artists statements

Mariana Carvalho (she/her)

Between sound art, experimental music and performance art, I work with the body, interactions and limits between bodies, mostly through sound. To explore these relations, I explore internal listening, contact, distance and different ways of co-mingling through technological mediation. I use voice, improvisation, hybrid compositional methods, self-built instruments, text, prepared piano, and different microphone and speaker arrangements involving transducers, binaural microphones, hydrophones and very small speakers.

I am particularly concerned with how vibration propagates in different mediums: bones, flesh, thread, water, glass etc. I am interested in how bodies are constituted, assembled and how they change with what passes through them. I often use voice in this research, reflecting upon situatedness, identity, poetics, collectivity and materiality.

I have been collecting and eating voices for the last four years in my project me alimento de voces. It is a project where I ingest speakers or vocalize mouth-to-mouth, involving performativity, composition, text, writing, voice archives and participation. I like to create relational devices for interaction. Collaboration is a big part of my work.

Kirstine Kjeldsen (she/they)

In my practice, I develop compositions, installations and performances using haptic sound to explore how sound, listening and our bodies can become places for knowledge production. I am focused on the sensuous encounter embedded in sound and listening, exploring what knowing and learning through the skin can mean in the field of sound art and research.

During the past years, I have researched psychoacoustic phenomena through sound synthesis, composition for multichannel systems, performance and instrument building. I am fascinated by the physical response that such phenomena produce. The challenging, yet intimate space of listening that these effects can create and the blurred boundaries between inside and outside, comfort and discomfort that they can navigate. Through my work, I seek to ask questions about perception and interdependence in order to understand how relation, kinship and mutualism emerge.

Genesis Victoria (they/them)

My artistic research explores the intrinsic relationship between sound, bodies, and technology beyond normative performativity. To find an ambiguous intersection between sound and performance art, creating conditions of emergency for mutant sonic queer trans bod(ies), beyond the sight-centred ontology beyond cis-patriarchal narratives of inhabiting the world. It is not music, visual art, or theatre. Could it be considered sound arts or performance? Both of these practices, to me, are not fixed categories but contemporary spaces of emergence and artistic experimentation that constantly intersect within the body, challenging their ontological classification as queer trans embodiment.

Kayla ELROD (she/they/its)

Living on a tight budget naturally leads to reflections on value. This is a central theme in my practice: an ongoing exploration into the worth of objects, occupations, and bodies - considering both their arbitrary distinctions and their real-world significance.

I stretch the possibilities of things beyond their intended function: hacking readymades into musical instruments, performing actions beyond fatigue, and creating “mosaics” through the transformative act of stomping and crushing.

Through durational performance, site-specificity, poetics, tactile engagement, erotics, noise and attentive listening I address the exploitation pervasive in the art world as viewed through a distinctly feminist lens.

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