MARGHERITA MOSCARDINI

Both day and night, for 2375 hours from October 26, 2018, to January 30, 2019, over a thousand pastors and ministers from various churches and denominations worldwide alternated in celebrating an uninterrupted worship service in The Hague. Thanks to a Dutch law prohibiting authorities from interrupting a religious rite, this service provided the time and space necessary to shield the Tamrazyan family within the Bethel Chapel from an executive order to expel them from the country. This powerful act of civil disobedience performed by the Bethel community succeeded in inhabiting the intermediate spaces of the law and expanding them to create an exceptional time and space outside the State. Simultaneously, it initiated a dialogue with the government, leading to a review of the case and ultimately renewing the residence permit for the Tamrazyan family and around 700 other families in similar situations. As a possible continuation of this exceptional condition of immunity created by the over three-month-long ritual, artist Margherita Moscardini has realised Bethel Chapel’s Annex (2023), a 500-square-metre sculpture in the form of a carpet exhibited as the first mobile annex of the Chapel, a protection surface that can be unfolded and used as a grounding for the ritual celebration in support of the human beings who need its activation. Derived from Bethel Chapel’s Annex, the work Anywhere and Anytime (2023-2024) is a sonic composition that autonomously disseminates through OTO SOUND MUSEUM. It echoes the voices of some of the participants from the religious rite: they are men and women who occupied a 'here and now', generating a performative action consisting of the alliance of bodies, voices, and sounds emitted by the more than one thousand people who took turns in the uninterrupted celebration of the ritual. In order to illuminate this action, Moscardini asked them to intimately pronounce the words 'here and now', with the desire to reinforce the spatiotemporal essence of the rite and underscore the urgency of protecting people globally and legally on the basis of their right to move, rather than on the basis of territorial belonging and blood ties. The sum of their contributions - the totality of the 'here and now' pronounced freely in English and Flemish - seems to resonate as an auspice, where the repetition of such an event can become a rule and no longer just the exception in a dominant system, spreading 'anywhere and anytime’.

The project was created in collaboration with Derk Stegeman, minister of the Protestant Church of The Hague (NL); Bethel Chapel, The Hague (NL), STEK, The Hague (NL) and Theo Hettema, minister and at the time chair person of the Protestant Church of the Hague. It was exhibited for the first time in 2023 on the occasion of the exhibition The Continuous Service, organised within the Gian Marco Casini Gallery in Livorno.

Margherita Moscardini

(b. 1981, Italy) is an artist who, through different means, seeks to generate sculptures understood both as objects and as walkable places that are legally differentiated from the sovereignty of the land they occupy. For the past few years, her practice has been trying to become a tool for imagining forms of inhabiting and citizenship finally freed from territorial belonging and the bod of blood. Her works include: Istanbul City Hills_On the Natural History of Dispersion and States of Aggregation (2013-2014), a mixed-media work in which Istanbul's recent urban transformation is told through the glass disposal system; 1XUNKNOWN, to Fortress Europe with Love (2012-2018), a series of 21 short videos that narrate the remains of the Atlantic Wall defense line: 15. 000 bunkers built by the Third Reich along Europe's Atlantic coast, from the Pyrenees to Norway, with the aim of defending "Fortress Europe"; The Fountains of Za'atari (2016 - ongoing), whose main purpose is to reproduce in Europe the courtyards with fountains built within the Za'atari refugee camp (Jordan), in the form of public sculptures legally regulated as common resources that cannot be subject to the sovereignty of any state. 

Sounds of Disarm is the sound work of artist Pedro Reyes composed on the occasion of his sound exhibition at OTO SOUND MUSEUM platform in 2023. Starting in 2007, the artist initiated the practice of 'disarm' by transforming more than 1500 guns from Mexico into shovels ready to be used for digging and planting trees. Through the casting of 1527 guns - which are thus taken off the market - 1500 trees are in fact planted. This first work entitled 'Palas por Pistolas', still ongoing, immediately triggers that generative process capable of manipulating the function of an object, of changing its polarities and shaping its semantics: 'an instrument of death becomes an instrument of life'. An object of violence is converted into its opposite, through a process of re-signification and re-invention that passes through the transmutation of matter and its symbolic conversion. In a short time, the artist manages to collect over 7000 weapons that are donated to him and that he decides this time to transform into musical instruments - 'disarming instruments' as Reyes calls them. From the weapons come string instruments, air instruments, percussion instruments, later played all over the world by musicians and performers who also compose dedicated scores, who measure themselves with the material and its unexpected musicality, used on occasions of the March for our Lives and non-violence demonstrations, often also made to resonate through orchestrated mechanical automation. A gun can no longer kill but, on the contrary, generate sound matter. Sounds of Disarm (2023) originates from the elaboration of a part of the artist's archive composed of sound tracks, recordings and audio documentation related to the practice of disarming, collected over several years and in multiple geographies. The voice of Pedro Reyes takes us inside this sonic journey, which moves between Mexico, Turkey, South Korea and the United States. Like an exceptional narrator – in the wake of those who introduce each track in recorded classical music – he intimately recounts each musical sample, restoring the socio-political contexts, imaginaries and chronicle events, and at the same time delivering a powerful message, a ‘call to disarm’ to which each of us is asked to react.

