ARTISTS

is a Berlin-based classical and electric guitarist, whose work intertwines instrumental practice with artistic research in music.
His dedication to contemporary music has led him to perform at major festivals and concert halls including Festival d’Automne, ManiFeste, Huddersfield Contemporary Music Festival, Ruhrtriennale, Darmstädter Ferienkurse, Staatsoper Berlin, Elbphilharmonie Hamburg, Acht Brücken, Festival Ultraschall, Wien Modern, Bludenzer Tage zeitgemäßer Musik, Bregenzer Festspiele, ZeitRäume Basel, Musikfestival Bern, Festival di Nuova Consonanza, Milano Musica.
He collaborated with composers such as Salvatore Sciarrino, Helmut Lachenmann, Enno Poppe, Beat Furrer, Clara Iannotta, Pierluigi Billone, Elena Rykova, Marco Momi and Simon Steen-Andersen, ensembles and orchestras, including Ensemble Musikfabrik, Ensemble Intercontemporain, Klangforum Wien, Collegium Novum Zurich, Staatskapelle Berlin, Orchestre Philharmonique de Radio France, playing under the baton of conductors Emilio Pomarico, Brad Lubman, Pierre Bleuse, Aaron Cassidy, Clement Power, Nacho de Paz, Markus Poschner, among others. He is a member of the musical collective Opificio Sonoro (Perugia, IT) and Ensemble PHACE (Vienna, AT).
Palmieri has been awarded grants from several foundations, including Fondation Nicati-de Luze and Fondazione Giorgio Cini, and has been an artist-in-residence at GRAME Lyon, La Muse en Circuit, and Mattatoio di Roma. He was awarded 1st Prize in the contemporary music interpretation competitions Valentino Bucchi (2019) and Concours Nicati (2023). He has recorded for Kairos, Brilliant Classics, Contrastes Records and Liquen Records.
After his studies in Fermo, Seville and Bern, in 2022 he graduated from the Basel Hochschule für Musik with a MA SP in Contemporary Music Performance. He is currently pursuing a PhD in Artistic Research in Music at the Malmö Academy of Music (Lund University).

is an award-winning composer, turntablist, and performer whose work pushes the boundaries of contemporary music, improvisation, club culture, and hip-hop. Treating the turntable as an autonomous instrument, she has developed a distinctive musical language that extends classical DJ techniques such as scratching and beat-juggling into radically new terrains. Her self-developed practices—including "turntable sines" (the control of sine tones via the pitch fader), "needle dripping” (composing through precise needle drops across multiple decks), and "needle weaving" (a live-looping technique using two turntables without pre-prepared material)—reframe the turntable as a site of composition, exploration, and real-time musical structure.
Rezaei collaborates internationally with leading artists in contemporary music, improvisation, and sound art, including Jennifer Walshe, Matthew Shlomowitz, Okkyung Lee, Valentina Magaletti, Lasse Marhaug, Farida Amadou, Evicshen, and Maria Chávez. She appeared at the Taipei Biennale in 2023 and has performed with the Glasgow Improvisers Orchestra. Her work "Scholar’s Record" premiered at the Donaueschingen Music Days in October 2025.
Alongside her solo practice, Rezaei is a member of the international artist collective The Sleep of Reason Produces Monsters, and co-founder of the acclaimed turntable trio with Evicshen and Maria Chávez, which has recently toured Canada and the United States.
In recognition of her compositional work, Mariam Rezaei received the prestigious Awards for Artists prize from the Paul Hamlyn Foundation in 2022.

