THE  NEW  LIQUIDITY

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The New Liquidity is a transdisciplinary research platform and collective for artistic and curatorial practices, launched by artist, curator and researcher Selma Boskailo and sound artist, composer and researcher Anders Ehlin. They use the term liquidity as a referential trampoline for speculation on the porosity of borders as a means of artistic expression and the creation of alternative and potential scenarios. 


Since 2021 the duo has mainly focused on producing numerous iterations of the soundwalk project De-territorialized Listenings, combining research from sound art and media art, art in public space, the fields of locative media and technology, sensory studies and emotional geographies. The project centers on the transformation of familiar soundscapes, while addressing deterritorialization in the context of cultural globalization and distancing from the locality through mediatization, migration and commodification of life under the global capital. In 2022 the project was selected as a part of Project Anywhere’s Global Exhibition Program for art at the outermost limits of location-specificity, a collaboration between The University of Melbourne and Parsons School of Art, Media and Technology (The New School, New York).

The New Liquidity is engaged in parallel ongoing research projects using participatory soundwalks, audio guides and installations, mainly investigating the future of freshwater and marine ecosystems, as well as the fluid heritage of water as a repository of geo-cultural and human-non-human memory.

   

Beyond the Walls:
The Lawn that is My Chest

Site-specific, interactive
binaural soundwalk

Kunsthaus Baurs Park
Hamburg Art Week & Tage des Denkmals
Hamburg, Germany

 # Unity 3D-built Mobile AR-app
Android Phones with 3D Audio
Stereo Headphones

Beyond the Walls: The Lawn That Is My Chest is a hybrid soundwalk commissioned by Kunsthaus Baurs Park and presented during Hamburg Art Week and Tag des offenen Denkmals.

This site-specific soundwalk explores Katharinenhof in Blankenese as a place in transition. While the historic building remains closed during its transformation into the future Kunsthaus Baurs Park, the work invites visitors to encounter the site from its threshold, through listening, walking and sensory attention. Wearing headphones, visitors follow a route along the fence surrounding the closed building, moving between the sounds of the present surroundings and an unfolding sound composition that opens up different temporal and imagined layers of the site. 





Rather than presenting a fixed account of the building, the work approaches Katharinenhof as a living witness whose identity has continuously shifted across different historical and social contexts. Memories, voices, sounds, mythology and imagined futures overlap, allowing the site to emerge as something more than architecture: a repository of lived experience and a space in the process of becoming. The work exxplores the boundaries of the hosue asking how do we form relationships with places, what kind of relationship with a place is possible without access, how do places persist through memory and material transformation and can listening bring us into relation with something without requiring us to fully possess or enter?