Noqanchik, 2023

to Use public transport in the day-to-day involves a coming and going of faces, voices, attitudes, and sounds, images, gait, anger, etc, The public transport in Bolivia, specifically in Cochabamba, is full of interesting moments, and especially sounds.
A walk in the old bus, who came to this country over 40 years ago, or in the so-called minibuses is the invitation of Noqanchik, which in quechua means “we”, to listen, to hear and be carried away by the sounds. of the old vehicles and canned, for the voices that come and come, for the conversations and the sound landscape that is born every time you hop on a bus or minibus.

Alejandra Canelas is a psychologist, radio announcer, educator, and artist sound. Practice psychotherapy, feminist women, and disagreement; and makes the radio a form of struggle, committed to establish dialogues honest, necessary, and repairers. He has participated in various creative processes from audiovisual and sound.

Rimarispa Wakaswan, 2023

Collaborating with the special programme of events that take place in La Paz, Bolivia.

Rimarispa Wakaswan or Talking to the cows is a proposal to listen to the dialogues among species that occur in the crop lands of the valleys of Pocona in Cochabamba, between human and oxen. The yoke, an agricultural technology, has existed for about 5,000 years ago, and came to these territories more than 500 years ago, along with the cattle. It took some time for the local population, and these animals speak the same language.
Today, the agricultural production is almost totally dependent on the yoke and the language that is active. These sounds not only allow them to communicate, live and work together, but also to transform and compose the ecosystem of sound, that we inhabit.

Lucia Herbas Lamb is a dancer-performer, historian, and radio announcer. His work inhabits the contemporary art and the research-action from different methodologies, formats, and experimentation. Your questions and practices are influenced by the memory, the body, orality, movement, and territoriality. It has been part of several research processes and the creation scenic, and sound arts alive. From 12 years ago as part of community projects and self-management of counterinformation and radio, from where he has begun to explore and reflect on the world of sound. Has double residence (rural-urban) as the majority of the migrant population of Cochabamba. Still believes in autonomous spaces and in the bonds and desires that underlie them.

Of the lips to the moon, 2023

The words fly from your lips and swing to the moon. all the way and collecting dust. accumulating lust, love, amnesia. Somewhere in space, in total darkness before the dawn, you realize that swavel is not a word, but remember that maahi ro har vaght az aab begiri taazas, as long as you can ignore the smell of fish. laden subfrecuencias, bile, policy, capital, and carbon monoxide, the words hit the moon, forming craters, mountains and river beds empty.
From the Lips to the Moon is a collaboration between Tara Fatehi and Pouya Ehsaei. Playing with the synergies of the words, the melodies, the language and the rhythms, the music and the soundscape of Pouya fuse with the voice and words of Tara to tell stories that aren’t stories with chills and languages means family.
Pouya and Tara organized From the Lips to the Moon as a regular evenings of music and poetry in London, where they invite other poets, musicians, and visual artists to join them together to create live presentations.

Tara Fatehi it is a multidisciplinary artist, performer, and writer. Creates parts poetic-political issues through performance, text, movement, voice and video. The work of Tara plays with the ambiguity, the bad translation, the disjunction, the unfinished and the disordered narrative that they are and they get lost in the daily life. He has acted in the Royal Academy of Arts, Nuffield Theatre, Nottdance, Chapter, Julidans and Montpellier Danse, among others. Focusing on the interrelations of files and performance through his doctoral thesis (2020), Tara has created the project and published the book Mishandled Archive, scattering 365 snippets of family documents through the performance and photography. In 2021, Tara was the first artist-in-residence in the Archives of the United Nations in Geneva.

Pouya Ehsaei he is a composer, sound designer and electronic musician. He experiments with different techniques of composition and sound synthesis to create a passage sonic through soundscapes hypnotics, rhythms, industrial, intricate miniatures of sound, soundscapes epic, rhythms polymeric fractals and subfrecuencias pulsating and overwhelming. Is the leader of the group of jazz-mail Ariwo and the creative leader of Parasang, an initiative that brings together musicians from around the world to create a concert of improvised and unique. She has performed in the Royal Albert Hall, Montreux Jazz Festival, Barbican Centre, Southbank Centre, Royal Academy of Arts, Womex, Womad and Fusion Festival, among others. He collaborates regularly with other artists on projects of dance, performance, video games, and film.