is a composer, pianist, and sound artist whose work operates at the intersection of contemporary music, experimental performance, and extended instrumental techniques. He studied composition with Witold Szalonek and Mario Bertoncini, piano with Renate Werner, Alan Marks, and Alexander von Schlippenbach, and mathematics in Stuttgart, Berlin, and Marseille. He holds a PhD from Goldsmiths, University of London, where he completed the dissertation "Towards a Philology of Electroacoustic Music – Xenakis’s Tape Music as Paradigm."
Internationally recognised as a key figure in the contemporary sound avant-garde, Friedl has received numerous awards and fellowships, including residencies and grants from Eurocréation Paris, Villa Serpentara (Berlin Academy of the Arts), STEIM Amsterdam, and the Cité des Arts in Paris. In 1997 he founded the ensemble zeitkratzer, which he continues to direct, developing radical transcriptions of works spanning noise, avant-garde, pop, and contemporary classical music.
A central focus of Friedl’s artistic research is the work of Iannis Xenakis, on whom he has published extensively. His interdisciplinary collaborations include projects with choreographer Sasha Waltz, theatre director Frank Castorf, and video artist Lillevan, alongside collaborations with artists such as Lou Reed, Phil Niblock, Alvin Lucier, Laurie Anderson, Helmut Oehring, Nicolas Collins, Merzbow, Keiji Haino, Lee Ranaldo (Sonic Youth), and Rashad Becker.
In addition to his performance and compositional work, Friedl has curated more than fifty radio programmes for WDR 3, profiling electronic music composers from around the world. His works are performed by leading international ensembles including the Diotima Quartet and Ensemble 2e2m. As a composer and performer, Friedl has released over one hundred CDs and LPs.

is a clarinettist, vocal artist, and improviser whose work moves fluidly between contemporary music, experimental sound art, and electroacoustic performance. She studied clarinet at the Conservatoire National Supérieur de Musique in Lyon with Jacques Di Donato, and from an early stage engaged deeply with contemporary music, collaborating with composers such as Georges Aperghis, Vinko Globokar, and Klaus Huber.
Duthoit’s practice is defined by a strong interdisciplinary openness and a radically personal approach to improvisation, developed both on the clarinet and through the voice. Her vocal work unfolds beyond language—raw, physical, and multi-layered—oscillating between whispering, breath, sound, and eruptive utterance: a form of singing before language itself.
She is a co-founder of the ensembles Bouge, Triolid, Rose and Stomach, and 4 Walls + 2, and has collaborated with a wide range of leading figures in improvised and experimental music, including Phil Minton, Franz Hautzinger, Jacques Demierre, Michel Doneda, Luc Ex, Johannes Bauer, Tim Hodgkinson, Axel Dörner, and Biliana Voutchkova.
Her work has been released on numerous international labels and presented at major festivals for experimental music worldwide. In 2008, Duthoit was an artist-in-residence at Villa Kujoyama in Kyoto, where she studied traditional Japanese vocal forms such as Nō and Bunraku.

Born in Lima, Peru and based in NYC, Maria Chávez is best known as an abstract turntablist, sound artist and DJ. Coincidence, chance and failures are themes that unite her work across mediums, including improvised performance, sound and marble sculpture, visual art, book objects and an extensive history with multi-channel installation. Her approach is rooted in Deep Listening, a form of embodied listening developed by her late mentor Pauline Oliveros. Maria’s relationship with Oliveros was recently covered in a BBC3 radio episode of Afterwords, chronicling the late composers impact on a new generation of artists. She also graced the cover of The Wire in April 2023 with The Turntable Trio.
Maria is the only abstract turntablist in the world who performs with a rare needle known as the RAKE Double Needle. This special device contains two needles on one head, allowing it to read two different segments of a single record at the same time. Paired with her inimitable ability to create unforgettable sonic experiences from shards of broken records, each performance is truly unique.
Maria’s practice is profoundly expansive, responsive and curious. Her work has been featured and supported by a myriad of institutions over the past decades including Rewire Festival, Counterflows Festival, Donau Festival, MoMA PS1, The Getty, DOCUMENTA 14, the JUDD Foundation, Cambridge University Press and many, many more. Chavez’s 2012 book, Of Technique: Chance Procedures on Turntable has garnered a reputation as both an academic resource on turntablism and a foundational text for a new generation of turntablists.

