Money secures domination. Money is anonymous and abstract. Historically, this link between power and quantifiability has changed the world. Money can be accumulated infinitely, unlike commodities or labor services. Money thus made way for injustice on a new scale and continues to secure it today. Anthropologist David Graeber points out that money is trivialised. He shows that the common narrative of the emergence of money as a simplification of barter falls far short. He demonstrates that the invention of money is essentially about financing wars.

In global capital flows, money symbolically carries every previous transaction. It bears traces of wars, arms exports and slavery. All who use money are implicated – even those who benefit only indirectly from global transactions, in the form of art grants and salaries. No one can locate themselves outside of global connections, even if the comfort of living in a rich country obscures those connections. Art is a money-laundering machine: money with a long transaction history is fed into the art system and may come out cleaner. Even in a comparatively well-functioning democracy, arms exports to war zones and art coexist – with the latter providing basic hygiene.

In the project Money Laundering, the artists expose their own entanglement in global capital flows, address their own participation in the perpetuation of global injustice. The project is a symbolic act, 98% desperation and 2% wit. Washing attempts to strip money of its anonymity and remove the patina of oblivion.

Depending on the occasion, new forms and formats are always sought.

The first realization of this idea took place in 2019 in Berlin as a contemporary music theater piece. The ensemble MaNN AUS OBST #5 elaborated an evening in which elements of sound installation, improvised music and post-dramatic theater were assembled into a plaintive-comic-absurd wash factory. Maja and Anton continued that work as Team DETOX and turned Money Laundering into a long-term project. During 2023/24 they carried out 14 consecutive monthly washing cycles in different formats: video snippet, intervention in public space, improvised music concert, online lecture, text publication, basement concert, flash mob, mixed-form performance (movement and sound), side-show to a new music concert, activism in front of a shopping mall, building and performing with networked instrumental setups.

The project currently exists as an on-demand adaptable washing service. At MINU_festival_for_expanded_music we are laundering 30000 DKK. This approximately amounts to 3% of the festival funding, to 100% of our own fee and to 20000% of the price of one festival pass.

MINU_festival_for_expanded_music is a Copenhagen-based festival presenting art on the borders of experimental music and other media. It is a space for oscillating between extremes and charting relationships between art, technology, and contemporary culture.

MINU_festival_for_expanded_music 2026

Money Laundering

Kasernen, Teaterøen

Wrong Norma is a collaboration between Inga Margrete Aas, Jessie Marino, Jennifer Torrence, Ane-Marthe Sørlien Holen, & Sigrun Rogstad Gomnæs. Guided by experience, imagination and play, Wrong Norma has plunged into collective waters that reveal a bell. A bell ?

Mondegreen ushers into the creative potential of mishearing : Miss Listening.

Inga Margrete Aas

Jessie Marino

Jennifer Torrence

Ane-Marthe Sørlien Holen

Sigrun Rogstad Gomnæs

Mondegreen 

The Max M. S. Pedersen Foundation is an attempt to introduce an artificial foundation into the Danish network of arts foundations. However, the grantmaking process differs from that of other foundations, as it is automated and decisions are made randomly.In doing so, the Max M. S. Pedersen Foundation distances itself from any qualitative assessment in relation to the distribution of financial support and embraces the productive and in itself experimental principle of chance. The foundation has no board or committee. Only a Max/MSP patch that, with a combination of Random-, Drunk-, and Decide-objects and the click of a button, determines whether or not a project can be supported. We do not ask for a budget or a specific funding amount.

All we require is:
• the CV of the applicant
• a description of the project in question.

If you are fortunate enough to be awarded a grant, the foundation sends you a portion of its assets: an unscratched scratchcard. The assets of the Max M. S. Pedersen Foundation consist of a quantity of unscratched scratchcards, which in this way stand in for an enormous potential value. Regardless of whether the scratchcard yields a prize, the Max M. S. Pedersen Foundation kindly requests that the recipient use the foundation’s logo in all public press material regarding the project in question. In conjunction with this year’s MINU festival, the foundation hereby opens the call for applications and looks forward to letting Random, Drunk, and Decide "roll the dice"!

Niklas Brandenhoff

Max M. S. Pedersen Fonden

Sistro Duo (Marta Soggetti and Katerina Anagnostidou) perform works by Mads Emil Dreyer: Lys 4 (2017), and Sól Ey: Earth (2019) and the Danish premiere of A Myth of Hums (2026). Across the three pieces, electricity and light become musical materials, exploring the relationship between sound, tangible experiences and perception.

In A Myth of Hums, Sól Ey approaches electricity as a mystical force that dictates everyday life, yet increasingly escapes our perception. The hums and flickering lights that once accompanied electrical devices have become less familiar as their inner workings disappear into black-box technologies. Using Tesla coils and old fluorescent light tubes as instruments, the piece brings these sensory traces of electricity into focus, inviting us to reconsider the invisible forces on which our everyday lives depend.

Marta Soggetti

Katerina Anagnostidou

Lys 4

Earth

A Myth of Hums

A Myth of Hymns

DenpaTube MetaMix is a 3+ hour, curatorially composed video primarily consisting of collaged clips from the depths of YouTube’s niche denpa scene. something between a found-footage documentary, an homage, a memorial, an exercise in speaking through the words of others, curation as composition, intertextuality, and framing youtube quotations and otaku culture as New Music.

Starring:
U0YKNAHT0N
Jalae Lain Casaus
Parz
OsakaSyndrome
Dotesmite
unim
Skærm Følelse
and more…

Please bring blankets, pillows, and whatever else will facilitate a comfy, extended viewing experience. Some will be provided, but probably not enough for everyone.

DenpaTube MetaMix

Thunder sheets rumble from an inner impulse. A drum with motorized beaters has its own specific rhythms — rhythms specific to its species. A station clock runs with hands that define a new time. Sculptural keyboards play themselves, wind blows through the room. Robotic instruments and sound-making devices move according to models drawn from animate and inanimate nature, from biology and physics. They appear as subjects, with independent rhythms, gestures and sensibilities. In compositions and choreographies, they develop lives of their own and become counterparts to us. The stage, a biotope for this second nature.

PLAYER PIANO is commissioned by MINU_festival_for_expanded_music.

Kasernen, Teaterøen

Concerts

26. Nov

18:00

MINU_festival_for_expanded_music 2026