Sonic Acts x Biennale Musica 2023


Her practice explores the spatio-temporal aspects of sound and architecture, crafting audio works that manipulate and distort perceptions of time, space and experience. Caddy’s work focuses on the incorporation of acoustic, electro-acoustic and recorded space within performance, installation and concert presentation, often using amplified cello as her primary sound source. In her live performance she uses multi-channel configurations in low lighting or complete darkness. She has performed and exhibited at Issue Project Room, Wroclaw Museum of Contemporary Art, Borealis, and Maerz Musik. Caddy is a PhD candidate under media historian Douglas Kahn at UNSW Sydney, Australia. In 2020, Caddy performed _Long Throw_ as part of Sonic Acts Academy. Later that year, Caddy presented _Projection #3: The Wharf_ in Amsterdam’s NDSM, a commissioned piece by Sonic Acts, realised and built in close collaboration with media artist and engineer Miodrag Gladović.	



[Website](https://antheacaddy.net/)

[Soundcloud](https://soundcloud.com/antheacaddy)

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Anthea Caddy

PROGRAMME

Inner Ear(th)

Long Throw x Het HEM

Silence x Sonic Acts concert: Anthea Caddy

Artworks

Exhibition

Michel Waisvisz Project

**Maryam Monalisa Gharavi** is an artist, poet, and theorist whose work deals with the paradoxes of our interactions with matter and immateriality; the seen and unseen. 

Within her practice, she explores the interplay between aesthetic and political valences, tracing the genealogies of what may otherwise be taken for granted. The founder of Oil Research Group (ORG), as part of her OVEREXPOSED residency for Sonic Acts, Gharavi delved deep into what she sees as ‘twin’ extractive commodities: oil and data. She is a former editor at The New Inquiry and lecturer at Northeastern University. Her publications include a translation of Syrian-Brazilian poet Waly Salomão’s Algaravias: _Echo Chamber_ (2016) and her own poetry volume _The Distancing Effect_, published the same year. Exhibitions, performances and screenings include Nottingham Contemporary, Serpentine Cinema, Framer Framed, Art Dubai, New Museum, Triple Canopy and many more. She completed a PhD in Comparative Literature and Film and Visual Studies at Harvard University, where she was Lecturer in History and Literature from 2012 to 2017. 


[Instagram](https://www.instagram.com/wcncnd/?hl=fr)

Overexposed Podcast & Exhaust featuring Maryam Monalisa Gharavi

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Maryam Monalisa Gharavi

ARTWORKS

one sun after another

EVENING PROGRAMMES

Leaving Traces

OBIT

Oil News 1989–2020

Events

Sonic Acts Biennial 2022 Opening Evening 

Extractive Archives: Conversation and Book Launch

Symposium

**MELT** (**Loren Britton** & **Isabel Paehr**) are arts-design researchers who work together on games, technology and critical pedagogy.

Investigating the political and material conditions of technological infrastructures, they re-distribute agency through methods of queer play, unlearning and leaking. Their work crumbles structures, unbinds materials, dissolves technology and makes collectivities, often taking the form of video art and workshops. MELT are influenced by (melting) ice, freezers, software, signals, moving too fast/slow, Wendy Hui Kyong Chun, Denise Ferreira Da Silva, digital materialism, post-/de-colonial thinking, GIFs, climate protests, anti-racism and dancing. 

_Meltionary_ (derived from dictionary), is a growing collection of arts-design-research engagements that cooks up questions around material transformations alongside impulses from trans* feminism and Disability Justice. Melting as a kaleidoscope-like phenomena touches upon multiple topics at once: climate change, the potential for political reformulations, change over time and material transformation. 

[Website](www.meltionary.com)

[Instagram](https://www.instagram.com/meltionary/?hl=fr)

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MELT

presence-past presence-present presence-future

**Angeliki Diakrousi** is a researcher and artist interested in counter-projects that critically engage with technology, computing, and the infrastructures of their language. 

Through these embodied practices, Diakrousi nurtures dialogical methodologies in relation to public and online spaces. In 2019, she joined Varia in Rotterdam and is involved, among others, in the collective research of WordMord, Feminist Hack Meetings, Feminist Search Tools and Systerserver. Diakrousi has a degree in Architecture from the University of Patras in Greece and holds an MA from the Experimental Publishing Master at Rotterdam’s Piet Zwart Institute. Alongside her research, Diakrousi teaches at Willem de Kooning Academie in Rotterdam on the topics of collective platforms, digital publishing and broadcasting. 

[Website](https://w-i-t-m.net/)



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Angeliki Diakrousi

Workshops

Practicum

BUZZWA(O)L(R)K(D)

Interdisciplinary artist **HC Gilje** has moved between installation, experimental video, live performance and set design since he graduated from the Academy of Fine Arts in Trondheim in 1999. 

During his decade-long collaboration with Sonic Acts, HC Gilje has worked on the Dark Ecology project; has premiered and presented work including _Blink_ (2010), _Revolver_ (2013), _Rift_ (2017), and _Radiant Live_ (2019);  publishing work on his long-term project _Conversations with Spaces_ (2017). Gilje was a member of the video-impro trio 242.pilots and was visual motor of dance company Kreutzerkompani. He has screened his work internationally and continues to perform live — collaborating with **Maja Ratkje** and **Justin Bennett** and creating projections and set designs for theatre and dance.