Pedro Reyes

(b. 1972, Mexico City) works on large-scale projects that address current social and political issues. Through a varied practice utilising sculpture, performance, video, and activism, Reyes explores the power of individual and collective organisation to incite change through communication, creativity, happiness, and humour. A socio-political critique of contemporary gun culture is addressed in Reyes’s ongoing Palas por Pistolas. Similarly, in Reyes’ major continuing Disarm series, firearms confiscated by the Mexican government and donated to Reyes have been transformed into instruments, which are then activated by local musicians. Issues of community and compassion are addressed in Sanatorium, activated at the Solomon R. Guggenheim Museum in New York (2011), dOCUMENTA 13, Kassel, Germany (2012), The Whitechapel Art Gallery, London (2013) and at The Power Plant in Toronto and The Institute of Contemporary Art in Miami (2014). In this work, visitors are invited to sign up for a ‘temporary clinic,’ with the mission of treating various kinds of urban malaise. His immersive exhibition Doomocracy, organised by Creative Time at the Brooklyn Army Terminal, was a ‘political house of horrors’ marking the confluence of two events haunting the American cultural imagination at the time: Halloween and the 2016 US presidential election. Most recently, Reyes has worked with The Bulletin of Atomic Scientists and ICAN to stage anti-nuclear protests and performances across the world. Titled, Amnesia Atómica ZERO NUKES, this movement has found platforms in New York; Mexico City; Vienna and Oslo. Reyes lives and works in Mexico City. He studied architecture at the Ibero-American University in Mexico City. Solo exhibitions have been held with SITE Santa Fe, NM, USA (2023); MARTa Herford, Herford, Germany (2022); Museum of Contemporary Art of Monterrey, Monterrey, Mexico (2022); MAAT, Lisbon, Portugal (2021); Museum Tinguely, Basel, Switzerland (2020); SCAD, Georgia, USA (2019); Creative Time, New York, USA (2016); Dallas Contemporary, TX, USA (2016); La Tallera, Cuernavaca, Mexico (2016); Hammer Museum, Los Angeles, CA, USA (2015); ICA, Miami, FL, USA (2014); The Power Plant, Toronto, Canada (2014); Walker Art Center, Minneapolis, MN, USA (2011); Guggenheim Museum, New York, NY, USA (2011); CCA Kitakyushu, Japan (2009); Bass Museum, Miami, FL, USA (2008;) and San Francisco Art Institute, CA, USA (2008). Reyes has participated in group exhibitions at the 21st Century Museum of Contemporary Art, Kanazawa, Japan (2015); The National Museum of XXI Century Arts (MAXXI), Rome (2015); Beijing Biennale, China (2014); Whitechapel Gallery, London, UK (2013); dOCUMENTA (13), Kassel, Germany (2012); Liverpool Biennial, UK (2012); Gwangju Biennial, South Korea (2012); Lyon Biennale, France (2009); and the 50th Venice Biennale, Italy (2003). In Fall 2016, Reyes served as the inaugural Dasha Zhukova Distinguished Visiting Artist at MIT Center for Art, Science & Technology (CAST) at Massachusetts Institute of Technology in Cambridge, Massachusetts.

