36.5 / North Sea, 2015, 3 minute excerpt from 12 hour, 46 minutes (split-screen to represent 2 channels)

36.5 / Bay of Bengal, 2017, 5 minute excerpt from 12 hour, 21 minutes (split-screen to represent 2-channels)

36.5 / Bay of All Saints, 2019, 12 minute, 16 seconds excerpted sample from 12 hour, 16 minutes (single channel)


36.5 / Bay of Bengal, 2017 — As the sun starts to set, Sarah is joined by musicians and a dancer (single-channel)

Video Work and Installation

Beginning with 36.5 / North Sea (iteration 4), Sunde decided she would collaborate with local Dutch filmmaker, Jonas de Witte, to capture the entire performance in real time from multiple camera perspectives. For 36.5 / Bay of Bengal, this concept continued and Sunde worked with Bangladeshi filmmaker, Saiful Wadud Helal. In Brazil, the 36.5 / Bay of All Saints camera crew increased to seven people under the direction of Brazilian filmmaker Guilherme Burgos, and everything was shot in 4K.

The video works are thus same duration as the corresponding performance works:
36.5 / North Sea: 12 hours, 46 minutes
36.5 / Bay of Bengal: 12 hours, 21 minutes
36.5 / Bay of All Saints: 12 hours, 16 minutes

They are edited within 10 days of completing the performance with purposefully long, slow shots lasting 10-20 minutes, and then exhibited on location.

The video works can be exhibited as a 2-3 channel installation, or combined to create a 4-6 channel installation. When installed as a 2-channel, the same durational video work is shown on at two screens: the left channel starts at 00:00:00 and right channel starts exactly halfway through, ie. 06:23:00 (North Sea), 06:10:30 (Bay of Bengal), or 06:08 (Bay of All Saints). The video then runs on a loop, ideally for 24 hours/day. The size is variable, but preferably large-scale on a suitable wall and/or as a surround experience with comfortable seating in the middle to encourage viewers to come and go or stay for substantial amounts of time.

The sound is layered and almost subconscious, played at a low level. For each location, sound artist/composer Joshua Dumas creates new layer of audio based on local sounds and climate data. This new layer of audio functions in relationship to the previous locations, slowing growing a complex and layered low-level symphony.

Once the primary six international performances are complete, the final form video installation will consist of at least 12-channels of video (two or more per location) with six layers of audio (one per location), that can be acquired to be shown in various spaces around the world – in full scale or on a smaller scale as needed.

Upcoming solo exhibitions: 

Te Uru Waitakere Contemporary Gallery, Auckland, New Zealand
February 22 – May 17, 2020

Georgia Museum of Art, Athens, Georgia, USA
April 4 – September 6, 2020


Recent video exhibitions: 

Scottsdale Museum of Contemporary Art, Arizona, USA

Fort Jesus Museum, Mombasa, Kenya

Works on Water Project Space on Governors Island, New York City

MAM: Museu de Arte Moderna da Bahia, Salvador, Brazil

Britto Arts Trust Project Space, Dhaka, Bangladesh

Oerol, Terschelling, Netherlands

Oude Kerk + de Appel + Marineterrein + Pakhuis de Zwijger, Amsterdam, the Netherlands

Installation views from 2-channel exhibition at MarineTerrein and Oude Kerk, Amsterdam (top images, left to right) and from 4-channel exhibition at Works on Water Triennial 2017 at 3LD Art & Technology Center, New York (bottom images).
During the Works on Water Triennial, the video played on four double screens 24 hours/day. At night, the curtains were drawn so the video could be viewed from the street at all hours.