[Website]( www.hcgilje.com)

[Instagram](https://www.instagram.com/hc_gilje/?hl=fr)

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HC Gilje 

The Intimacy Of Strangers

**Áine O’Dwyer** is a composer and performer residing between Ireland and the UK. 

Her work is informed by both the conceptual concerns of sound-art and traditional compositional techniques, embracing the broader aesthetics of sound and its relationship to environment, time, audience and structure. The notion of place stands as a cornerstone of O'Dwyer’s practice, a compositional methodology in which the relation between situated speaking and real-time listening is fully embraced. O'Dwyer has performed her work internationally, and her recorded releases include _Music for Church Cleaners_ (2015), _Locusts_ (2016), _Beast Diaries_ (2017), _Gegeinschein_ (2016), _Gallarais_ (2017), and _Poems for Play_ (2018) published on her publishing imprint _Cloch_. In 2019, O’Dwyer performed _Time Time Time_, an operatic ensemble work written by Jennifer Walshe and Timothy Morton, which premiered at Muziekgebouw aan 't IJ as part of Sonic Acts Festival.


[Bandcamp](www.aineodwyer.bandcamp.com)

[Soundcloud](https://soundcloud.com/aine-o-dwyer)



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Áine O’Dwyer

Breathtune

An interdisciplinary arts organisation based in Amsterdam.

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Biennial 2024

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Sonic Acts is supported by

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Sonic Acts

Sonic Acts Biennial 2022 attended to questions of non-linear time, entangled ecologies, and pollution through an expansive exhibition, a provocative sound art programme, and an interdisciplinary symposium. This slow immersion into the environmental humanities is reflected in the design of the Biennial T-shirts and tote bags, available now in the Sonic Acts webshop. 



[→ Buy your merchandise here](https://shop.sonicacts.com/product-category/merchandise/)

Additionally, the third issue of _Ecoes_ magazine corresponds to the explorations of toxicity taken up by the Sonic Acts Biennial 2022. _Ecoes_ #3 includes essays, stories, and interviews by biennial contributors including **Andrea Galano Toro**, **pantea**, **John Grzinich**, **Aura Satz**, **Antonia Alamp**i, and many more. _Ecoes_ #3 can be purchased individually, or as part of a subscription, through the [Sonic Acts webshop](https://shop.sonicacts.com/). 


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Sonic Acts Biennial merch now available to buy online

Sam Lavigne

What does it mean to place narrative limitations on oil, where infinity is assumed? Commissioned by Sonic Acts, _OBIT_ by **Maryam Monalisa Gharavi** and **Sam Lavigne** can now be streamed online, after having been first exhibited in the form of an installation as part of the exhibition _one sun after another_ during Sonic Acts Biennial 2022. 

Drawing from semi-public databases containing the dates drilling began and the dates wells were abandoned, the work unscrolls the ‘birth’ and ‘death’ of all abandoned oil wells in the U.S., generating a ‘public obituary’ of oil. The ‘finality’ of _OBIT_ coincides with the flood of information each unit measures, or 314,452 total dead wells. Seemingly infinite, the work encloses and gives finitude via a closed scroll and text, placing appropriate narrative limitations on oil where infinity is assumed.


[→ Explore OBIT online](https://obit.sonicacts.com/) 


The multinational, multiconglomerate oil industry divulges myriad streams of data about its operations, which when looked at in both the macro (314,452 oil well deaths) and micro (distinct obituaries for each one) yield surprising and discordant findings. _OBIT_ synthesizes ‘oily’ data that reveals its own significance the very moment it is divulged. Through scraping, a technique developed by Sam Lavigne, it seeks data from within its own knowledge domains and industry collection sites. 


A former OVEREXPOSED resident, **Maryam Monalisa Gharavi** has been collaborating and working with Sonic Acts for several years. As an artist, poet, and theorist whose work deals with the paradoxes of our interactions with matter and immateriality, she explores the interplay between aesthetic and political valances. With _OBIT_, Gharavi works alongside artist and educator **Sam Lavigne** to dive deeper into the ‘twin’ extractive commodities of oil and data. Lavigne’s work plugs into the interlocking interfaces of data, surveillance and policing, as well as natural language processing and automation. Harnessing digital tools to perform online interventions, Lavigne brings to light the often opaque political and economic conditions moulding computational technologies.


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Artwork OBIT can now be streamed online

Following their installation as part of Sonic Acts Biennial 2022 exhibition _one sun after another_, **MELT** (**Ren Loren Britton** and **Iz Paehr**) invite listeners and readers to join their online guided meditation _presence-past presence-present presence-future_. As part of _never odd or even_, the ongoing project for their Sonic Acts OVEREXPOSED residency, MELT feel into futures in which Trans* and disabled presences might be fully embraced, dreaming towards being in time differently. 


Commissioned by Sonic Acts, _never odd or even_ explores multiple overlapping perspectives on numerous temporalities. As the project unfolds in various stages and formats, this latest development presents an online meditation for a plurality of joyful Trans* and disabled futures. _presence-past presence-present presence-future_ looks to futurity in non-normative, non-linear time. Sen(s)(d)ing desires, wishes, and intentions, MELT tunes towards timelines that instead of writing Trans* and disabled folks out of time, make presence a present for them to thrive in and bend the clock. 


As you click along, time stretches into the past through collective and ancestral memories and into the future with meditations for Trans* and Disabled futures. When we travel time as disabled and Trans* people, when do we go? What if ableism and binary gender mattered less, and had less pull on our shared spacetime? When we sync with crip spacetime, we move what matters towards a plurality of joyful disabled and Trans* futures. 


Presented as well as part of the exhibition _one sun after another_ during Sonic Acts Biennial 2022 in the form of an installation and a guided meditation, _presence-past presence-present presence-future_ invited visitors into non-linearity, loops, circles, palindromes, discontinuities, slowness, and attention to pace within their time. 


[→ Follow MELT’s guided meditation online](https://overexposed.sonicacts.com/neveroddoreven/meditation)
