EVERY TIME I SEE YOU COMING DOWN THESE STAIRS, YOU DISAPPEAR DELICATELY
Performance, 8.00 pm
Every Time I See You Coming Down These Stairs, You Disappear Delicately
Alex Ghandour
Kaserneareal (portico), Zeughausareal Zürich
The second intervention of 2026 in the public space of Zurich’s Kaserneareal welcomes Alex Ghandour with “Every Time I See You Coming Down These Stairs, You Disappear Delicately” (2024-2026). The work unfolds through movement and repetition, creating an environment where memory and release converge – “where a delicate fire resists against darkness”, says the artist. Through rolling, lifting and letting go, a ritual of remembrance and belonging takes place, carried by a tenderness passed down from generation to generation.
The performance pays tribute to those who, through dark times, protected the “adorable fire” - a resilient force of love that refuses to be extinguished. Each repeated gesture, each rotation becomes an affirmation of presence, a silent anthem expressing not only the desire to survive but also the longing for something sacred and shared.
Amid dust and movement, the performance reaches towards both ancestors and the audience, inviting them to awaken that spark of inner connection, to exist fiercely, lovingly, and to honour a love that remains indestructible, no matter what. As the doilies rise and fall like wings, the piece transforms into a vivid reminder that every act of memory is an act of creation, a reclaiming of one’s right to exist, to love, and to dream. Together, sound and gesture transcend time, carrying forward a flame that wants to be embraced - a soft yet persistent act of defiance against forgetting, a dance suspended between grief and gratitude.
The intervention is curated by Zaira Oram [Camille Regli]
bio
Alex Ghandour (1997)’s practice questions the conditions under which meaning and sensations are produced and circulate. Working across sculpture, painting, performance, and photography, Ghandour’s work is composed like films without cameras, drawing on the logics of montage, repetition, latency and remanence. For the artist, montage does not produce linear narratives but instead disrupts semantics. Signs become charged, displaced, physical. Meaning is no longer read - it is traversed and experienced. Each work functions as a system of transmission in which space, matter, and time respond to one another. It constructs passages, translations, transformations, where motif becomes rhythm, image becomes signal, and presence becomes memory. Their practice opens up space where understanding arrives only afterwards: the work acts first, and then, through shared intensity, a transmission occurs without stable code.
Alex Ghandour holds an MA in Fine Arts from the Institute Art Gender Nature, HGK Basel. Their work has been shown, among others, at MMAG Foundation in Amman, Kunsthaus Baselland, CAN Centre d’art Neuchâtel, Spazio in-situ in Rome, the Musée d’art du Valais, and at Biennale Son in Sion.
Performance, 18.30 pm
Howlround Arsenal of Blooming Liturgies
Valentina Demicheli Jitsattayakul
Durchgang Kasernenareal (Zeughausareal, portico), Zürich
For the first intervention of the OTO Sound Museum 2026 annual program at Kaserneareal, artist Valentina Demicheli Jitsattayakul engages the Muay Thai tradition of Wai Khru through an anti-patriarchal feminist perspective. Performed before a fight, Wai Khru is a ceremonial practice of musical invocation known as sarama. Traditionally played on an oboe, the Pi Java, this prelude pays homage to ancestors, teachers, and deities and invokes their protection.
In this work, ritual and resistance converge. Against the backdrop of contemporary genocide, military oppression, and patriarchal violence, Valentina appropriates the ceremonial melody as an act of feminist reclamation. Uprooting a tradition historically performed by men, she summons the strength of women and witches, transforming the invocation into a collective call for protection and liberation. The former military arsenal becomes a ritual ground where flute, pendulum microphones, and voice summon strength and solidarity for ongoing struggles.
The intervention is curated by Zaira Oram [Francesca Brusa]
bio
Valentina Demicheli Jitsattayakul is a Zurich based artist working mainly with sound and found material across various forms. Her experimental approach plays a central role in her practice, giving space to an intuitive and improvisational process and leaving ways of interpretation relative. She is interested in cultural translation, origin, memory, non-western ontologies, and sociocultural identity through her work.
