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On April 24 at the club “Kursa” we will host a performance programme in collaboration with the Lithuanian art residency center in Kintai and the Baltic sound art residency programme “Kintai.Kitaip.”
The “Kintai.Kitaip” programme is dedicated to experimental sound art practices and was initiated in 2022. In 2025, the programme was implemented in collaboration with the Baltic countries, selecting three artists from the Baltic region through an open call. The programme is based on the concept of “sonic awareness”—the ability to pay attention to the surrounding environment and practice attentive listening. The residency in the village of Kintai lasted two weeks, during which the artists explored the local soundscape, environment, nature and cultural landscape, reflecting on its transformations.
The performance programme will present all three artists with their electroacoustic works that were developed during the residency: Kris Kuldkepp (EE/DE) – “Curious Currents / Passing Through / Diffracting”, Agita Reķe (LV) – “Breeze”, Johanes “Mo’ong” Santoso Pribadi (TH/ID/LT) – “Untitled”.
Additionally to the “Kintai.Kitaip” Baltic artist programme artist, workshop host and instrument inventor Florian Tuercke (DE) will present his acoustic instrument project Longboardharp No. 5.
Kris Kuldkepp (EE/DE) is an Estonian experimental musician and performance artist based in Hamburg, Germany. Kris’ work focuses on the perception, materiality, and behavior of sound, emphasizing its resonance in physical spaces. With a background in classical and early music performance on the double bass, Kris now works with experimental practices combining double bass, modular synthesizer and DIY instruments.
“Curious currents / passing through / diffracting is a cut in time and a cross-section of the Kintai’s sonic landscape that I got to hear from several angles during the two-week residency. The title refers to a certain mode of research one conducts with sound recording technology. Ranging from electromagnetic pickups, hydrophones, and microphones to an AM radio, I was able to detect and collect a microsection of the moving currents that compose the audible and, for the human ear, inaudible sonic space in and around Kintai. Hours of recordings of radio waves reflecting from the ionosphere and electromagnetic currents are diffracting with field recordings and familiar instruments. Thus, the instinctive acoustic cues become estranged and reveal their poetic potential when mixed with the certain negative space only accessible through probing technology.”
Agita Reķe (LV) is a Latvian electroacoustic music composer, performer, and sound artist. Her artistic practice encompasses fixed media, live performances, multimedia works, and sound installations. In her artistic practice, she explores spatial electronic sound and textural sound synthesis, focusing on how sonic textures influence the perception of space. In audio-visual works, she is particularly interested in the relationship between image, sound, and the surrounding environment, investigating how visual and sonic elements interact to shape spatial experience.
Breeze
“Kintai, with its calm and quiet atmosphere, evokes fond memories of my childhood. I recall the three-story Soviet-era buildings, small local shops, stray cats roaming freely, and even the occasional chickens wandering nearby. However, finding peace in this place so close to Kaliningrad, especially in the current political climate, can feel unsettling. Occasionally, I would hear distant gunshots, stirring a quiet anxiety within me. Yet, these moments remind us of our adaptability and ability to learn to accept unsettling sounds, finding a kind of stability amidst uncertainty. It feels like living on the edge between safety and tension. Inspired by this, I created a composition exploring the idea of breeze from a philosophical perspective – a search for peace within the ever-shifting winds.”
Johanes “Mo’ong” Santoso Pribadi (TH/ID/LT) is an experimental music composer and instrument builder, born in Bangkok and raised in Java, Indonesia, currently based in Vilnius, Lithuania. His work focuses on decolonial music, seeking to reconnect with and reinterpret the sounds of the Archipelago—”Indonesia.” Mo’ong’s practice is driven by a profound desire to reshape cultural expressions, honoring their origins while adapting them to modern contexts.
Untitled
“While staying in Kintai, I recorded sounds from my surroundings—both from nature and everyday spaces. These recordings became the foundation for this work, which I shaped into layers of texture, ambient sound, and rhythm. The sounds are combined with instruments I built myself, using waste materials I found during my time in Lithuania. This process represents an alternative way of thinking about music—where objects are not just tools, but sound-makers with their own voices, outside traditional music systems. By working with waste and junk, I wanted to discover new sonic possibilities—turning what is usually overlooked into something alive and expressive. This piece reflects a broader effort to step away from dominant ways of thinking about music. It’s about letting experience, place, and material shape the sound. For me, it’s also a way to build a more personal connection between space, the body, and sound—a quiet conversation between where we are, what we use, and who we are.
Florian Tuercke (DE) is a sound and media artist whose work explores the intersection of space, sound, and context. His practice moves between visual art, sound art, and music, deliberately blurring the boundaries between sculpture, instrument, spatial installation, and composition. Tuercke explores sound as a formative element of space and perception – whether in museum settings, sacred spaces, or urban environments. By sonically activating architectural, material, and social structures, he reveals that places are far more than mere physical settings: they are acoustic felds shaped by structure, action, perception and interpretation.
Longboardharp No. 5 is an acoustic string instrument featuring eight steel strings stretched across a solid wooden beam, carrying a wooden resonator. The resonator can be mounted in different positions, which significantly alters the instrument’s sound. The Longboardharp does not adhere to any established musical or cultural tradition, allowing it to be used freely across musical genres.The Longboardharp does not adhere to any established musical or cultural tradition, allowing it to be used freely across musical genres.