4.–26.4.2026

Why do we have a hard time appreciating the singing voices of our machines?
Human humming is a soothing sound, associated with safety and relaxation. We hum when we are content, to calm our pets and children, or simply because we like the sound. Humming is created through a form of resonance, air vibrating in the cavities of our skulls. When machines hum, it’s often caused by mechanical vibrations, electric current modulating at harmonic frequencies. Unlike human humming, it’s generally experienced as a nuisance: Humming can be considered a positive term when it relates to humans, but it’s close to the opposite when produced by a machine.

Many of the installations in this exhibition make some kind of sound. Most of it is intentional, but sometimes unexpected noises appear, soft clicks while switching signals, a buzzing motor, a slightly distorted speaker. As the installations include discarded pieces of furniture and broken gadgets that have been repaired or modified, not every aspect can be predicted. By embracing these eccentricities, the objects develop more complex characters. As a whole, this exhibition aims to question how humans develop connections with everyday technological objects and what happens when these objects function differently.

I’m especially interested in the relationships that we form with technological furniture. In the 50s, 60s and 70s, intricate pieces of furniture were created that included built-in record players, radios, stereo systems or telephones. Even though the technology might have become obsolete, the furniture persists and is still in use, although it may have a different function nowadays. Something about these technological pieces of furniture inspires a connection that simple gadgets and non-technological furniture seem to lack. When those break, they’re thrown away and replaced by shiny new versions instead of being repaired or repurposed. Could it be that we care more for our old technological furniture, because it is better at singing?

Back to mechanical melodies: It’s believed that singing together reinforces relationships between humans. So can we form a deeper bond with technological objects if we appreciate their sonic quirks?

The exhibition has been supported by the Finnish Cultural Foundation, Juhani Kirpilän rahasto.

Marloes van Son (b. 1991, The Netherlands) creates sound-objects, instruments and experimental music. Her artistic practice combines electronics, woodwork and sound in varying combinations. Through exhibitions, performances and workshops she explores interactions with everyday appliances and situations. Her interests include connections between humans and technology, repair culture, interface design and combinations of electronics with craftsmanship. She is currently investigating repair as a mechanism for care, aiming towards a more sustainable relationship with our electronic possessions. In this context she creates installations and instruments that re-purpose discarded furniture and technology, while organising workshops where participants explore personal connections with objects through the act of repair.

Van Son received a Master’s degree from Visual Culture and Contemporary Art (Aalto University) in 2017, after completing her Bachelor’s degree from the ArtScience Interfaculty (Royal Academy of Art, The Hague). Originally from the Netherlands, she currently lives and works in Helsinki. She has held solo exhibitions at Galleria Huuto and Galerie AMU (Prague) and a duo exhibition with Alex van Giersbergen at Myymälä2. She has participated in group exhibitions and performed throughout Europe.