Before completing her Work.Master in Fine Arts at the HEAD in Geneva, she studied Sociology and Social anthropology at the University of Bern. Her works have been shown at the Binz39 Foundation (2024, 2019); Mikro Offspace, Zurich (2024); Wallriss, Freiburg (2022), Weiss Falk Galerie, Basel (2020) and Art Geneva (2020). She has performed at Gessnerallee, Zurich; Kaai Theater, Brussels; Les Urbaines, Lausanne; twentyalpha, Hong Kong; among many others and has released two albums including J.O.Y.Y.Y. - Journey of our Yesterday’s Yearnings (2025) and Pillars Of The Apex (2023).
E.N.C.
A Screening Intervention by Marc Jauss
30 November 2025, 5.00–6.30 p.m.
Kunstraum Walcheturm, Zurich
With works by A.C. Kupper, Elodie Pong, goh and dezernat.ch, Joyo Ann, Max Philipp Schmid, Milan Friedlos and Luis Kunfermann, monoblock b, New Kyd, Pipilotti Rist, Price, Valentina D. Jitsattayakul, Valentina Triet, VÍZ, Walid Barbir and Angela Turner, Yesh.
OTO Sound Museum presents E.N.C., a selection of audiovisual works by Zurich-based artists collected by Marc Jauss for the third and final intervention of this year’s program. For this edition, E.N.C. pays tribute to local artists and brings together video works from different periods and music scenes that have shaped the city’s cultural landscape. Spanning experimental music videos, visual essays, found-footage compositions, cinematic sketches, and more classic music video formats, the selection explores questions of identity, scene codes, modes of production, and the interplay between moving image and sound. Structured as a non-linear “mixtape”, the works are arranged in surprising transitions and dialogues between genres, generations, and artistic communities. This sequencing dissolves hierarchies and creates a fluid dramaturgy where subcultural and established artistic practices are on equal terms.
E.N.C. is a platform dedicated to the presentation and archiving of audiovisual works that explore the fringes of experimental sound and visual practices. It addresses the fleeting nature of digital content and the need for sustainable ways to present such work by combining physical exhibitions with an online archive. The curated programmes remain accessible over time, offering artists a lasting context to have their work seen, heard and experienced while exploring themes of time, memory, collaboration and the interplay between virtual and physical space.
Performance
Aio Frei & Franziska Koch with Miao Zhao, Njomza Dragusha, Tristan Amor Rabit, Vivian Wang
Durchgang Kasernenareal, Zürich
Since that night, the earth will have rotated 13’629 times around its own axis. That night, the moon rose over the Kasernenareal at around 7:25 pm. You also had imagined an observatory on the roof, next to all the urgently needed spaces to continue your work. That full moon night, your collective fury broke forth as a piercing, shattering storm of sound.
«Grausam ist der Lesbenton, nieder mit dem Herrensohn.» [Dyke sounds strikes like disaster, down with the sons of the masters.] Slogan on a banner, protest action for a “Frauenkulturzentrum” in the barracks area, Zürich, 1987.
The military facilities of the Zürich Kasernenareal [barracks area] were built in 1876, a time of military expansion and imperialist encroachment on many regions of the world. To this day they remain a symbol of patriarchal power structures in Europe and of colonial fantasies of war and conquest, the politics that ultimately led to the First World War. In 1986 the military left the area in District 4 after roughly one hundred years. This prompted more than 30 feminist groups active in Zürich to join forces. They demanded that a «Frauenkulturzentrum» be established in two of the former armouries: «Kasernenraum, ein Lesbentraum». [barrack walls and beams these are lesbian dreams.] With activist actions and political campaigns, they made their claims for more space and urgently needed resources known.
«Unsere Zukunft oder keine.» [Our future or none] Slogan on a banner, protest action for a “Frauenkulturzentrum” in the barracks area, Zürich, 1987.
