in briefrelease
13.03

When Joik Meets Drill

Zak Norman & Charlie Miller: »Takkuuk«
© PR
© PR

The Greenlandic word Takkuuk means »attention«, and it is the slightly ironic title of one of the more chaotic projects at this year’s CPH:DOX. The film is a collaboration between visual artist Zak Norman, film director Charlie Miller, and the Belfast-based electronic duo BICEP, and it also features seven musicians from Kalaallit Nunaat and Sápmi. In other words, a multitude of voices and agendas are at play, and the project clearly bears the marks of that.

The process leading up to the film sounds more interesting than the work itself. Norman and Miller travelled around the Arctic, seeking out musicians and researchers while filming glaciers and ice. The film’s seven young musicians then entered the studio with BICEP to create a shared soundtrack: a kind of club-oriented remix of seven very different practices, ranging from drill and heavy metal to joik, throat singing and drum dance. It might have been fascinating to follow those encounters, but instead the film takes us in another direction.

The editing shifts between a documentary strand of interviews and a surreal music-video aesthetic, where specially built cameras pan across the surface of the ice, bathing it in coloured filters referencing the northern lights and club lighting. In the interview track, the participants are allowed to steer the conversation themselves, which sends it in many directions. We touch on the spiritual undertones of traditional musical expressions, and here one would have liked the film to linger longer. One intriguing sequence explains how drum dance relates to the performer’s heartbeat, and how that rhythm is almost the same as the pulse of drill. More of that, please.

In a subsequent talk, the filmmakers explained that the work was originally produced as an audiovisual installation for five screens. That makes sense and might have worked better. Considered as a documentary film, Takkuuk is fragmentary, chaotic and directionless, which is a shame, because the young musicians seem to have much more to offer.

»Takkuuk«, Zak Norman & Charlie Miller (UK), 2025 (67 min). Screenings: 12, 17 and 19 March

© PR

»Music for me is the purest communication! We are constantly trying to understand each other, completely in vain, with our inadequate language, while music speaks pure. I can’t think of a more powerful and influential form of expression. It surpasses visual art, film, theatre, everything. Music is without exception the start of all my work; I often think, if this work were a song, what song would it be?« 

ihsan saad ihsan tahir (b. 1995, UK/DK) graduated from the Royal Danish Academy of Fine Arts (2025) and Goldsmiths University of London (2025) and lives and works in Copenhagen. tahir has previously exhibited at, among others, Kunsthal Kongegaarden, Korsør (2026), SKAL Contemporary, Skagen (2025); 13 Vitrine, Lausanne (2024); Kunsthal Aarhus, Aarhus (2023;2024); Collega, Copenhagen (2024); and All All All, Copenhagen (2023). tahir opens a new, large solo exhibition at O ​​– Overgaden (February 20–May 3, 2026).

in brieflive
16.02

Indigo over Mahler

Anthony Sahyoun, Nour Darwish, Larissa Sansour, Søren Lind: »As If No Misfortune Had Occurred In The Night«
© Joakim Züger
© Joakim Züger

One of my most powerful art experiences of 2025 was British-Palestinian video artist Larissa Sansour’s intense work As If No Misfortune Had Occurred In The Night at Kunsthal Charlottenborg. The piece forms the basis of Thursday’s so-called »opera performance«, in which Palestinian soprano Nour Darwish performs in dialogue with Sansour’s visuals.

When Darwish steps onto the stage, it is before a vast screen where black-and-white scenes from an abandoned chapel establish a solemn atmosphere. It feels as though the entire hall is holding its breath as she begins to sing – tentatively, mournfully at first, then with spine-tingling force.

The composition draws on Kindertotenlieder (1905), in which Gustav Mahler sets to music Friedrich Rückert’s poems on the loss of two daughters. Composer Anthony Sahyoun allows Mahler’s music to merge with the Palestinian folk song »Al Ouf Mash’al«, a lament for a man who fell while serving in the Ottoman army during the First World War. Over time, the song has expanded into an oral account of Palestinian suffering. In its encounter with Mahler, it becomes a lament for centuries of grief – addressed to European ears that, through the colonisation of the region, bear part of the responsibility. Quite simply, it is a very good idea. At first, Darwish alternates between the two musical works, but gradually they fuse into a single narrative of sorrow, loss, and inherited trauma. She briefly leaves the stage, giving way to a filmed sequence in which she descends into a basin and is enveloped by indigo-blue water. In Palestinian tradition, indigo is the colour of mourning, because once it has stained skin and fabric, it cannot be washed away. It must be worn away – just as grief can leave us flayed.

Darwish returns in an indigo dress. At the climax, she falls to her knees as the screen behind her turns black, and I realise I have barely breathed for several minutes. The composition was created in 2022 – before the current war in Gaza – but on this evening, with her immense voice and intense presence, she adds yet another verse to the endless song. At times, art can feel brutally prophetic.

English translation: Andreo Michaelo Mielczarek

© Inga Records

»For me music is life. It contains everything and carries the strongest healing powers there is.«

Mika Akim is the solo project of the viola player, composer and songwriter Mika Persdotter. The project started when Mika found a viola d'amore outside of Prague and started writing songs for it, about and for the body. Exploring open forms, minimalistic approach and mixing influences from folk music, baroque and experimenting with sound. The music is cyclic and honest. Since the project started Mika Akim has released two albums and now the third solo album feb 28 will be released on the 27th of February on Inga Records. 

Besides the solo project Mika Persdotter is an active musician in the experimental music scene as well as the contemporary and baroque fields in Copenhagen. Member of Halvcirkel, Damkapellet, Wolfskin Ensemble and Stök among others. 

Bobo Moreno. © Thomas Roger Henrichsen

»Music is an element for me, along with earth, wind, fire and water. Music is a nutrient that is part of my personal food pyramid, along with cheese, eggs and tomatoes. Music is a relationship in my life that is just as important as the people I have around me. Music is like an extra organ through which I perceive the world.« 

Growing up surrounded by his parents’ eclectic record collection, Bobo Moreno developed a love for music across genres. Named after his stepfather, jazz and rock bassist Bo Stief, Bobo started out on the electric bass before, at the age of 22, finding his true instrument – ​​his voice. Self-taught, he developed his craft through countless live performances and garnered recognition for his expressive voice and stylistic range. His national breakthrough came with the pop duo Peaches & Bobo in 1993. After decades of performing, at the age of 60, Bobo now releases Missing Pieces – his deeply personal debut album, reflecting a life of musical exploration and self-discovery, while marking a new chapter in a lifelong musical journey.

© Mira Campau

»Music to me is like water to plants. And a space to connect us, to ourselves, others and the world.«

Astrid Engberg is a contemporary artist with roots in the past, blending electronic-organic jazz, soul and percussive minimalism. Her sound combines heavy, minimal productions with personal storytelling and a spiritual edge, carried by a voice that balances sensitivity and strength. Since releasing her debut album Tulpa in 2020, highlighted by Bandcamp as one of the summer’s best releases, she has received the Steppeulven award as Producer of the Year 2021 and won Vocal Jazz Release of the Year at Danish Music Awards Jazz, alongside a nomination for Experimental Album of the Year.

Engberg has performed live and as a DJ at major Danish festivals and venues, including SPOT, Heartland, Roskilde Festival, DR Koncerthuset and SMK – Statens Museum for Kunst.