Sorgenfri torv
A Sound Library Revived. A Sonic Reorientation of a Suburb.
About Us
Installations – all 9 days:
For details about the installations check out our catalogue
Annika Sellik — Foreboding Linger
Annie Mahtani — Soundscape
Carl Michael von Hausswolff — It is Written
Frank Ekeberg — Ingenmannsland
Freya Zinovieff — Hey Charlie, I Fixed It for Ya
HC Gilje — The Sound Critters
Isa Kiviaho — Pelagic Breath
Louise MacKenzie — Take the A/E Train: Trainscape. Daily at 11am.
Luz María Sánchez — lys hvitt · lyd hvit // light white · sound white
Lynnette Campos — Un solo verano
Maia Urstad — Take the A/E Train: Trainwave.
Nina Helledie — Dinner in the Green (Installation and performative work)
Ricardo Vaz — Sound Glass Experiment
Tilda Zsemberovszky — Abandoned Wasteland
Tulle Ruth — Window Installation
William Eglite — Reading the Wind
Frequently Asked Questions
What is Nine Days of Green?
Green is, first of all, the place: Greens Bookshop as the project’s base and “library desk” (and as a site marking its 70th anniversary). But Green is also a method and a key: the commons—a shareable common ground—where the square becomes “green” in a social sense: a temporary public space you can enter without having to buy access. Green also means being green: being a beginner, untested, in training—precisely the condition the project cultivates as we rehearse listening as a shared civic skill. And Green is wayfinding: green light, signal, route—an orientation between square and train, between centre and periphery; a “green screen”; but above all an invitation to board a moving public and let everyday rhythms become a score.
Why Nine Days?
Nine Days of Green draws a deliberate line to Nine Evenings: Theatre and Engineering—not as a copy, but as an idea: a time-bounded series where art and technique (here: sound, everyday infrastructure, and the library as a civic idea) form a temporary laboratory for new kinds of publicness. We celebrate the day because it marks a shared threshold: from private listening to shared attention—a concrete occasion to gather, try out nine “listening trials,” and leave a collective archival trace. And because celebration itself is a public technique: a ritual that enables proximity without requiring agreement—we meet in what we can hear together.
What is Sorgenfri Sound Library?
The sound library in four layers
The project plays on the “sound library” in four registers—concrete, metaphorical, historical, and aesthetic—and fuses them into a single experiential engine:
- Concrete (library as lending and collection)
The exhibition is organised as a living library: listening cards, vinyl evenings, “shelves” of sound works (QR/stream), and a small archive table where visitors can deposit short sound notes/texts as “returns.” - Metaphorical (library as shared ownership of attention)
We don’t only “borrow” sound—we borrow each other’s time. Intimate publics arise when we temporarily share rhythm, silence, waiting, walking, and commuting. - Historical (library as a democratic idea)
In front of Sorgenfri Library (now empty), the library is activated as a historical figure: a place of shared resources, learning, and publicness. Nine Days of Green asks: what is the library’s idea today, when publics are also formed in transit, in commerce, on screens—and through sound?
Aesthetic (library as composition)
Each day is curated as a score: a sequence of listening actions, texts, works, and performative situations that compose the square and its movements.
Where is Nine Days of Green Located?
The project unfolds in and around Sorgenfri Square as a network of small stages:
headphone-based workshops in the A/E S-trains.
At Greens: Front shop, book shop: basecamp / “library desk” (info, daily gatherings, concerts, DJ-stafet, performances, film screenings, workshops).
At Green Cafe: Sonic Soup Kitchen, daily.
Under the pergola: collective listening assemblies, readings, score-based performances.
In the art basement: intimate works, listening cinema, slow setups, archive practice.
In shop spaces: “nodes” in the score—micro-installations, voice works, listening posts.
In front of the empty library: historical/poetic frame; “the library as ghost and possibility.”
In the pedestrian tunnel: a resonance chamber—where voice, footsteps, and reverberation make publicness physical.
Got questions?
Feel free to reach out.
Nine Days of Green
Sorgenfri Torv
2830 Sorgenfri, Denmark
18-27 June, 2026
Sonic Reorientation
Nine Days of Green is a nine-day exhibition, listening, and performance format unfolding in and around Sorgenfri Torv, with Greens Boghandel as its base and temporary “library desk.” Conceived as a temporary sonic institution, the project treats listening not as passive reception but as a shared social practice: a way of being together in everyday space through attention, proximity, rhythm, and exchange. Developed around the figure of the former Sorgenfri Library and the living presence of Greens Boghandel, the project proposes the square as a site where sound, poetry, literature, and artistic action can generate intimate publics and new forms of civic attention. The project’s core concepts, including the “sound library,” the square as score, and listening as a rehearsed social technique, are central across the curatorial material for Nine Days of Green.
Across nine days, shopfronts, basement spaces, passages, the pergola, and the area in front of the disused library are activated as a distributed exhibition architecture. At Greens, visitors encounter an information point, listening cards, gatherings, and archival returns; elsewhere, the project unfolds through installations, sound walks, performances, screenings, readings, workshops, and listening assemblies. Rather than presenting artworks as isolated objects, Nine Days of Green organizes the site as a temporary “sound library” in four overlapping registers: as collection, as shared ownership of attention, as a historical figure of public culture, and as an aesthetic composition.
The project emerges from a broader vision of a Sonic Library / Museum for Sound Art in Sorgenfri: a platform dedicated to sound art, listening practices, poetry, research, and archival work, rooted locally while remaining connected to international sound art networks. In this context, Nine Days of Green functions both as a public festival-format and as a working prototype for a longer-term sonic infrastructure—one that links exhibition-making, listening, education, and archive. This framework also aligns with the wider profile and mission of the proposed Museum for Sound Art, which foregrounds listening as an aesthetic, social, and political practice and addresses what it names a “social listening deficit” within contemporary culture.
Program elements include daily listening scores for the square, vinyl evenings structured as presentations of private sound libraries, workshops and collective listening sessions, moving-public formats such as Take the A/E Train, and recurring archival gestures gathered under the rubric Frequencies of Freedom. Each day is conceived as a public assembly composed of three parts—Gathering, Action, Archive—through which the festival accumulates a collective trace of listening, writing, recording, and return.
Participating artists to be announced soon!
Situated in a suburban square marked by memory, everyday commerce, and unresolved urban transformation, Nine Days of Green approaches listening as a cultural technique for inhabiting place otherwise. It asks what a local environment sounds like; how a suburb may be heard as a composition; and how shared listening might briefly convert ordinary transit, waiting, shopping, and gathering into a form of public culture. At once exhibition, score, archive, and social experiment, Nine Days of Green proposes a poetic and infrastructural model for being together through sound.