Today, some forty years later, emancipatory educational programmes are being cut back in favour of new armament, and anti-feminist, transphobic and racist policies are being enshrined in law. The human rights systems created after the First and Second World Wars have been blocked and hollowed out by the states that once installed them. Imperialism continues its patriarchal violence – through wars, oppression, internment camps, settler regimes and genocides.
«Why am I here, when the right of return belongs to those who, for thousands of years, planted the olive trees.» Leslie Feinberg, «I am at your side», 2007.
Break/core refers to one of the political actions of the 1980s surrounding the demand for a Feminist Cultural Centre in Zürich. On the evening of 29 May 1988, after the city and canton had ignored and rejected their demands, around hundred feminists gathered in front of the barracks. In an angry protest, they smashed hundreds of plates: «Der Abwasch hat ein Ende.» [Washing dishes is over] In its energy, sounding and resonance, this action is emblematic for the long-standing, polyphonic and dissonant queer-feminist struggle for space, participation, self-determination and demilitarisation.
«We understand the meaning of spaces. In temporal and spatial terms. We see our actions as a link between the past and the future. (...) Then we should bear in mind that the concepts of «forward» and, correspondingly, «backward» belong to linear thinking. (...) We reject this patriarchal thinking because it is modelled on a line that leads nowhere.» From «Flügelschläge – Ein Frauenkulturzentrum für Zürich», video essay, Videowerkstatt Frauenzimmer, 1987.
Based on archival materials held in public and private places, and conversations with activists who participated in the struggle for the Feminist Cultural Centre at the time, Aio and Franziska develop a multi-layered composition with plates. It deals with non-linear historiography and fractures in memory culture, with intersectional solidarity, self-organised queer-feminist work, the erotics of anger and dissonance, with mourning work and politics of friendship through planetary constellations. The resulting score poem is translated into an improvised live performance together with the artists Miao Zhao, Njomza Dragusha, Tristan Amor Rabit and Vivian Wang.
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Composition/Score/Poem: Aio Frei & Franziska Koch
Performance: Aio Frei, Franziska Koch, Miao Zhao, Njomza Dragusha, Tristan Amor Rabit, Vivian Wang
Posterdesign & Riso-Print: Aio Frei
Printed Ceramics: Ursula Vogel
Documentation Performance: Jerlyn Heinzen, Moritz Haase
The intervention is curated by Zaira Oram [Francesca Brusa]
The artists extend their deepest gratitude to:
Gabi Mengel, Mirjam Rudin, Sibylle Dorn and Ursula Habersaat for their memory-work and for the generosity in sharing their personal recollections and archives; Gabriella Giacomin for her connecting support; Romy Rüegger and Bettina Stehli for their hints, traces, contacts and door openers; Doro Röthlisberger and Gertrud Vogler for their photographic work; Francesca Brusa for the invitation and smooth cooperation; Alice Cantaluppi for the plate collection and for hosting us in the countryside; Ursula Vogel for last-minute printed ceramics; Suza Husse for last minute translation; Jerlyn Heinzen and Moritz Haase for documentation,;the Social Archive Zürich; and all those who fought before us for spaces of relationality, dissonance and solidarity.
bio
Aio Frei is a non-binary sound artist, relational listener, sonic researcher and graphic designer based in Zürich. They co-founded the experimental record- and artbook store OOR Records, and co-curated OOR Saloon, a production context for queer-feminist listening practices. Since many years, they are deeply interested and invested in questions concerning «ethics of listening» – in socio-political, environmental, non-extractivist, mindful, embodied and queer practices of listening within its situated contexts. Aio's transdisciplinary practice interweaves critical artistic research, sonic organizing, relational forms of composition and graphic design/printed matter.
Franziska Koch is an artist, sound performer, educator, improviser and organizer. She works on sound performances, sound translations, experimental exhibition and workshop formats based on collective, experience-based and improvisational practices. She is co-founder of the experimental record and art bookstore OOR Records and co-curates with Aio Frei OOR Saloon, a production context for queer-feminist listening practices. Franziska is a lecturer for artistic practice in the BA Fine Arts and the Soundminor at ZHdK.