Media ecologies in the Thunupa Saltflat /
Ecology of the media in the Salar de Thunupa, 2023

Contributor to the special programme of events that take place in La Paz, Bolivia

A study of the technology, media, communication networks, and the contamination in the horizontal and vertical axis of the landscape of the salar de Thunupa, and how this herciosfera spreads through environments inhabited.
The salar is a vast ecosystem that contains more than 60% of the reserves of lithium in the world and a place tactical used by the military, smugglers, tourists and satellites calibrate their sensors due to the surface more flat and reflective of the earth. Through a receptor system of our own design to listen for radio signals from source geogénico and anthropogenic, in the action of listening to amplified ecosystems electromagnetic natural, human and technological in wavelengths that pass through the species, but remain inaudible.

Victor Mazón Gardoqui he is an artist who focuses on exposing what is unheard and unseen, to address the inaccessible and experience the vulnerability and awareness in the viewer. The perception and altered states are the key concepts in the representations through the use of the sound or the light.
Her artistic practice explores the amplification, the electromagnetic phenomena and images of invisible fields through the use of locative audio and custom electronic. Their work is embodied in three main fields: actions or performances, site-specific through experimental processes, exposures as a consequence of previous actions and collaborative projects through seminars to form a community dialogue.
Is an educator senior and a professional who works with open source hardware circuit design and experimental. Mazón Gardoqui to investigate open source hardware in the RIAT and coordinates workshops and formats of education in the domain of studies of devices and applications sensory experimental. His work has been performed or exhibited in museums, biennials, galleries, billboards, urban screens and radio/TV stations in Africa, Russia, Nepal, North America, Canada, Mexico, Bolivia, Colombia, Argentina, Uruguay, Antarctica, and many places around the world. Europe.

contact avec l’eau (In contact with the water), 2019 / 2023

In contact avec l’eau (In contact with the water) is a sound piece that explores the intersection of sound, the environment and the human experience. It was produced during the initial stages of a workshop on mapping of sound city directed by Abdellah M Hassak in the context of the Ateliers Creatifs of Dar Bellarj with QANAT in march of 2019.
In collaboration with Amine Lahrach, the team conducted a small experiment in the medina of Marrakech using a metal box full of water that is connected to two microphones acoustic. The goal was to capture the soundscapes acoustic of this experience, offer a listening experience participatory and inspire the audience to imagine and develop a sense of agency and belonging, which is indispensable to the imagination, politics and aesthetics. The piece encourages us to think differently about our relationship with water and the world around us, highlighting the importance of active listening, empathy, and creativity to develop a deeper understanding of our environment.
The piece has been shortened from 30 to 15 minutes without making any election political or aesthetic, to make it more accessible in the context of a listening time limited.

Abdellah M. Hassak is a sound artist, new media, music producer and artistic director. Abdellah has collaborated with numerous institutions and cultural spaces in Morocco and abroad, in practice, radio and sound. Launched the platform of sound Radio and Archive Mahattat Radio. As a DJ and producer, Hassak produces and develops music afrofuturista syncretic with field recordings. Under the name of Guedra Guedra, explores the polyrhythms tribal and innovations of the dance floors underground. Their debut album Vexillology was reviewed by Bandcamp, Resident Advisor, The Guardian, KEXP, Pitchfork, and Mixmag. Hassak is also co-founder of 4S’, a moroccan NGO that leads the project FeMENA, dedicated to the professionalization of women in the sector of electronic music.

The Singing Project, 2020-ongoing

The Singing Project is a collective practice, and a sculpture of singing. Invited to a shift of attention towards the connection and co-creating a language community of sound that is based in tune with the present moment, listening to and singing intuitively. The project started in 2020 as part of the solo exhibition of artists “Sympathetic Resonance” at Kunsthalle Osnabrück and is currently present in the Museum Gropius Bau in Berlin, where it has taken several forms, such as workshops, meetings, and an exhibition that was installed as a score open, and an invitation to visitors to be the space with their voices. The project transforms the museums in places of singing continued but, in the last instance, is rooted and done for the daily life. It has the potential to transform into many formats, and creating new points of connection, as this piece of audio for The Listening Biennial.

