Julie Østengaard is a sound artist and electronic composer, educated from the Danish National Music Conservatory. She works with sound as a sculptural and spatial phenomenon that unites with the instrumental - this is seen in the work Concurrent (2020-2021), where 16 kinetic sound sculptures, examines the interplay between acoustic and electronic sound and ANKER (2021), where kinetic sound sculptures simulate sounds from Marstal harbor.
Through performative interventions, Julie Østengaard explores how electronic sound can gain body and gesture and how the present encounter between artwork, audience and artist can arise.
Julie Østengaard characterizes her works with special instructions that are constructed from project to project. These instructions become her performative and compositional co-players. Here she examines the dynamic relationships that can arise between preconstructed and uncontrollable feedback, as in Interfacing Thoughts (2019), where EEG data from a performer becomes “co-composer” in an algorithmic sound piece.
Via the poetic language of music, Julie Østengaard creates new listening situations, in which the contemporary is expressed and staged in different ways in new performative formats. Here, the music helps to amplify or transform into different interpretive frameworks. This is seen in Augmented Sirens (2021) where the air signal tested in May is transformed from a warning signal into an artistic experience, as well as Ode to the mobile phone (2021) - a sound work about the relationships created to and through the phone, which is played out of audience's own mobile phones.
Julie works both solo and collaboratively with projects where the performing arts, visual arts and sound art blend together in experimental constellations. She is a part of the sound association XYZ Sound Collective and SAMLING stage art group and has in recent years appeared on Click Festival, Spor Festival and exhibited at Kunsthal Kongegaarden, Den Frie(KE18) and created sound installations for Experimentarium.
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