Stoorzender (noun, masculine/feminine; plural: stoorzenders)

/ˈstoːrˌzɛndər/

From Dutch stoor (“interference, disturbance”) + zender (“transmitter, broadcaster”).

Literally “interference transmitter”; commonly used to refer to unauthorized or pirate radio stations that disrupt official broadcast signals.

STOORZENDERS is an ongoing artistic research project that explores how gentrification, commercialization, and surveillance are reshaping urban space, and in turn erasing the voices that once defined it. Rooted in Nijmegen, the project takes the form of a foldable, off-grid installation composed of self-built radio antennas and a decentralized server. Together, they create a portable, autonomous infrastructure for collecting, storing, and transmitting hidden or forgotten stories from the city.

The stories come from the margins: from queer communities, squatter collectives, nightlife subcultures, and other spaces of resistance that are increasingly pushed out of the city’s visible and audible landscape. Drawing inspiration from pirate radio culture, STOORZENDERS revives the spirit of DIY broadcasting as both a tool of memory and a method of disruption.

Visitors interact with the installation through sound and light—two immaterial, ephemeral mediums that can occupy space without owning it. In collaboration with sound designer Ruben Kotkamp and DJ/producer Darko Esser (Tripeo), Walder composed a spatial, four-channel soundscape combining field recordings, personal testimonies, and ambient interference. The result is both intimate and disorienting: an emotional architecture built from voices, frequencies, and flickers of light.

More than a work of design, STOORZENDERS is a method of resistance. A "techno-anarchist" gesture that reclaims the tools of control and retools them for autonomy, collective memory, and radical care.