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24.05.2019, 8:00 pm
Jasmine Guffond is a sound artist and composer working at the interface of social, political and technical infrastructures. Her practice spans live performance, recording, sound installation and custom made browser plug-in. Through the sonification of data she addresses the potential for sound to engage with contemporary political questions. Recent projects employed digital technologies, sonification and the aesthetisation of data as a means of fostering discussion around contemporary surveillance technologies as well as producing experimental audio works. Interested in providing an audible presence for phenomena that usually lies beyond human perception, via the sonification of facial recognition algorithms, global networks or internet tracking cookies she questions what it means for our personal habits to be traceable, and for our identities, choices and personalities to be reduced to streams of data. Jasmine has exhibited internationally including Akademie der Künste (DE), Deutsche Oper (DE) and the Museum of Contemporary Art (AU), performed live internationally at music and electronic art festivals, and recorded music for CD and 12inch vinyl releases with the Staubgold, Sonic Pieces and Karl Records labels. She completed the Sound Studies, master in arts program at the Universität der Künste, Berlin Germany, 2015 and received the ‘Working Grant for New Music und Sound Art’ from the Berlin Senate in 2016. She is a current PhD candidate at UNSWAD, Sydney Australia conducting research into sound as a method of investigation into contemporary digital surveillance.
Maria W Horn & Vilhelm Bromander
Vilhelm Bromander is a swedish bass player, improviser and composer based in Stockholm. He embraces his bass from many different angles, with a great curiosity in sound, texture, intonation and timbre. Often he directs his focus to acoustic details such as beating, common partials and difference tones – to hear what happens with our perception when we allow ourselves to be immersed in sound for a longer stretch of time. He draws inspiration from a wide variety of genres such as improvised music, free jazz and electronic music as well as his studies of just intonation and dhrupad.
Maria W Horn is an experimental composer concerned with manipulating time and space through sonic extremes. Horn’s work oscillates between minimalist structures and piercing power electronics, simultaneously utilising synthesis, acoustic instruments and audiovisual components. Her work examines aspects of human perception, such as how audiovisuality and changes in stimuli can conspire to transcend everyday life and conventional modes of perception, ultimately invoking alternative mental states.
Maverick violinist, improvisor and composer Katt Hernandez moved to Stockholm in 2010, and works with a host of artists in many projects. She began a PhD in Music at Lund university in 2015, burning to understand and trasmute the vast forces shaking cities apart through the ephemeral, the gentle and the complex, in sound. She also spent the last three years as a researcher at the Royal Music Academy of Sweden in Klas Nevrin’s Music in Disorder project, and currently plays in the Fire! orchestra, as well as a host of other sudden, spontaneous configurations in spaces both known and unlikely. Her playing, making and doing have been featured both locally and internationally. Before leaving the U.S., Katt was a veteran of experimental music scenes, Art Spaces and activist circles on the east coast, where she worked with a vast array of musicians, dancers, puppeteers, film-makers and other artists.
Continuity is the latest offering from Sand Circles, aka Stockholm-based artist Martin Herterich. While his solo work is usually associated with the Swedish experimental underground, with musical projects ranging from off-kilter soundscaping to crude industrial tape works, Sand Circles played with dreamy, pop-infused techno music. His latest work Continuity is a further exploration of those same themes; the ecstasy of city life depicted through processed field recordings, stretched harmonies and faded club music.