Interview with Atte Kantonen
We interviewed Atte Kantonen, the curator of the bugbath: pathmaking event. The event will be held at Parvisali for the third time on Friday, October 30, 2026. Performances by Heu Hsu, Amina Hocine, and the duo Marja Ahti & crys cole.
Mad House: The bugbath series is now being held for the third time at Parvisali. What does bugbath: pathmaking bring to the series, and what is your current perspective on bugbath?
Atte Kantonen: Key features of bugbath: pathmaking are the "objective-thing-instruments" and the narrative, temporal, and landscape-like layers derived from them. Consistent with–or rather, a continuation of–previous bugbath events, the core idea remains that when sound is presented, a narrative– a path that weaves through time and understanding–inevitably emerges within the listener. For me, one of the most rewarding aspects of curating the bugbath series is witnessing, as a participant, the mental map transforming into tangible, surrounding matter. The landscape takes shape through the performances, and its depth is both surprising and enchanting–it's a joy to be in the presence of such wonderful gigs! :-)
MH: This time, the lineup includes Heu Hsu, Amina Hocine, and Marja Ahti & crys cole. What led you to invite these particular artists?
AK: What fascinates me about the work of this evening's performers t is their approach to turning objects, things, and spaces into instruments. I’ve been following and admiring their work for some time. What connects their practices is a precisely executed oscillation along the boundary between the associative and concrete qualities of sound–specifically as a force that manifests, shapes, and redefines materiality and physical substance. What if everything small is actually very large, and everything large is actually very small–or vice versa?
MH: What can the audience expect from the evening? How have you envisioned the audience's role and the possibilities for participation this time around?
AK: In their sensitivity and precision, the performances perhaps invite a focused position of experiencing and listening–though this does not necessarily imply a passive state of mind or being. The final, associative form of the sound takes shape within the listener; unlike a static image or visual scene, its fleeting, momementary nature leaves room for a different kind of interpretation–a space where the audience can construct their own personal landscape. At what point does sound diverge from an object, expression break free from an instrument, and a landscape departs from the present moment? Perhaps these questions–and others that arise while navigating the path: the listener (a category that ultimately includes me as well). So, let's linger in this terrain with open ears :-) lfg!
