MINU Festival for Expanded Music has, in the last few years, become a fixture in the Copenhagen calendar. Under the curation and organisation of Mikkel Schou, Dylan Richards and Roberto Besler, the festival has consistently put on programs full of musical performances that push the boundaries of art forms. The works on display often pose questions to the audience not only about what art can do but also the conditions of the world from which this kind of music emerges. 

This year’s MINU seemed tighter than earlier iterations of the festival. In a welcome way, it also seemed freer from the overt frustrations of institutional critique, which has previously been a dominant theme. Instead of being something they were compelled to react against, the problems of institutionalised art making have become the festival’s opening wager as the works explored what could come next.