Miao Zhao is a musician, clarinetist born in China, based in Zürich. A performer known for her capricious and unpredictable artistic presence, she moves fluidly between various musical contexts—ranging from solo harsh noise performances to clarinetist in Swiss contemporary music ensembles, as well as projects situated within experimental, pop, ambient, new age, and other unclassifiable, interdisciplinary contemporary musical cultures. Her work is driven by a commitment to reimagining what it means to be a musician of today, fostering artistic practices that are autonomous, experimental, and culturally resonant.
Njomza Dragusha is a community organizer, educator and researcher based between Zurich and Prishtina. Her practice focuses on transforming hierarchical structures into models of collective ownership—guided by intersectional feminist perspectives.
Tristan Amor Rabit is an artist and researcher based between Berlin and Zurich. Working across media, their practice explores contemporary embodiment and the sensuality of the body, summoning spaces of mourning and ambiguity that emerge through shifting states and the inevitability of meaning. They are also co-initiator of thank you for the reminder, a loose collective dedicated to imagination, gathering and collective agency.
Vivian Wang is a composer, sound artist and musician, creating works across a range of intersections in art, culture and space. She is a founding member of experimental rock group The Observatory and has performed as a noise and improv musician since 2001. Using environmental sounds, field recording and elemental approaches, Vivian has developed durational works for expanded media and interactive installations.
Performance h 5 pm
Central portico, Zeughausareal, Zurich
Access from Kanonengasse 20 CH-8004 Zurich
Acting within the three-dimensional space of the Zeughausareal, artist Nina Emge intervenes in the legal infrastructure of the airspace of the former military site. Prompted by recent regulations that prohibit the transmission of radio waves rendering this portion of airspace empty and legally inaccessible, Emge reflects on the implications of these invisible boundaries. For this intervention, three distinct radio pieces created by composers, musicians, and activists are conceived to sonically occupy the airspace around the porch of the Kaserneareal. While the radio transmitters originally conceived for this piece would have violated current law and could not be activated, the work symbolically inhabits the air. Emerging from the noise-space of residual frequencies, these sonic intervals metaphorically pirate the Zeughausareal. The three simultaneous compositions by Tati au Miel, Jamira Estrada and GOLCE unfold in parallel without intersecting. Together, they form a cartography of pulsating sonic points, revealing the inaccessible potential of radio space and inviting us to experience the unseen borders that shape access to information and knowledge.
The intervention is curated by Zaira Oram [Francesca Brusa]
bio
Nina Emge is a Zürich-based artist, who reflects on the social dimensions of sound, voice, silence, and practices of listening. Emge’s work is centered around issues such as decentralization, shared working methods, and redistribution. This is evident in her installations and drawings, which reflect her research and archival work, as well as in the production processes of her artworks. Emge is an active member of the Transnational Sound Initiative. Emge’s works have been exhibited at institutions including Lagos Biennale, WAF Vienna, Halle für Kunst in Lüneburg, Kunsthalle Zurich, Kunsthalle Bern, Istituto Svizzero Rome, Istituto Svizzereo Palermo, Frac Bretagne + Centre culturel suisse de Paris, Uferhalle Berlin, Shedhalle Zurich, Kunstverein Braunschweig, Helmhaus Zurich, Kunsthaus Zurich, and other national and international institutions. Emge teaches at Rosa Barbas Chair Art in Space and Time at ETH Zurich.
Jamira Estrada lives and works as a musician, composer, and performance artist in Zurich, Switzerland. Rooted in electroacoustic music, her work is characterized by an intimate and direct approach to sound, resulting in raw acts of storytelling that hinge on improvisation and composition, delicately navigating between the vehicles of power and vulnerability.