Ayumi Paul is an artist and composer who works with sound, performance, ritual, paper, textile, film and installation. The interdependence of all phenomena is essential for your practice, which is dedicated to listening to and engaging with the non-linearity of the time.
It was formed as a violinist and classical at the Hochschule für Musik Hanns Eisler in Berlin and at the University of Indiana, and acted in many of the major concert halls of the world for over 15 years, as he continuously their multidisciplinary approach to explore the sound and consciousness. The work of Paul, is today mainly in contexts of visual arts and the performing, including Kunsthalle Osnabrück (2016 and 2020), National Gallery Singapore (2018 and 2021), SFMOMA (2021), Villa Massimo (2021), Auditorium Parco della Musica (2022), Gropius Bau, Berlin (2022).

Opera Kard (Market), 2023

The work contains 12 speakers, each speaker to reproduce the sounds of the kard or the local markets of the north of Thailand. These markets are held once or twice a week and are meeting places where people from different ethnic backgrounds get together, communicate and sell. However, I do not see the kard only as a place where mixed people and cultures; it is also a place where they congregate unusual things. Thus, each kard is a combination of a musical score and a jamming session; they are events that are unique. I made field recordings of 12 markets in the course of a year. I took the various sounds and vibrations of the markets, from the chatter of the people up to the singing of birds and the blowing of the wind. These were edited, reorganized, and composed in a single piece of music. The work is a set that performs a representation operatic sociocultural kard where the public can walk around or sit and listen.

Arnont Nongyao living in Chiangmai (TH) – Ho Chi Minh city (VN) and is an artist interested and in love with the vibration of things. He likes to listen to everything what inspires people to do art sound experimental. The most important teacher “the teacher Khvay Loeung” what inspired you to listen to and “destroying himself to be yourself”.
Some of its exhibits selected include the solo exhibition “Another Sound” in collaboration with Khvay Loeung, projects, Sa Sa Art, Phnom Penh, Chiang Mai, Cambodia – Thailand (2018). and collective exhibitions “Opera of Kard”, Singapore Biennale 2019, Singapore. “Currents 2019”, Phnom Penh, Cambodia. “To Visiblelity Matrix”, The Secession 2019, Vienna, Austria. Biennale Art festival Bangkok 2018, Bangkok, Thailand. “Postscripts” Biennial of Bangkok, Bangkok, Thailand (2018). “Unstable(ry) Life”, 2016, Manif d’art, Quebec, Canada. 16th Media Art Biennale WRO 2015: Exhibition of proof, Wroclaw, Poland, TRANCE in Gallery VIEW, Bangkok, Thailand (2014). PROXIMITY, part of inSPIRACJE International in 13 MUZ, Szczecin, Poland (2014).

In another place, here, 2023-in-progress

Under a bruised sky, clouds of dark wings dotting the sky with its hypnotic chorus… to disappear into the life of loved air, their occupation of a park of the city, suddenly.

Planetary Listening it is a group of artists and researchers in international, interdisciplinary, which was formed in Berlin in 2021, with the intention of thinking together around questions like: What it could mean to listen beyond what is human? Is it possible to reorient our perception and understanding of the voice and the agency to extend it to other forms of life? How can artistic practices open to ways of coexistence and collaboration of green to nurture future sustainable and imaginary planetary? Through forms of shared study, dialogue, research, located and creative work, the group explores what could be a global ethic.

Wind Sacred, 2023

Collaborating with the special programme of events that take place in La Paz, Bolivia

The “wind sacred” Bi Nandxó is the testimony sound of the impact of ecological, economic and social generated by the impairment of social, economic, and ecological generated by the construction forced wind farms in the Isthmus of Tehuantepec, Oaxaca, Mexico. The apparatus sound of exfoliation that we hear are the towers of wind energy, the towers of wind power generation with the noise of the rotor of the turbine, the nacelle, their shovels, their whistles, breaking through the wind, the engine, and, above all, a drone, above all, a murmur that can be heard meters away and never, never stops. A sound that older people do not remember and that he joined when they arrived the wind farms to the area.