The Act of Touch - A Resonance of World's Ends weaves together audio materials collected with the eyes and ears of artists around the world in 24 hours. As a witness to the shifting dynamics of the world, this sonic correspondence deciphers the echoes that define the essence of a single day in history— 31 March, 2022, one month after the onset of the Russian-Ukrainian conflict. A Resonance of World's Ends is a sonic fragment connecting the disparate threads of our global narrative. It represents one of the artist’s perspectives of the world's song—a sonic postcard with the backdrop of the current heart-wrenching humanitarian crisis in Palestine and the haunting echoes of Gaza. This sonic postcard tells a story for a collective listening, underscoring the importance of bearing witness to the entire spectrum of our world, considering the unheard, the invisible, and the in-between.The Act of Touch project was initiated by the artist in correspondence with the global COVID-19 pandemic with collective video recordings for 24 hours on 31 March 2020. It has evolved into a global ritual of togetherness, an ongoing endeavor that reveals the intricate interplay between history and the collective human memory in the face of global events that redefine the world as we know it.

Recordings by Alexander Cigana, Amanda Kerdahi, Anya Kravchenko, Christine Kazaryan with Denis Sorokin (cornet) and Andrei Popovskiy, Georgia Lottin, Kai Simon, Karen Keyrouz, Lukas Zerbst, Mariagrazia Pontorno, Nina Baratti, Nour Hifaoui, Raymond Gemayel, Rita Hajj, Romeu Silveira, Shoko Yamamura, Steve Stevensito,Teresa Soldini, Victor Abbey-hart, and Shatha Al-Deghady, as part of The Act of Touch project.

The artist Shatha Afify was selected by Zaira Oram from among the artists studying in the Public Art master's degree at EDHEA (CH).

Shatha Al-Deghady

(b. 1987, Egypt), also known as Shatha Afify, is an interdisciplinary artist committed to exploring diverse artistic mediums such as sound, performance, and sculpture. She pursued a Master's degree in art in Public Spheres at EDHEA, building on her Bachelor of Fine Arts in Cairo 2009, and participating in specialized programs, like the Home Workspace Program at Ashkal Alwan in 2021. Shatha's focus shifted significantly in 2012 in response to the Egyptian revolution of 2011, exploring themes related to the role of psychology in shaping perception and truth, power dynamics, and self-liberation in the journey towards freedom, exemplified in her early artwork "Dare to Doubt." Shatha's art serves as a form of covert rebellion against socio-political constraints and has been featured in various exhibitions, delving into themes such as the enduring power of resistance, the resilience of the human spirit, and the interplay between absence and presence, as seen in her recent project "A Rebel’s Loving Heart in Three States." Shatha has been part of artist residencies, such as the Cité internationale des arts in Paris in 2020, and has received awards like the Mill's Beauty Reality Salon in Brussels in 2021. She actively contributes to the art community as an artist, educator, project coordinator, and is involved in curatorial practices, remaining dedicated to artistic experimentation and collaboration with fellow artists. She continues to explore intricate themes related to the human body, voice, language, and power struggles.

beware! beware! anthropocene is on air is a new work by Russian artist Ivan Kurbakov. On the occasion of the KLANG MOOR SCHOPFE festival (Gais, CH), Zaira Oram invited the artists Ivan Kurbakov and Axel Crettenand to realize a site specific installation inside one of the wooden farm houses located in the countryside of the village in Appenzell. In this context, the two authors developed a common project entitled DOOM DOOM DOOM (notes from the planetary garden) dedicated to the natural frame and the old structure.

Ivan Kurbakov's sound piece beware! beware! anthropocene is on air is a spontaneous evolution of the sound research that accompanied the conception of the installation in the small rural house. For this composition, the artist asked several people of different ages to freely recite book titles from the library dedicated to the theme of the end of the world and the apocalypse conceived by Axel Crettenand. The reading – imagined and developed through a collaborative practice by both artists questioning the environmental problem and human knowledge – is introduced by a composition based on Samuel Coleridge’s poem “Kubla Khan” and concluded by one based on a poem "Darkness" of Lord Byron. Both poems were published in 1816, the so-called year without a summer because of the deadly consequences of the eruption in Indonesia. The voices are finally elaborated into multi-layered compositions with sounds and field recordings of several natural phenomena such as erupting volcanoes, melting glaciers and storms collected by the artist. The words, rasped and spoken by the present generation, become a call and testimony of reactions-emotions that transpire through the use of voice. Like a beacon in the dark that intermittently illuminates, the voices of beware! beware! anthropocene is on air allow feelings of failure and hope to shine through.

