ears Festival 2018, Fridman Gallery, NYC
a voice in a voice in a voice @ Vinterjazz Koncertkirken 2017, Copenhagen, DK
voice patterns #1 @ ChrHavns Beboerhus 2016, Copenhagen, DK

∙ uh um em eh (2017) [BUY NOW]

Edition of 30 copies published by the artist. ‘Uh um em Eh’ is a new cassette release by Katinka Fogh Vindelev and the independent label Ministry of Broken Connections. Through a handful of cut up collages of random radio voices, the cassette zooms in on a common speech disfluency. Uh, um, em, eh, also known as fillers, occur within the flow of otherwise fluent speech and is generally not recognized as being purposeful or containing any formal meaning. Includes download code.

∙ a voice in a voice in a voice in a voice (2017)

The acousmatic work captures the voice’s sound quality and disturbing character. Through repetitions and multiplications, the voice resolves into new forms. The work is composed with samples of Katinka’s own voice and four speakers.

∙ voice patterns #1 (2016)

With a love for tritonus, also called the devil’s range, and random electronically generated arpeggi patterns, Katinka Fogh Vindelev has created a handful of new voice compositions of samples of her own voice.

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‣ my voice is your voice (sound art / installation)

With the exhibition “My voice is your voice”, Katinka Fogh Vindelev investigates the human voice through three works, all of which have alienation as a thematic focal point. In the works, the voice is deprived of its body, as well as its primary expression – the language – from which a faceless and surreal encounter with the voice as a phenomenon is staged.

‘The creature of the edge’, as the Slovenian philosopher and psychoanalyst Mladen Dolar describes the voice, referring to its inherent paradox: the voice is always ‘both and’, it connects an inner, psychological movement with an external vibration.

With the three works Screaming Showerhead, Inner Voice Box and Talk to Me Creature of the Edge, Katinka Fogh Vindelev challenges our sense of identity, control and ownership of our own voice, because whether we want it or not, the voice expresses something more than what we are conscious of and in control of – something unconscious, something strange.

The title “My voice is your voice” is at the same time a breaking point with the free voice and denotes, how the voice will never be experienced in a pure form, but always will be subject to a recipient and our own wishes, interpretation and self-censorship.

‣ my voice is your voice has been exhibited at

solo exhibition @ RUM/KLANG gallery 2017, Jyderup, DK

screaming showerhead (2017) sound installation
The scream, as phenomenon, whether it‘s caused by enthusiasm or fear, is one of the most powerful sounds one can produce. By replacing the body with an everyday object, the shower is assigned anthropomorphic features. The voice is now perceived as unfit, caught inside, while the listener has taken control. The work is inspired by the French psychoanalyst Jacque Lacan’s idea about the ‘symbolic’ order, appearing within the process of becoming an individual, seeking understanding and acceptance from ‘the other’.

∙ inner voice box (2017) sound installation
With references to the magic circus box, you disappear into a dark nothing surrounded by close up recordings of the area around and above the larynx. A ritual experiment is staged, welcoming the listener into a very small, closed, dark room, exclusively for the head. The intimate space and the low volume lead the attention of the listener towards it’s own presence and breath. It invites the listener to experience the paradox of the voice: Being ‘either-or’ – meaning being both inner and outer simultaneously.

∙ talk to me creature of the edge (2017) video
With inspiration taken directly from the Slovenian philosopher and psychoanalyst Mladen Dolar’s metaphor for the voice ‘The Creature of the Edge’, a ‘faceless’ figure is being observed moving alone and slowly on the edge of a swimming pool. Occasionally the figure stops, dips its hair into the water, shakes, rests on its belly, continues its crawling, shakes, dips the hair, etc. The water surface is a mirror reflecting all its movements, balancing on the edge of subconscious. The movements of the figure are repeated in an infinity pattern and observed from a distance only.

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‣ eustachia for solo voice (2016)

A composition for voice and 5 speakers carried out by Katinka singing one tone only. As a part of his ongoing otoacoustic practice and projects sound artist Jacob Kirkegaard recorded Katinka’s ear in search of spontaneous emissions and found one, ringing with 1957 Hz in her left ear.

Katinka decided to make a ritual composition out of it. So for a period of two weeks she once a day recorded herself tuning and singing along to her unique emission, pitching one octave down from 1957Hz to 979Hz in order to be able to sing it. When performed live, Katinka sings on top of the prerecorded takes that fade in after a few minutes, creating an intense, textual and microtonal voice scape.

‣ eustachia for solo voice has been performed at

Fridman Gallery, NYC september 2016 during their celebration and 50 years anniversary of the 9 evenings curated by Julie Martin.

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