Tania Daniel, also known as Tati au Miel, is a Montreal-born and raised artist of Haitian heritage. Working across sound, installation, performance, and XR, their practice is rooted in experimentation and shaped by abstraction, ritual, and storytelling. They create immersive and intimate experiences that blur the boundaries between physical, spiritual, and virtual realms. They are currently pursuing a Master of Fine Arts at Bard College, NY.
Golce Kummer is a sound artist and designer based in Zurich. His creative endeavors intersect performance, visual arts, and video, embodying a fusion of various artistic disciplines. Grounded in the tradition of musiqu concrète, his musical oeuvre delves into the intricate interplay between the synthetic and the authentic. Characterized by dark and dissonant compositions, Kummer’s music manifests in layers of noise and intricately crafted audio recordings. Utilizing sound as a palpable force, he sculpts through the fabric of perception, unraveling themes such as social class, technology, and gender identities at the core of his creative discourse. Within his compositions, he aspires to dismantle established constructs, challenging the fundamental essence of reality itself. Kummer’s artistic contributions have been featured in esteemed institutions and venues including Kanal-Centre Pompidou (BE), Les Nuits de Botaniques (BE), PW-Magazine (AT), Ars Electronica (AT), Les Urbaines (CH), Gessnerallee (CH), and Peres Projects (KR).
Performance h 5.30 pm
Central portico, Zeughausareal, Zurich
Access from Kanonengasse 20 CH-8004 Zurich
"In certain environments, our behaviors and movements are clearly defined. I know how to act in a shopping mall, at the beach, or in a train station. It would seem quite strange if I deviated from these expected norms. However, some places fall into a grey area without many predefined patterns of behavior. In these spaces, I feel to have the freedom to move and act as I choose, without feeling awkward.”
Cathy van Eck
In this work, Cathy van Eck introduces a specific action in the passage to the centre of the Kasernenareal and explores how this influences and transforms the space. Amplified by a sound system, the artist performs an almost ritualistic action that one might commonly see elsewhere. Her body works with the space in a dialogical dimension of correspondence through an interactive sound system that becomes a prosthesis of the body itself. In search for another place is a performance conceived as an archeological exercise in searching for the unseen aspects of places, hidden traces that exist wherever we are.
The intervention is curated by Zaira Oram [Francesca Ceccherini]
bio
Cathy van Eck (1979, Netherlands) composes relationships between everyday objects, human performers, and sound. She is interested in setting her gestures into unusual, surprising or poetic relationships with sounds, mainly by electronic means. The result could be called performative sound art, since it combines elements from performance art, electronic music, and visual art. She has a teaching position at the Academy of the Arts in Bern, Switzerland. Her book Between Air and Electricity – Microphones and Loudspeakers as Musical Instruments was published in 2017. She is a member of iii (instruments inventors initiative) and lives and works in Zurich.
Protest Engraving, performance by Christophe Fellay
SUPERIMPOSITION, video-installation by Polisonum
Meeting point at Walcheturm Kunstraum, Kasernenareal, Zurich
PROGRAM
6.30 pm: Performance Protest Engraving by Christophe Fellay (meeting at Walcheturm)
7.00 pm: Temporary video-installation SUPERIMPOSITION by Polisonum
7.20 pm: Round table and discussion with the artists Polisonum and Christopher Fellay, and curators
8.00 pm: Drink at Walcheturm!
Protest Engraving is an artistic performance which fluctuates between the scientific discipline of sound archaeology and fiction. Starting from the idea that sound leaves traces of its interaction with the material, Christophe Fellay proposes to overwrite the sonic memory of the Zeughausareal military past with messages of peace. Using the natural phenomenon of sound erosion, an amplified drum set will echo the slogans chanted by peace activists during a protest gathering Israeli Jews and Palestinian Israelis calling for an end to the war in Gaza in January 2024. The use of such a hybrid instrument mixing cultural and musical elements from four continents raises the question of togetherness, chosen and forced migrations, and a reflection on our status of perpetual migrants. Inspired by the common use of drums in the struggle for social change to attract attention and punctuate messages, Christophe will “hijack” military drum calls – the music signals played to transmit orders to the soldiers – to create signals for change. Using microphone and amplification, he will engrave the result on the armoury. During the performance, existing military sounds on the surfaces of the architecture will be overwrote by sonic and rhythmic punctuation of anti-war messages engraved in situ and left behind as permanent traces in what must be understood as a screaming silent sound installation calling for necessary transformation.