Ivan Kurbakov 

(b. 1989, Moscow) is currently based in Tbilisi, Georgia. He studied creative writing at the Literature Institute of Moscow and film directing at the Moscow School of New Cinema from which he graduated in 2016 with the film «Pleroma». Ivan Kurbakov has been active as a solo musician and sound-artist since 2010. A number of tapes and CDs under the name mpala garoo and Ian Kubra were published between 2010 and 2020 on labels such as Sweat Lodge Guru (USA), Digitalis (USA), Aguirre Records (Belgium) and Shimmering moods records (Netherlands). In 2020 Kurbakov co-founded an art magazine dedicated to the symbiosis of arts with which he became a laureate of Garage.Digital 2021 program. Screenings, exhibitions and performances were held at Madame Claude (2010, mpala garoo), FIDMarseille 2017 («Pleroma»), Iragui Gallery («9 paintings vaya adelante», 2020, Fabula Gallery («Mirrored music», 2019), Solyanka Gallery («Compositional map for a singing way», 2019), New Space of Nations Theatre (video installation «Things and directions», 2017), Platforms Athens, Electrotheatre, Gallery of Experimental sound and others. In 2021 he made the documentary film Umbilical cord, an introduction interviewing young Russian teenagers about the pandemic and the possible futures. Currently working on a full-length feature of the above mentioned film.

Sorgul (Red Rose) is a collective song executed by a group of women that returns the story of the persecution of the Kurdish Yazidi community. The title of the song, which is a recognizable lament in traditional Kurdish culture – a clear reminder of the harshness and need to feel pain – owes its name to a woman called 'Sorgul'. Mistakenly perceived as a love song, Sorgul (Red rose) instead describes the massacre of a community and leaves a trace, through the expression of the voice, of a recent history little told and disseminated due to censorship exercised by regimes and political control. The song, which is also a symbolic and physical process of resistance and liberation, is a shared oral heritage that is consigned to the present after having been handed down, from generation to generation and from language to language, by the women of the community. Sorgul (Red Rose) disseminates a language that is still forbidden in the countries of origin.

The team of the OTO SOUND MUSEUM supported artist Zehra Doğan and her artistic-activist practice through her sound project Sorgul (Red Rose), which in turn aims to support the people of the Kurdish community affected by the earthquake (2023).

Zehra Doğan

(b. 1989, Turkey) is a Kurdish artist and journalist. She graduated at the Dicle University’s Fine Arts Programme and is the co-founder of JINHA, the first all-women press agency. During the war in Iraq and Syria, she reported from both fronts and was one of the first journalists to give account of the Êzidî women who were enslaved by ISIS in Northern Iraq. During the conflicts in the Kurdish areas of Turkey, Doğan tried to report from Cizre and Nusaybin. In July 2016, the day after she left Nusaybin, Zehra Doğan was incarcerated in Mardin. Following a trial, in March 2017 she was sentenced to 2 years, 9 months and 22 days under the charge of “terrorist propaganda” based on the articles she had written and a digital drawing depicting the destruction of Nusaybin by the Turkish army. Over the years Zehra Doğan has been awarded several prizes, including the Carol Rama Prize (2020), Exceptional Courage in Journalism Award from the May Chidiac Foundation (2019), the Freedom of Expression Award in the Arts category from Index on Censorship (2019), the Courage in Journalism Award from the International Women’s Media Foundation (2018), the Rebellion’s Artist in the World Prize (2017), the Freethinker Prize from the Swiss Association of Free Thinkers, Frei Denken (2017) and the Metin Göktepe Journalism Award (2015). As an artist and writer, she lives and works in Europe in “nomadic” mode. 

Various vibrating materials is a sound work edited by Zimoun in 2020 and based on various microscopic recordings of different materials which have been set under vibration, collected and processed by the artist to build a new composition. The work has no narrative but it can be listened as a 'situation', a 'moment' or a 'space'. It is characterized by an organic and primordial sound, like a burning fire or a blowing wind. A soundscape that moves away from its real mechanical and technological nature to solicit the mind's eye, the imagination. The piece is made up of imperceptible changes, slow variations that can be perceived as the changes in natural light that settles on a sculpture and gradually changes as the day goes by. With every slight variation that occurs within the microstructures of the work and its psychoacoustic elements, even our perception delicately migrates.
Various vibrating material was set up in loop.

