‣ 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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‣ MKI & KFV

Behind the name MKI & KFV you’ll find visual artist Marie Kølbæk Iversen and classical singer and composer Katinka Fogh Vindelev.

The blend of Marie’s texts, videos 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

‣ 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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‣ previous works

‣ 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.

Visit We like We at www.welikewe.com

‣ 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
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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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