On Sazan island, an abandoned military exclusion zone on the borderline of the Adriatic and Ionian sea, hundreds of bunkers merge in the natural landscape. They are reminiscences of the massive bunkerization program started by the communist dictator Enver Hoxha in 1965. 173,371 of these concrete cupolas sprouted from forests to beaches and cities up to the island, ready to protect in case of a two-front war. The war never came.

Sinking Amulets discloses a site-specific sound intervention in three of these waiting monuments. Inspired by the pre-radar era's acoustic locators, 3 metal tubes are constructed inside the bunkers. They sit where supposedly the artillery would have pointed the enemy. They probe the inner space of the bunkers creating sounds through mechanical friction. Instead of firing bullets, the funnels project percussive scratches, soft noises and vibrations.

The tempo of the sonic gestures is given by the depth of the bunkers.

Ultrasounds measure the length between the earth and the tip of the bunkers to determine the rotation speed of 3 solar-powered motors. As the bunkers sink, different materials touch the metal softer and softer until the sound disappears.

Placed next to each other, in trio formation, the funnels project a continuous, slow evolving sonata that will disappear together with these fear-shaped artefacts.