is a recorder player whose work places a strong emphasis on contemporary music, improvisation, comprovisation, and experimental concert formats. Alongside her engagement with early and traditional music, she continuously explores new sonic spaces and modes of expression, expanding the artistic possibilities of the recorder in the 21st century.
As a co-founder of the recorder quartet QNG – Quartet New Generation, Fröhlich has realised numerous chamber music projects and works across a wide range of formats. She performs in diverse ensembles and interdisciplinary productions at the intersection of music, visual art, theatre, and opera, collaborating with artists such as Saâdane Afif, Ari Benjamin Meyers, and Wojtek Blecharz. She has appeared in leading concert halls and at major international festivals, performing with ensembles including Ensemble Adapter, Ictus Ensemble, Neue Vocalsolisten, and the Trickster Orchestra.
Most recently, Fröhlich adapted Pierre Boulez’s Dialogue de l’ombre double for recorder, tape, and loudspeakers, which she performed at the Konzerthaus Berlin in October 2025. Her recordings have been released on labels including ECM Records, NEOS, GENUIN classics, and Pantopia Music.
Fröhlich completed her artistic–research project The New Potential of a 21st-Century Recorder at the University of Music and Performing Arts Graz in 2019. Since 2018, she has collaborated with sound artist Gerriet Krishna Sharma on spatial sound compositions for recorder and the 3D-audio IKOsahedral loudspeaker instrument. Through this ongoing dialogue, the artists seek to expand the sonic potential of both instruments and to explore new aesthetic possibilities of spatial sound composition today. Their most recent works were presented in 2025 at the Kontakte Festival Berlin and during Berlin Art Week.

is a composer and sound artist who has been exploring the spatialistion of electroacoustic and instrumental compositions for over 20 years, employing Ambisonics, wave field synthesis, and three-dimensional sound sculpting to create hybrid sonic environments that bridge classical instruments and media technologies. In 2016, he earned his PhD at the University of Music and Performing Arts Graz with the dissertation "Composing with Sculptural Sound Phenomena in Computer Music."
Sharma founded the Atelier Klangforschung at the Institute for Musicology in Würzburg and served as artistic director of the research project "Orchestrating Space by Icosahedral Loudspeaker," funded by the prestigious PEEK program for art-based research. For six years, he initiated and curated the signale-graz concert series, presenting electroacoustic music, algorithmic composition, radio art, and performance. Among numerous international awards, he received the German Sound Art Prize (2008) and the Chargesheimer Media Art Prize of the City of Cologne (2009). He held the Edgard Varèse Professorship at TU Berlin (2017/18) and was Visiting Professor for Sound Art and Spatial Composition at the Karlsruhe University of Arts and Design (HfG) in 2023/24, initiating collaborative projects and lecture series with HfM Karlsruhe and ZKM Karlsruhe.
His concerts and sound installations have been presented at leading international venues and festivals, including the Centre Pompidou, National Sawdust, ISEA Barcelona, New York Electronic Music Festival, documenta XV, Abrons Art Center, Galerie d’Art Contemporain, Edith-Russ-Haus für Medienkunst, ZKM Karlsruhe, Kontakte Festival Berlin, Darmstadt Summer Course, Music Biennale Zagreb, Wiener Festwochen, The Bartlett: School of Architecture London, and the Image & Sound Symposium.

In 2024, his AI-assisted composition "Th1s 1s W4t3r" for chamber orchestra, electronics, spatialisation with two IKOs, and reactive piano—was premiered by the Stuttgarter Kammerorchester under the direction of Miguel Pérez Iñesta in the Beethoven Hall, Liederhalle Stuttgart.
Sharma is co-founder of spæs: Lab for Spatial Aesthetics in Sound at Funkhaus Berlin, which has, since 2020, explored the description of spatial-sound aesthetics and the question of instrumentality in XR environments.