SUPERIMPOSITION is an artistic project by Polisonum that investigates the theme of listening and takes shape through the encounter of multiple disciplinary fields including sound, data analysis, fashion and visual arts. SUPERIMPOSITION explores the concept of earworms, namely all those sound agents that coercively graft themselves into the brain to become parasites and provoke cognitive control mechanisms. The project consists of a performative act, a video work and a sound piece which will be presented through a temporary installation at Kunstraum Walcheturm (Zurich) in cooperation with OTO SOUND MUSEUM. This will be followed by a round table and discussion with the artists, curators Francesca Ceccherini, Anastasia Chaguidouline, Irene Grillo (Alte Fabrik, Rapperswil) and Patrick Huber. SUPERIMPOSITION is supported by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture under the Italian Council program (2023).
The interventions are curated by Zaira Oram [Francesca Ceccherini]
bio
Christophe Fellay is sound artist, musician, composer, performer and improviser. He has presented interdisciplinary works, sound installations and performances on several continents, and has composed sound works and music for ensembles, solo instruments, radio, theatre, film, video, choreography and performance art. His work has been presented internationally in London (ICA, Kings Place, London Jazz Festival), Edinburgh (Fringe Festival, University of Edinburgh), Cambridge University, Paris (CCS, St Merry), Montreux Jazz Festival (Miles Davis Hall), Copenhagen (Christians Kirke), Zurich (Kunstmuseum), Geneva, Bern (Dampfzentrale), New York (601 Artspace), San Francisco (Exploratorium, Swissnex), Seattle (1412), Atlanta Music Festival, Buenos Aires, Santa Fe, Johannesburg (JAG, Center For The Less Good Idea), Pretoria university, Cape Town (Mahogani Room) and Windhoek. Christophe Fellay holds a PhD in Art, Music and Performance from the Brunel University, London, and is associate professor, researcher and head of the Bachelor's degree in Sound at EDHEA (university of the arts) within the HES-SO in Switzerland. His research and artistic interests focus on indisciplinarity, improvisation, active listening, acoustic phenomena, space, sound and architecture, documentation and archiving, soundscape ecology, digital art and participatory art. In his performance research, he is particularly interested in the interaction between gesture, movement and sound.
Polisonum (Filippo Lilli, Donato Loforese) is an artistic collective using sound as a method and device of investigation to explore processes and metamorphoses linked to the present time. It is characterized by a research-based approach directed at listening to and interpreting the spaces in which it operates through sound installations and performative acts in strong dialogue with visual languages. Thanks to its hybrid identity, Polisonum realizes projects that feed on a practice of study and analysis in relation to other fields of knowledge. Polisonum's work has been shown in several institutions and festivals, among others: Una boccata d'arte (AV), Fondazione Volume (RM), Kunst Halle Sankt Gallen (CH), Palazzo Altemps (RM), Palazzo Pallavicini (BO), Romaeuropa Festival (RM), OTO Sound Museum Zurich (CH), The Others (TO). The collective collaborates with La Sapienza University of Rome Faculty of Civil and Industrial Engineering on the Green Network project for the Public Space Biennial. In 2018 Polisonum received the Special "Utopia" Award of the Talent Prize and in 2016 the Best Unpublished Work Award during The Others. Over time the collective has released several vinyls, among the latest Passi 13'36'' in collaboration with the artist Alfredo Pirri.