Zimoun

(b. 1977, Switzerland) lives and works in Bern. Zimoun is known for his installative, generally site-specific, immersive works. He employs mechanical principles of rotation and oscillation to put materials into motion and thus produce sounds. For this he principally uses simple materials from everyday life and industrial usage, such as cardboard, DC motors, cables, welding wire, wooden spars or ventilators. For his works Zimoun develops small apparatuses which, despite their fundamental simplicity, generate a tonal and visual complexity once activated – particularly when a large number of such mechanical contraptions, generally hundreds of them, are united and orchestrated in installations and sculptures. Zimoun’s works continually embrace oppositional positions, such as the principles of order and chaos. In addition to his installative compositions, he also develops purely acoustic works. His work has been presented internationally. Recent displays of his work include exhibitions at the Hayward Gallery London; Museum of Contemporary Art MAC Santiago de Chile; Nam June Paik Art Museum Seoul; Kuandu Museum Taipei; Art Museum Reina Sofia Madrid; Ringling Museum of Art Florida; Mumbai City Museum; National Art Museum Beijing; LAC Museum Lugano; Seoul Museum of Art; Museum MIS São Paulo; Muxin Art Museum Wuzhen; Kunsthalle Bern; Taipei Fine Arts Museum; Le Centquatre Paris; Museum of Contemporary Art Busan; Museum of Fine Arts MBAL; Kunstmuseum Bern; Museum Collection Lambert Avignon; among others.

The URBAN SOUND series gathers works realized through the recording and editing of sound collections. The sixth version Gripia City (2021) comes from the collection of street musicians’ recordings started in Paris in 2012. Each single recording captures a melody and also returns the surrounding soundscape – the frenetic footsteps of passengers, horns, rails, voices – giving life to a portrait of specific temporality and spatiality. Like in a walk in the city, the work evolves over the time of a journey among the different metro lines and the street melodies played by musicians from East to West of the world. Gripia City retraces 2020, also translating class struggles, the daily frenzy and the health dramas, shedding light on those invisible and atonic sounds that continue to fill spaces of transient sociability. Between pauses and movements, even the strikes against the labor reform and the manifestations of the French feminist group and of the European act of Black Lives Matter participate in drawing the portrait of a recent Paris and its social and political complexity, that still lives in the public space and appears already distant from today. Animated by the ephemeral, the work lives in the condition of invisibility and, paradoxically, highlights the a-sonority of the underground musical performances.

Luca Resta

(b. 1982, Italy) lives and works in Paris. Luca Resta is a visual artist; his research questions the concept of "repetition" conceived as a phenomenon that characterizes our society. The ontological value of repetition is investigated in all his works in relation to contemporary dynamics. The act of collecting characterizes his production and becomes a fully-rounded aspect of his artistic practice. His collections are made up of everyday objects that are often "disposable", a trace of the consumerism that still defines our present, and also of sounds that he collects in urban contexts and archives as unheard acoustic details that he lets emerge from the chaotic ensemble of our cities. Among the national and international group and solo exhibitions: Inaugural Exhibit, Art Raw Gallery, New York (2009), Quali Cose Siamo, Triennale Design Museum, Milan (2010), State Of The Arts, 54° Venice Biennale (2011), Chambre Quatrevinghtcinq, Ars + L, Bergamo (2013), Calcio D’inizio, Fondazione Sandretto Re Rebaudengo, Turin (2014), Do Disturb #2, Palais De Tokyo, Paris (2016), Talent Prize, Macro, Rome (2017), It Happens, Galleria Il Ponte, Florence (2018), Depiction Of Nature And Society, Galerie Italienne, Paris (2019).

Mestiza y Migrante CumbiaMix is a declaration of intent by Paloma Ayala in collaboration with Elimix. It is an invitation to retrace every gesture and to rethink the mobile tradition and culture that we carry in our hands in every migration. Behind this work are several female figures, mainly mothers and artists. Resistant and strong, working women. Zurich-based Mexican artist Paloma Ayala is the creator of this journey into Mestiza cuisine, the cuisine of traditional dishes mixed with contemporary circumstances. Cumbia is a popular form of entertainment in the Latin communities living in the USA. A sound form that contains a great ingredient of belonging and empowerment. This Cumbia is a gift from women to other women. An invitation to believe in the importance of one's role. A voice to defend ourselves against all violence.

Paloma Ayala

(b. 1980, Matamoros, Mexico) is a visual artist interested in empowering the relationship between domestic living strategies and political contexts. She is a diaspora mother and a mestiza daughter whose work fictionalizes historical, ecological or social problematics as means of analysis and critique. Paloma´s projects nourish visions of connection and dreams of emancipation. Her favorite spaces to work range from kitchen to river shore, from international crossing bridge to agricultural land, from community meeting to aquelarre. Paloma’s work is rooted in her home, the eastern US/MX border landscapes, simultaneously blooming in her current base in Zurich.