is a violinist and violist who studied violin at the Conservatoire de Grenoble, the renowned Yehudi Menuhin School in England, and the Hanns Eisler School of Music Berlin, where she was awarded First Prize for the Interpretation of Contemporary Music.
As a founding member of the Berlin-based Zafraan Ensemble, Bernard has played a central role for many years in the performance and dissemination of new music. She appears regularly at international festivals including PODIUM Festival Esslingen, as well as festivals in Haugesund and Matadepera. Her concert tours have taken her to Asia, Latin America, and numerous European countries, performing as a soloist with the European Union Chamber Orchestra and serving as concertmaster of the Heidelberg Symphony Orchestra.
Bernard’s discography includes recordings of Arnold Schoenberg’s "Pierrot lunaire," a portrait CD dedicated to composer Sarah Nemtsov, and a 2018 release on the Kairos label featuring chamber and solo works by Samir Odeh-Tamimi. In 2019, she recorded the complete chamber works of Christophe Bertrand in a production commissioned by Westdeutscher Rundfunk (WDR).

is an artist whose work—most notably his AI-generated images and video installations—explores the unconscious and the psychology of image and sound, deliberately resisting clear categorisation within the traditions of photography. His practice challenges established notions of authorship, perception, and medium in the age of generative artificial intelligence.

Eldagsen studied photography and fine art in Mainz, Prague, and Hyderabad, and philosophy in Mainz and Cologne. His photographic and media art has been exhibited and awarded at international institutions and festivals, including Deichtorhallen Hamburg, CCP Melbourne, EMAF Osnabrück, Meta.Morf Trondheim, MUD Foundation Miami, Minsheng Art Museum Shanghai, Edinburgh Art Festival, Chobi Mela Dhaka, ELEKTRA Digital Art Biennal Montréal, Kochi-Muziris Biennale, Biennale Le Havre and Biennale of Electronic Arts Perth.

He gained international attention in 2023 when he was awarded the Sony World Photography Award in the Creative category—an award he publicly declined to initiate a global debate on the definition and future of photography in the era of generative AI. Since then, he has continued to advance this discourse through symposia, interviews, and keynotes at TEDx, re:publica, C2 Montréal and World AI Conference Shanghai. Since 2004, he has been teaching fine art and the theory of ideas and creativity at international art academies such as the Victorian College of the Arts in Melbourne, Kunsthochschule Mainz, Filmakademie Ludwigsburg, and Pathshala Media Institute in Dhaka. He is currently teaching the master “AI for Creatives” at LABASAD-Barcelona School of Art & Design.

is an media and sound artist whose practice centres on a radical exploration of artificial voice as a sonic potential beyond mere imitation of the human.
Positioned at the intersection of electroacoustic spatial composition and experimental performance, Lercher stages the voice as a techno-poetic becoming between human and machine, intimacy and public space, body and algorithm—always as a spatial phenomenon. She works with diverse audio technologies, including low-fi turntables, echo tape machines, prepared megaphones, unstable microphone circuits, and live-generated artificial voices. After fifteen years of performance collaborations with artists such as Christoph Schlingensief, Krystian Lupa, SØS Gunver Ryberg, Anna Mahler, and Alexander Giesche, she completed postgraduate studies at the Academy of Media Arst Cologne.
In 2021, Lercher was awarded the prestigious AHRC Techné Scholarship for an artistic PhD at the University of Roehampton, London. Between 2021 and 2025, works developed during this research were presented at venues and festivals including the New York Electronic Music Festival, Kontakte Festival Berlin, steirischer herbst Graz, Club exit-Glasgow, PACT Zollverein Essen, Spreehalle Berlin, Singapore Art Museum. In 2023, the Goethe-Institut supported a month-long tour of New Zealand, where she performed and led workshops at Victoria University Wellington, the Art Centre Christchurch, and the Audio Foundation Auckland. Short-term research residencies from the Austrian Federal Ministry for Housing, Arts and Culture have also taken her to Tokyo, Bangalore, and Chicago since 2017.
In June 2025, Lercher completed her PhD with distinction, presenting the dissertation "Sounding Out Identities of Artificial Voice" alongside a solo exhibition at Funkhaus Berlin.

