is an MA Seminar on thinking and listening with and beyond the end of the world as we know it, having as its main driving force indigenous and anticolonial thinking.
Drawing and 2-channel sound piece. Commissioned by Kunstverein Tiergarten/Galerie Nord Berlin and exhibited as part of “v01ces – Die menschliche Stimme im Zeitalter der Künstlichen Intelligenz.” Dimensions: 7×2,5 meters. Length: 6’57”, loop. Voice: Ece Canlı. This wall-sized drawing and sound piece present a non-linear, speculative historical framework juxtaposing the development of the Subharchord – a […]
four-channel sound, risograph print. Commissioned by the Kunstkommission Düsseldorf as part of “on damp earths we wander” at Lantz’scher Skulpturenpark. Length: 120 minutes. all these bordersI have carried them with me[…]in spaces betweenpostponed expired dates This work is largely based on my experiences with visa rejection and dealing with anxiety as a migrant in Germany. […]
two-channel sound sculpture; Subharchord I/II 1964 Prototype, Transducers. Commissioned by the Junge Akademie der Künste Berlin under the AI Anarchies program, and exhibited as part of Broken Machines & Wild Imaginings. Voice: Ece Canlı. Length: 7:23 minutes, loop. Text by Ayesha Hameed: When Pedro and I first talked about The Emotional Residue of an Unnatural […]
A sound essay in four chapters, produced with the support of Akademie Schloss Solitude and ZKM Karlsruhe as winner of the HASH Award 2020. Developed by Berrak Nil Boya. “TIDES, or an inevitable unfolding” stages an imagined conversation between Gloria Anzaldúa and Édouard Glissant on borders, language, citizenship, belonging, and what it means to understand […]
is a write-up and/or script for a performance-lecture on how to listen and think (with and against) the archive. Presented live a couple of times in 2020; now living as a book chapter in “Postcolonial Repercussions – On Sound Ontologies and Decolonised Listening,” published by Transcript Verlag.
is an MA Seminar on colonial listening and the (im)possibility of non-extractive practices, anticolonial methodologies, poetics, and processes for sound studies.
Composition and live performance for modular synthesizer and recorded voice. Constructed with and through the voice of death metal singer Fernanda Lira (Crypta). Originally commissioned by Festival Novas Frequências (Brazil) and Taking Things Apart (Germany) with dramaturgy by Giuliana Corsi. Also available in album format as Digital and Cassette. Listen and buy on Bandcamp. A […]
is a critical reflection on the temporal and spatial articulations of Germany’s colonial modes of listening. An exegesis of my piece “A Series of Gaps Rather Than a Presence,” published as part of the MAST Journal.
is an essay for the 4th issue of DING Magazine “Correspondences from the Edges,” on how the European border listens to the (migrant) body, the implications of these listenings in shaping understandings of what the “human” can be, and how these understandings can be turned upside down.
8-channel Ambisonics sound installation. Commissioned by the Max-Planck Institute for Empirical Aesthetics. Based on “Balada do Filho Pródigo” (1989) by Elomar Figueira Mello, re-interpreted by Aimilia Varanaki. Length: 3:34. Text by Marie Thompson:“In There is a Point at Which Methods Devour Themselves, the listener encounters a voice singing of home, inflected with glitches and distortions. […]
Single channel video, two-channel sub-bass. Commissioned by the Max-Planck Institute for Empirical Aesthetics and installed at BASIS Frankfurt, November 2020. Length: 12 minutes (Loop). Text by Eike Walkenhorst and Ramona Heinlein: “A boat rocks peacefully in an Italian port in the Mediterranean while the sun draws wave-like patterns on its polished white surface. The random […]