In 2020 artist Jo Thomas spent time in North Wales UK crossing the landscapes of the highest point of Anglesey in the rotating wind farm Trysglwyn Fawr. Here she met vast areas of countryside and fields inhabited only by giant Turbine windmills that constantly work to produce electricity thanks to the airstreams. Those places, which hint at limited human presence, are privileged for the passage of the wind, captured and transformed by the Turbine windmills who dance elegantly in the landscape. Their sound, recorded by the artist through a binaural microphone, returns a remote and inaccessible motion making us perceive their mechanical and metaphysical functioning with the infinite time through which they produce clean energy. By elaborating the composition Massive Angels (2021), Jo Thomas turns to the invisible and sonorous electricity; she urges our gaze to imagine and get closer to what would otherwise be inaccessible. To reach the hidden beauty of these white supernatural presences, we must close our eyes and listen to their extraordinary linguistic code: a sort of sound message in "Enochian", the language of angels.

Jo Thomas

(b. 1972, UK) lives and works in London. Jo Thomas works as composer and sound artist. She has worked on public commissions, concerts, galleries, sound walks, privately commissioned work. In her process, she works with electronic sound working mostly with glitch, with fine detail. In 2012 Jo Thomas won the Prix Ars Electronica Golden Nica in Digital Musics and Sound Art with the work Crystal Sounds of a Synchrotron. Her work has been performed in public spaces across the world and is released by the label Entr’acte, Holiday Records Naxos, NMC Recordings, The Tapeworm and Soft Apple. She has written for Vinyl and CD, bespoke instruments and has worked on a combination of experimental work. Recent works include the project Ports of Call, The Routledge Handbook of Memory and Place (2019), A Sketch of Nature, site-specific work for a multi-faith chapel in the New Grange Hospital, Cwmbran (2020-21) and In a still place Digital commission based on the sculptural sound installation Speaking Tubes, IOU Theatre, Halifax (2020). Jo currently runs a sound walking project in North London with her label Soft Apple.

Jurczok 1001 is a Zurich-based singer, beatboxer and spoken word artist who has been collaborating with writer and musician Melinda Nadj Abonji since 1998. The duo have created their own idiosyncratic sonic universe using three elements – voice, human beatbox and electric violin; exemplified in their CD Voice / Beatbox / Violin (Masterplanet, out of print) released in 2006. Having spent a few weeks in his archive, digging out unreleased recordings to assemble an album of fragments for the OTO Sound Museum, Jurczok 1001 has compiled a compositional mix of 15 tracks.
The sketches have stayed in their original forms and have never been worked on further; they had remained unemployed – as if they had been waiting for this moment.
Most of the pieces are improvisations – single takes with a loop sampler and a delay pedal. All the pieces came into being during sessions and were recorded on impulse: We gotta get this on tape! Hold the mic in your right hand and press record with your left.
Apart from one live concert and one studio session, these are recordings made during rehearsal – on MiniDisc, tape, DAT or with a Zoom H4 recorder. The LoFi is part of the aesthetic and speaks about the time.
The unfinished character, rawness and spontaneity make these pieces what they are. More importantly recognizing that some things get better when they’re left in the archive for a few years. The rough draft can be the final version.
Melinda Nadj Abonji: voice, lyrics, electric violin, octave and delay pedals, kazoo Jurczok 1001: human beatbox, voice, lyrics, JamMan loop sampler.

Jurczok 1001

(b. 1974, CH) lives and works in Zurich. Jurczok 1001 is a spoken word artist, singer, human beatbox and performer. He has performed under this name since 1996 and is among Switzerland’s spoken word pioneers. He is best known for his Spoken Beats format, a virtuoso mix of spoken word, vocals and live looping that he has performed in a variety of international venues. He has appeared among other places at the Tata literature live! Festival in Mumbai, at the Berlin Poetry Festival, at the woerdz Festival in Lucerne, at Moscow’s Electrotheatre, at the Street Art Museum St. Petersburg, at the Kimmel Center for Performing Arts in Philadelphia, at the Elevate Festival Graz, at Deutsches Haus New York and at the Solothurner Literaturtage. He has released two EPs and three singles. His most recent publications are Spoken Beats (Edition Patrick Frey, 2018), a collection of his spoken word texts from the last ten years, and the single Chumm, mi schlafed (Masterplanet, 2017). In 2020 he received an artist’s grant from the Landis & Gyr Foundation.

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