Griselda Sanchez is Artist Sound Ñuu Savi, Journalist and Radio Producer Community. From more than a decade ago conducts workshops for community radio stations, specifically with women presenters. Has received numerous awards from the International Biennial of Radio and has participated in different National and International Festivals of Sound Art radio national and international levels. His passion is to walk in the forests, jungles and highlands. Maintains a position of political and communications in the defense of life. She is the author of the books: The Line; Tales of the resistance in Atenco (2010). Air, don’t sell yourself: The struggle for the territory from the waves (2016), Doers of stars (2022). His most recent research titled Song of the Rain; construction of territories in sound, alterations, and mega-projects, is part of his thesis to obtain the degree of Phd in Rural Development in the UAM-X. Immersed in a deep process of repair organic, maintains a close link with the herbalist and participates in a laboratory of bio-and organic agriculture in San Agustin Etla, Oaxaca.

IYE’efface IYE Pi Eleven If Your’veux IYE Du Fousse, 2023

IYE’efface IYE Pi Eleven If Your’veux IYE Du Fousse is a piece built with 3 short poems sound crossed by sparks of debris vowels.

Alexandre St-Onge is an artist, an intermediate and a performer, a sound that explores the mutation of the body performative through its mediations, sound, text and visual. Doctor Philosophiae (PhD) in art (UQAM, 2015) and is an assistant professor at l’école dart of the University of Laval, is fascinated by the creativity as a pragmatic approach to the elusive and has published more than twenty works, and presented his work. at national and international level. Founded éditions|squint|press with Christof Migone and worked with groups and artists such as: Marie Brassard, Simon Brown, Karine Denault, K. A. N. T. N. A. G. A. N. O., Lynda Gaudreau, Klaxon Gueule, kondition pluriel, Suzanne Leblanc, mineminemine, Line Nault, Jocelyn Robert , Second Regard, Shalabi Effect, undo et Unzip Violence, among others.

Soup of parasites, 2023

Start Soup of parasites with the Spanish words, “some places will always be to nosotres, and never more will be. There, where the rhythm of our body coincides with the rhythm of the place, it synchronizes our existence.” (“some places will always be for us, and never more will be. Provided that the rhythm of our bodies coincides with the rhythm of a place, we synchronize our existence”).
During a conversation with the percussionist mexican Jonathan Rodriguez, explained its attraction to Douglas, Arizona / Agua Prieta, Sonora, the border area where he grew up and where his family lives. “Everything moves slower,” said Jonathan, hinting at how the pace was also a concept of place. We continue talking, “maybe the internal rate of one is built from the rhythm of a place when we grow in him.” Then, as we move to another place, we miss to be synchronized.
Soup of the parasites gives you a serenade to the places that we miss, that never belong and that always perteneceremos. I decided to slow down most of the recordings that make up the piece, including the percussion of Jonathan and the violin Melika Hadžić, recorded outdoors in France in 2017. Melika and Jonathan interact with places captured in field recordings that represent some of the rhythms that have grown. in my.
Parasite Soup invites listeners to reduce the speed, an invitation especially extended to those surrounded by urban environments accelerated as foreigners or outsiders missing your connection with places that grew in them rhythms easier, calmer and slower.
Soup of parasites is part of a series of experiments of audio produced and transmitted through my project Radio Parazit. Radio Parazit, “Parasite Radio”, contains and transmits my explorations around the “Diasporic Imaginaries”, initially created for Off-Site through indications, discussions, connections, and locations. Through a series of radio broadcasts experimental, I think, and I share aloud experiences, thoughts and hopes with material derived from personal stories rooted in explorations of artistic and acoustic. My voice, however, is not unique. Instead, I suggest a unique perspective of a constellation of voices that I have found over the years. These voices have shaped my own and have shortened the distance between the subjects and places that built my own experience diaspórica in this world.

Nicholas Kisic Aguirre is an architect and artist sound transdisciplinary that creates machines that explore and illuminate the nature of social and political of the sound in public space. Informed by his experience in architecture and a lifelong fascination for machines, Kisic Aguirre designs and builds instruments of sound that explore the connection between the public space, the power, the technology and the sound. Its critical practice and aesthetics is open-source, collaborative, and deeply engaged with the public.

