Tuning Forks, 2025
‘Tuning Forks: 433–434Hz 2: 441–442Hz 3: 529–530Hz’ (Graphic Sound Score, Laser Engraving on Aluminum, 100cm x 70cm)
Exhibition View, Culterim Show @ Cank, Berlin, 2025 (Photo Credits: Aura Roig)
‘Tuning Forks: 433–434Hz 2: 441–442Hz 3: 529–530Hz’ (Graphic Sound Score, Laser Engraving on Aluminum, 100cm x 70cm)
Exhibition View, Culterim Show @ Cank, Berlin, 2025
‘Tuning Forks: 433–434Hz 2: 441–442Hz 3: 529–530Hz’ (Graphic Sound Score, Laser Engraving on Aluminum, 100cm x 70cm)
Exhibition View, Culterim Show @ Cank, Berlin, 2025
‘Tuning Forks: 433–434Hz 2: 441–442Hz 3: 529–530Hz’ (Graphic Sound Score, Laser Engraving on Aluminum, 100cm x 70cm)
Exhibition View, Culterim Show @ Cank, Berlin, 2025
‘Care’, Multimedia Performance, 18'35'', Sandra Kazlauskaite and Anna Míra Finta, Culterim Show, Cank, Berlin, 2025
“Tuning Forks: 433–434Hz 2: 441–442Hz 3: 529–530Hz” (2025) responds to the appropriation of sound, frequency, and music by fascist and esoteric ideologies.
Frequencies such as 432Hz and 528Hz are promoted as “natural” or “healing,” often through pseudoscience and conspiracy, and taken up in far-right discourse as symbols of purity, order, and origin. This reflects a broader pattern: naturalising power and essentialising identity through sound. Beyond frequency myths, electronic genres like fashwave show how sonic cultures are re-territorialised to legitimise authoritarian ideologies, turning music into a space of exclusion and cultural purity.
Simultaneously, 440Hz – the standardised “neutral” pitch – carries its own history of Western dominance, technocracy, and colonial expansion. Tuning, thus, is never neutral: it governs inclusion and exclusion, deciding whose voices are amplified or silenced.
“Tuning Forks” exposes 432Hz and 440Hz as parallel mechanisms of capture. Against such regimes of purity, the work introduces graphic metal sound score scultures, that embrace detuning as a form of resistance: shifting away from fixed tones to create unstable, relational zones of resonance. These micro-detunings refuse the symbolic authority of “pure” frequencies and instead imagine sound as community – fluid, unstable, and one of solidarity.
By unsettling frequency regimes, “Tuning Forks” opens sound to practices of resistance: listening and making that are relational, destabilising, and always in flux.
Alongside the exhibition, an improvisation-inspired piece was performed in collaboration with Anna Míra Finta. ‘Care’ (Sound, Movement, Duration: 18’35’’) is a multimedia performance that intersects field recordings, on-site osnic materials, vocal expression, and movement. Through gestures and sounds ,it explores the subtleties of intimacy and the relations shaped over an extended, yet, finite, time. Inspired by bell hook’s vision of the beloved community - a space where difference is welcomed- this improvsation acitvely creates a ground for shared listening and reflection.
What tools beyond words and language can we create to communicate our experiences? How can we, collecitvely, cultivate a ground for care? Can compassion and solidarity sustain our being-together when turblence continues to hit us in shifting waves? In those moments, how do we hold one another?