Jules Reidy
12.9 – 11.10 2025
Mint, ABF Stockholm, Sveavägen 41, Stockholm
Installation and live performance by Jules Reidy
Alongside work by Libuše Jarcovjáková
Curated by anorak as part of September Sessions 2025
Jules Reidy makes song cycles which abstractly deal with devotional love, transcendence and death of the self. Known for their rich, immersive sonic world-building and magnetic performances—using spatialised guitar, electronic processing, and non-traditional tuning systems—Reidy turns to installation for the first time with Inside, Crystals and Circuitry, loosening the narrative impulse of song.
The title takes inspiration from Peter Wollen’s speculative science-fiction film Friendship’s Death (1987), in which the android Friendship poetically describes themself as being “inside, crystals and circuitry,” despite their outwardly human appearance, voice, and gesture. Set in a hotel room in Amman during the ‘Black September’ in 1970—the Jordanian offensive against Palestinians—the film is a meditation on humanity’s tendencies towards violence and destruction, in which the figure of the android turns the tension between form and essence into an ethical argument.
Here, sonic fragments are refracted through a field of glass and reflection, echoing that ambiguity. Inside, Crystals and Circuitry refuses narrative closure; it stages dissonant encounters—a collision of worlds carried by microtonal friction rather than by contrasting intact sonic holding patterns—and thereby replaces the demand to decode with a demand for attention.
The multi-channel installation unfolds across the foyer and adjacent exhibition spaces of Mint alongside work by photographer Libuše Jarcovjáková.
Jules Reidy performs in contexts such as CTM, Unsound, ReWire and Big Ears festivals, and has recently released on Thrill Jockey, Black Truffle, Shelter Press, Editions Mego and Longform Editions. Outside of their solo work, they collaborate with artists such as Judith Hamann, Sam Dunscombe, Ivan Cheng, JACK Quartet, Zinc&Copper, and the Pitch.
Libuše Jarcovjáková (b. 1952, Prague) is one of the most significant Czech photographers of her generation. Her work, often described as a raw visual diary, captures life under socialism, the queer underground, and deeply personal moments of intimacy and self-reflection. She became known for her uncompromising, grainy black-and-white images of marginalized communities, nightlife, and her own private struggles—photographs that decades later gained new life in the acclaimed documentary I’m Not Everything I Want to Be (2024), nominated for the Academy Awards. Her international breakthrough came with the book Evokativ (2019, Untitled publishing) and the exhibition at Les Rencontres d’Arles (2019), curated by Lucie Černá, which was celebrated by The Guardian as one of the year’s best. This success brought her multiple Czech photography prizes, including Photographer of the Year and Book of the Year, and she was honoured as a Chevalier de l’Ordre des Arts et des Lettres in France.