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 […]
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.
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. […]
Binaural sound essay, developed for Akademie Solitude/ZKM as part of their Web Residencies program. Awarded with a production grant at the HASH AWARD 2020 conceded by ZKM/Akademie Solitude on February 21st, 2020. All sounds recorded at EMS Stockholm between June and September 2019. Listen to the sound essay: http://meaninglesstexture.schloss-post.com A longer interview about the project […]
is an essay for the Transmediale Journal, in which I discuss “how the trivial and the familiar can be weaponized in order to trigger emotions, evoke dialects, and ultimately decide upon the course of lives.”