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A trailer of our work at UrbanApa festival at Ateneum in Helsinki. long trailer 'Different but same in this structure of a structure' from Jenna Broas on Vimeo.

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New album out! https://guggenhavn.bandcamp.com/album/attempts-future

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I was part of Mikkelin Nykytanssi Tapahtuma at Etelä-Savon Tanssiopisto. The event was about sharing and creating. Participants: Marie Anderson (Swe), Ismo-Pekka Heikinheimo, Fanny Gurevtisch, Sara Gurevitsch, Tiina Jalkanen, Mikko Kilpiä, Taryn McGovern (Us), Kira Riikonen, Raisa Vennamo & Katariina Vähäkallio. I was part of the movement and creating sounds.    

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we were visiting Jenni-Elina Von Baghs studio at Teisko and trying out some stuff that came out. <3d doing an impro outside with these people View this post on Instagram some work at teisko with juhana & jenni-elina von bagh, alma lehmuskallio & sara gurevitsch #me and sara in #picture A post shared by Tom Lönnqvist (@tomatom3) on Jul 3, 2017 at 4:34am PDT

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I got elected to show at Galleria Muu fall 2018. This will be a private exhibition in Galleria Muu’s space in Kaapelihalli.

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We performed Celeste at Hangö teater träff. It was fun to make to performance to a new venue http://hangoteatertraff.org/fi/ View this post on Instagram esitys meni hyvin #goodvibes celeste #hangoteatertraff A post shared by Tom Lönnqvist (@tomatom3) on Jun 10, 2017 at 10:47am PDT

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Our performance Celeste as reviewed   https://svenska.yle.fi/artikel/2017/04/21/teaterrecension-mingel-i-begarets-dromfabrik https://www.hbl.fi/artikel/bland-sluga-utstallningsdjur/

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working with triggering sensors as a part of composing. we will have a demo tomorrow. here a taste View this post on Instagram A post shared by Tom Lönnqvist (@tomatom3) on Apr 26, 2017 at 2:30am PDT !!dancers: Pauliina Sjöberg and Salla Rytövuori Project coordinators: Aki Päivärinne & Hanna Pajala

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My album got this indepth review in http://etherreal.com/spip.php?article5443 also, I made a revised version of one of the tracks for CELESTE

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“It is by lending his body to the world the artist changes the world into paintings. To understand these transsubstansiations we must go back to the working actual body -not the body as a chunk of space or a bundle of functions but to that which is an intertwining of vision and movement” (Merleau Ponty 1964)