Performance and temporary sound installation
Zeughausareal Zurich (Kasernenareal)
4 pm: performance / 11 am – 5 pm: sound installation
Changing of the Guard
[to change: to pass from one state or form into another]
[guard: a group of people, who protect somebody/something]
OTO SOUND MUSEUM presents the first performative intervention at the Zeughausareal, one of the largest military areas built on Swiss territory in the second half of the 19th century, now awaiting re-functionalisation. Acting in the longitudinal space of the barracks lawn (Kasernenwiese) is the artist Rahel Kraft through the intervention Changing of the Guard, realised for the first time in direct relationship with the architecture and its history.
Changing of the Guard reflects themes of transformation, protection and care in the context of the historical elements of the barracks area in Zurich. Over the decades, hundreds of young men have passed through the armouries to become soldiers for a neutral state. The work takes as a point of departure a few intimate photographs taken in 1960 by the Zurich photographer Heinz Baumann, who captured the process of dressing up, and thus the transition to another function. These images reveal something caring, quite un-military, which did not take place in rank and file, but in the wood-panelled upper floors of the Arsenal.
This attitude of care, which is at odds with both the strict marching and drill routine, as well as the rigid, symmetrical architecture of the armoury, inspired the process of creating a site-reflective piece for two runners/drummers. The performative work combines physical intensity with rhythmic precision, training and sound to create a hyperactive physical drumbeat. At the same time, Changing of the Guard attempts to interrogate the dialectic played out between the search for and loss of control. Embodied physically and metaphorically in the corporal movement, this relationship of control raises a specific question about the future: What social changes of guard do we need today?
The sound installation accompanying the performance consists of two original guardhouses probably belonging to the previous century, found by the artist in an inaccessible part of the barracks during her research time in the area. These are temporarily and exceptionally transported outside and installed to resonate like bodies from 11 am to 5 pm on the day of the performance.
The intervention is curated by Zaira Oram [Francesca Ceccherini]
Performers: Alon Ben, Silvan Schmid (drumming/running)
bio
Born on Lake Constance in 1984, Rahel Kraft is a composer, artist and director who creates environments meticulously designed to provoke interactions, intersections and unexpected revelations within the realm of auditory encounters. At the crossroads of performance and participatory events, Kraft's work embraces interspecies kinship, anthropological inquiry and inner perception in relation to collectivity. Kraft regularly collaborates with numerous artists, designers and researchers, including Japanese artist Tomoko Hojo, German director Sylvie Kretschmar, Swiss designers Ortreport, and Italian based writer Sibylle Ciarloni. Her work has been shown most recently at Ocean Space Venice (2023), Komaki City Library (2022), Deutschlandfunk Kultur (2021), and Museo Reina Sofía in Madrid (2020). Numerous grants and residencies also brought her to institutions like ZKM Karlsruhe, Cité des Arts Paris, Electronic Music Studio Stockholm, and Palazzo Trevisan Venice. Her compositions are published by platforms such as BBC Radio 3, Nonclassical UK, Dasa Tapes Greece, and Line Sound Art Editions L.A. Kraft lives and works in Basel after seven years of nomadic existence.
Alon Ben (*1998) is a musician and producer currently based in Elsass France. His musical Career started at age 11 where he joined Bands as a drummer and bassplayer. Between the age of 14 and 19 he was invited to join different youth programs at the local Musicschool, was accepted in Christian Muthspiels Youth Jazz orchestra and performed at Neue Musik Festival Rümlingen. Over the years he performed live with Adrian Sieber (Lovebugs), Benjamin Amaru, North Naim, Malummi, David Caspar, Haesin, Mastergrief, Iuri a.o. In 2023 Alon joined the Band Black Sea Dahu on Drums.
Silvan Schmid is a drummer and mixing engineer from Lucerne, living in Basel. He is currently studying in the master's program „Producing/Performance“ at Jazzcampus Basel. As a drummer, he works with artists such as "Black Sea Dahu", "Solong", "STRUKTURSTRUKTUR". He also creates pieces for theatre, performance art and sound installations and works as a freelance live and studio engineer.