is a sound artist and DJ also known as TRSXX, earned his Master of Fine Arts in Sound from the School of the Art Institute of Chicago in 2016 and has since been an active presence in the club scenes of Berlin, New York, Krakow, and Glasgow. In 2017, he founded the label Wodawater, and in 2023 co-founded EXIT, an artist-run independent club and project space in Glasgow that supports DJ sets, experimental music, sound art, and performative formats.
As TRSXX, Szatko works with modular synthesis in industrial and techno-influenced soundscapes. His performances and compositions create immersive sonic environments in which language and voice are fragmented through modular signal processing, sampling culture, and DJ techniques—often incorporating artificial or cloned voices. He has released several EPs, including "A Mass Deliberately Deprives Itself of Reason and The Degree of Difference Between Them." Collaborative vinyl releases with Gerriet Krishna Sharma and Verena Lercher in partnership with spæs Lab Berlin include "p4rticl3" and "machine against rage."
Currently, Szatko is pursuing a PhD at the University of Huddersfield, supported by the prestigious Leverhulme Scholarship, where he researches the cyclical narratives of club demise.

is a conductor and clarinettist whose artistic practice explores the spatial and poetic potential of sound at the intersection of contemporary music, music theatre, and performative formats. He studied clarinet, piano, and ballet in Asturias, and conducting at the Universidad de Alcalá de Henares in Madrid. He continued his musical training at the Hanns Eisler School of Music Berlin and the Karajan Academy of the Berlin Philharmonic.
He has worked with leading orchestras and ensembles including the WDR Symphony Orchestra Cologne, Tonhalle Orchestra Zurich, Kammerakademie Potsdam, Rhineland-Palatinate State Philharmonic, Akademie für Alte Musik Berlin, the Haydn Orchestra, the Karajan Academy of the Berlin Philharmonic, and the Orchestre de l’Opéra de Lyon. As a founding member and artistic director of the Berlin-based Zafraan Ensemble, Pérez Iñesta plays a key role in the interpretation and development of new and experimental music, collaborating closely with composers such as Helmut Lachenmann, Pierre Boulez, Tristan Murail, György Kurtág, Sofia Gubaidulina, Chaya Czernowin, Johannes Schöllhorn, Elena Mendoza, Eres Holz, Hèctor Parra, Oscar Bianchi, Stefan Keller, and Samir Odeh-Tamimi.
In 2023, he developed a concert project around Julius Eastman’s "Femenine" together with musicians of the Munich Philharmonic, and conducted the production of Georg Friedrich Haas’s opera "Bluthaus" at the Opéra de Lyon. He maintains a long-standing artistic collaboration with the Paris-based ensemble L’Itinéraire, with whom he curated and led the ensemble’s 50th anniversary celebrations at IRCAM Paris in 2023.

is a double bassist and improviser whose work operates at the intersection of jazz, free improvisation, contemporary composition, and intercultural sound art. He studied double bass and music at the conservatories in Hilversum and Amsterdam, establishing himself early on in the Dutch jazz scene as well as the international free improvisation community. In 2002, his project "New Anatomy" received the prestigious Jur Naessens Music Award, and from 2001 to 2011 his compositional work was supported by the Fonds voor de Scheppende Toonkunst (now Fonds Podiumkunsten).
From 2007 to 2011, Kneer co-organised the concert series U-Ex(perimental) in Utrecht alongside recorder player Mark Alban Lotz, the Centraal Museum, and SJU Jazz Podium, dedicated to free improvisation. He has collaborated with an extensive range of musicians, including Najma Akhtar, Richard Barrett, Conny Bauer, Johannes Bauer, Han Bennink, Iva Bittová, Jaap Blonk, Tony Buck, Tobias Delius, Axel Dörner, Bill Elgart, Ceylan Ertem, Fred Frith, Paul Hession, Tristan Honsinger, Paul Lovens, Roscoe Mitchell, and Jon Rose. Kneer regularly performs in ensembles such as Baraná, Ab Baars Quartet, Gravitones, Play Station 6, Astronotes, Joost Buis Tentet, AXYZ Ensemble, Bigtet Tetzepi, the Ig Henneman String Quartet, and the KNM Ensemble. He has also collaborated with actors including Susanne Wolff, Therese Hämer, Antje Weber, David Bennent, Jeroen Willems, and Uli Pleßmann.
Kneer’s internationally recognised label Evil Rabbit Records is dedicated to contemporary improvised music with a European focus.