Reject, 2023

REFUSE was an exhibition middle that is based on the influences of the past and present of the band, drawing on his interest in fungi and networks of mycelium to explore the twin ideas of decomposition and composition from perspectives of both biological and music. The presentation included a file and installation space based on the time, and speaks of the methodologies in the constant evolution of The Observatory, the communities that surround them, as well as the role that we play in the music scene of Singapore.
A video documentation which serve as a kind of fruiting body of this exhibition, and as a work of art itself is presented for the presentation of the Biennial Parola in Manila. The sound element of the video includes several methods of direct fungal order to be perceived as a narrative between species, a species of composition through decomposition.
Separately for the Biennial of Listening, we propose to present the documentation of the audio of one of the stations in REFUSE. In the old formats of audio playback (such as cassette tapes and CDS), we had observed that the fungi, in the form of mold, they had always made their presence symbiotic with the tape or the CD. This resulting cooperation with the recorded audio is usually created a remix entirely new material. In the digital world today, we’ve excluded quite successfully the collaboration capability of the fungi. For this to work, we adopt an approach speculative to reintroduce the collaboration of the fungus with digital media. The signals bioelectrical obtained from a vial of fungi Ganoderma sp in growth were sent through a selected playlist of the discography of The Observatory. With this, the fungus was free to remix and click this playlist to your eclectic taste. As the discography of the band covers a period of over 20 years with trajectories of gender varied, you can anticipate the contrast between the noise meditative and the end.

The Observatory far from being silent and objective as its name suggests, is a band whose music and cultural spirit is to respond and to respond to the distress contemporary in Singapore and the global environment. Your current constellation comprised of multi-instrumentalists Cheryl Ngo, Dharma and Yuen Chee Wai who tread the improvisation, experimentation middle and the territories adjacent to the noise. In the face of new forms of disorders, The Observatory becomes restless on itself to shake, comforting, and resist. Based on lexical old and new, The Observatory seeks to unite artists and expressions. Two decades later, the practice polymath of the band covering the music and the interpretation; festivals face-to-face and radio programs online; concert tours and exhibitions interdisciplinary.

Slopiewnie (by Anna Szwajgier), 2010

“Slopiewnie” was inspired by the traditions of the slavic of the night of the solstice (Ivan Kupala night) and was conducted in collaboration with the group of students. The performance premiered at the site of the lake in Jelenia Góra, and then represented in the empty room of the shopping center in Poznan, at midnight of the summer solstice, as part of the Festival of the Summer Theatre of Malta. The audience was sitting in the dark, surrounded by twenty artists. “There is a belief that the eve of Ivan Kupala is the only time of year that they bloom ferns. Prosperity, luck, discernment and power would happen to anyone who is a flower of the fern. Therefore, on that night, village folk roam through the forests in search of magical herbs, and especially, the elusive flower of the fern. Traditionally, unmarried women, represented by the garlands in the hair, are the first to enter the forest. are to be followed by young people…”.

Born in 1980 in Krakow, Poland. Lives and works in Berlin, Germany. His works operate at the boundary between the music and the visual arts, and are strictly related to architecture. She has worked as director, with musicians, actors and dancers, and also with members of the local communities. She has presented her projects.or. at the Biennial of Architecture of Chicago (2019), Steirischer Herbst Festival (2019), Hebbel am Ufer Theatre in Berlin (2018), Festival CTM in Berlin (2020, 2018, 2015), Savvy Contemporary in Berlin (2017, 2016), De Appel in Amsterdam (2017), Heroines of Sound Festival in Berlin (2017), the International Studio & Curatorial Program in New York (2017), among others.
Between 2004 and 2011 (before moving to Berlin, he collaborated frequently with composer Anna Szwajgier. “Our compositions were purely acoustic. We do not use any electronic equipment or amplified speakers. In our practice we were exploring sounds from everyday life: noises made by the human body, objects, those created to involuntarily perform activities more or less casual as talking, walking, laughing, chewing, sigh, rubbing things together. What we are interested is how such actions, when performed by a group of people, change the sound quality from the obvious to the indefinable. How the timbre becomes a dominant factor. Also, we were using many instruments atypical, objects that are normally used for purposes other than the production of sound: hoes, high-heeled shoes, balls, plastic tubes accounts…